The origins of the swaramandal, also called surmandal, may come as a surprise to ultra-nationalists who believe that most musical instruments have their origins in India. Undoubtedly, there will be those who may claim that a similar instrument existed since Vedic times and was known as one or the other veena, and indeed, there may be an element of truth in this. But the fact remains that the swaramandal as we recognise it today is directly related to the autoharp that evolved in 19th-century Europe.
The autoharp is a multi-stringed zither, used to accompany singing (read more about the autoharp here).
Until recently, most vocalists in India preferred to buy the autoharp made in the West and adapt it to Hindustani music. But this was not an easy proposition considering the expense and accessibility involved. Fortunately, there are Indian instrument makers who now make the swaramandal here to the satisfaction of Hindustani vocalists.
Hindustani vocalists have used the swaramandal as a drone in addition to the tanpuras that have been used earlier. The obvious difference between the two is that while the swaramandal is a multi-stringed instrument that is tuned to the scale of the chosen raag, the tanpura is traditionally a four-stringed instrument tuned to the fifth or fourth and the tonic. Also, a melodic line can be played on swaramandal, which is not possible on the tanpura. Most vocalists strum the swaramandal strings with their fingers, but others use a plectrum.
The swaramandal caught the fancy of many Hindustani vocalists after it was used successfully in performance by the Patiala gharana maestro Bade Ghulam Ali Khan. Here is a video clip of him accompanying himself on the swaramandal.
Many followers of Bade Ghulam Ali Khan use the swaramandal. Here is a short rendition of a bandish ki thumri in the raag Khamaj sung by eminent vocalist Jagdish Prasad, a significant representative of the Bade Ghulam Ali Khan gayaki or vocal style.
There have also been other important vocalists outside the Patiala gharana who have made a decision to use the swaramandal. Here is a clip of the incomparable Kishori Amonkar accompanying herself on the swaramandal.
Over the past few decades, several others have chosen to use the swaramandal, but most have treated it more as an accessory than as a musical complement to their vocal renditions.
We end this episode with a noteworthy recording. Seldom have there been attempts at playing the swaramandal as a solo instrument. This recording is rare on two counts. First, that it features a swaramandal solo, and second, that the presentation is by Shrikant Thackeray, known to many as a composer and to some as the father of his cartoonist-politician son Raj Thackeray.
Shrikant Thackeray presents the raag Yaman beginning with an aalaap or introductory movement followed by a composition in medium tempo Rupak, a cycle of seven matras or time-units, and another in the 16-matra Teentaal. He ends the recital with a section that simulates a jhala as is normally heard in solo performances of many other stringed instruments. The nature of the plucking seems to indicate that Thackeray has used one or more plectrums.
Evidently, the close proximity of the strings of the swaramandal, the lack of any possibility of meend or glides between notes, or any other ornamentation that is integral to Hindustani music, places restrictions on the performer. This results in the creation of a general ambience of the raag, rather than an elaborate exposition. Even so, the recording is a vital archival source of the manner in which the scope of the instrument has been explored.
