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The magic flute
The flute’s role in music, both modern and classical, is not as fundamental as that of the guitar, pianoforte or drums, but the fact that it has been around for such a long span of time playing second fiddle (excuse the pun) to its more glamorous counterparts serves as an achievement in itself. For the flute is one of those instruments that has very seldom courted the limelight, seemingly content in its role as a subtle, almost ethereal bit player. But its long history cannot be denied, nor can its numerous variations be ignored.
Whether it is the German flote, Balkan kaval, Arabic/Turkish nay or subcontinental bansri, the flute has permeated almost as many cultures as instruments of the string or percussion families have. As it is a wind instrument ‘the sound is produced by a stream of air directed against a sharp edge, upon which the air breaks up into eddies that alternate regularly above and below the edge, setting into vibration the air enclosed in the flute (Encyclopaedia Britannica).’
The forebear of the flute used most commonly in western music, known as the transverse flute, was found as early as the second century B.C. in Greece, with contemporary types also being mentioned in the annals of ancient Indian, Chinese and Japanese history.
Whether it is the German ‘flote,’ Balkan ‘kaval,’ Arabic/Turkish ‘nay’ or subcontinental ‘bansri,’ the flute has permeated almost as many cultures as instruments of the string or percussion families have
In the musical heritage of the subcontinent, the flute has figured in both the classical and folk manifestations of the art. Its ancient origins in Hindu lore trace it back to the deity Krishna, who is often seen playing a flute in his meditative postures, and two of his monikers include Venugopal and Bansilal. Since the classical music traditions of Pakistan are almost identical to those of India, it is prudent to mention these origins. In the subcontinent, the flute is known by two popular names; bansri and venu. These instruments are often constructed of reed or bamboo and come in both transverse and fipple varieties. Transverse flutes are considered the instruments of serious aficionados and are used in classical music, whilst fipple flutes, often derided as nothing more than toys, are the weapons of choice for folk musicians. The bansri features in the North Indian system of music, while the venu is employed by practitioners of South Indian or carnatic music.
The flute has escaped the attention of gaudy practitioners of both the rock and pop genres, save for the noteworthy exception of Jethro Tull, a rock group that came of age in the early ’70s with Ian Anderson, a singing, flute-playing extravagant frontman, at the centre of the storm. Anderson blended a boisterous medley of medievally themed music — stories of witches, warlocks and fairies — with loud guitars and, surprise of surprises, the flute! Needless to say, such a melodic blend of chaotic consonance has seldom been heard. .
Locally, Salamat Hussain is an acclaimed bansri maestro. The flautist’s dexterity shines through in not only classical and semi-classical pieces, but the versatile musician has also lent his skills to local pop acts.—Qasim AbdAllah Moini
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