INTERVIEW
‘My mother still teaches me music’

Pt Vishwa Mohan Bhatt attempts a blend of western and Indian classical music

The well-known maestro Pt Vishwa Mohan Bhatt has enhanced his celebrity status not only as master performer but also as an improviser and a soulful composer. He has successfully Indianised the western Hawaiian guitar. By incorporating elements of sitar, sarod and veena, and by adding more strings, he has designed the Mohan Veena and Vishwa Veena and taken them to unbelievable heights. The 1994 Grammy winner has a unique and adorable body language during his performance. The soft-spoken musician spoke about his passion for music to Piyush Paachak.

Well, the blessings of my gurus, rigorous riyaaz and my karna priya (pleasant to the ears) music. The instruments Mohan Veena and Vishwa Veena were devised to meet such objectives and I have tried to do justice to the instruments by playing them to the best of my knowledge and ability. The integration of the features of other classical instruments into a single instrument with a touch of acoustics engineering produces a different feeling.

I inherited music from by family and had the blessing of Pt Ravi Shankar Ji. I always wanted to be innovative and do something original with my creative abilities. I could gradually bring out this "internationally Indian" instrument which has elements of sitar, sarod, veena and guitar. Mohan Veena, a 20-string modified archtop guitar with three melody strings, four drone strings and 12 sympathetic strings, can produce a rich blend of western and Indian classical music. The instrument has also evolved with the passage of time.

My father was a well-known musician. My brother was an established sitarist. My sons are talented too. Salil (my disciple too) is doing well with the instrument and Saurabh is a budding composer. The entire family, including my wife Padma, has always been supportive and inspired me to prosper. My mother Chandra Kala Bhatt, even at the age of 96, teaches me music. She is my god.

A special concert at Madison Square Garden (New York) on the 50th anniversary of the United Nations in 1995 and then a performance at the Festival of International Guitar Stars in Toronto, also in 1995. The "Meeting by the River" (along with Ry Cooder) which fetched me the Grammy will always remain special to me; a recent performance at Texas Dallas with Eric Clapton, attended by more than one lakh music lovers, and was just unforgettable. Performing for the SPIC MACAY has also been great. The Saptak Festival at Ahmedabad and the Sawai Gandahrva Fest at Pune are a few of my favourites.

Besides performances and recordings, I also devote some time to fusion music. I have done jugalbandis with many well-known western performers in the past. I am at present working on a ‘fusion project’ of Indian classical melodies and the folk compositions of Rajasthan with the famous Langaas and Manganiars for a London-based musical company. This is expected to be a great creation.

Yes, composing background scores has been a joyful experience. I entered this field when I composed Music for Relaxation for Music Today. Meghdootam, a Sanskrit epic poem, has also been composed and recorded by me. The mellifluous Mohan Veena has been used for the background music of Hollywood’s Dead Man Walking, Two days in the Valley and Meet the Fockers. I have also composed the sonata for Bollywood art movie Bawander.

I would endeavour to play better and better and glorify Vishwa-Mohan Veena. Would want to perform more and more the world over. I wish to see my sons achieve greater heights in their lives and, more importantly, would want to see my favourite grandson Satwik, a child prodigy, groom himself into a fine musician.

Indian Classical Music in Lahore

Navin C Khilnani August 30, 2004

Pandit Vishwa Mohan Bhatt, Shri Kamal Sabri, Pandit Laxman Krishnarao Pandit and Ms. Meeta Pandit to perform in Lahore.

A musical summit

Strings and drums met to create a melodic evening

PHOTO: S. R. RAGHUNATHAN

VIDWANS TOGETHER (From left)Umayalpuram Sivaraman, Ravikiran, Vishwa Mohan Bhatt and Ram Kumar Mishra at the performance.

"Ravikirana Vishwamohana Mishrame, Sivaraman mridanga" sang Chitraveena N. Ravikiran, playfully parodying his own pallavi in Kiravani, Adi tala. It came as a surprise, not only to the audience, but even to the artistes on the stage. The `real' pallavi had a far tamer line — "Sarigamapaada niraja..." But as expanded by the four artistes named in the parody, it acquired interesting dimensions through melodic and rhythmic improvisations in speeds slow, medium and fast.

The post-interval session, at The Hindu Friday Review Music Fest, drew enthusiastic contributions from the strings and drums. Such a balance was missing in the first half of the concert, where the two Hindustani artistes played second fiddle.

But starting with the Kiravani alapana, the tonal richness, and gamaka depth of the chitraveena was contrasted with the delicate lyricism of the mohanveena. Each instrument had continuity, but this continuity had a character of its own.

The tanam added dimension to the raga, displaying quiet melody in slow speed before accelerating into the rhythm spins of the faster speeds and high notes. During the kalpana swara tradings, Vishwa Mohan Bhatt at times chose to be an onlooker, especially when Ravikiran wove complex gati patterns, enhanced by the masterly mridangam. But he participated enough to achieve a final overall balance. No surprise that the pallavi should be energised by Umayalpuram K.Sivaraman's mridangam and Ram Kumar Mishra's tabla. The highlight was the tani, where the artistes packed many punches, including a sawal-jawab with a difference. They vocally recited mnemonics for the other to play, before the more regular exchange of drumming. The kuraippu had imaginationand involvement, excelling in phrases of razor sharp, crisp brevity, where Sivaraman's effortlessness amazed.

The real surprise of the evening was Vishwa Mohan Bhatt's bursting into vocal music — a Rajasthani love song, with the Maand glints of the folk tradition. "Kesariya balam" was all romance, where the pangs of separation suffered by the woman find expression in the plaintive lilts, ending in the high notes of "Padharo!" (Come). It gained new colours when ornamented by Ravikiran's chitraveena.

A request from the audience had Ravikiran follow this with a quick "Krishna ni begane". Though Ravikiran informed Bhatt encouragingly that it was Yamankalyani (and therefore familiar), the Hindustani artiste preferred to listen rather than participate. The tabla too was still.

The recital began with the inevitable "Vatapi Ganapatim", prefaced by Hamsadhvani alapanas by both veenas. Melody reigned unchallenged. Though we have heard Hamsadhvani countless times in jugalbandis, this one was special because Ravikiran was determined to play it with its Carnatic shape intact, just as Bhatt refused to step out of its Hindustani mould. Their being so rooted in their traditions, and so mature in their conceptualisation of the raga, made for pleasant, self-forgetful listening.

The Hamsanandi that followed could not achieve the same balance from all participants. The raga passed off well, but with the kriti ("Pavana guru", Rupakam) Bhatt was obviously at sea during the anupallavi and charanam. He was satisfied to add frills here and there.

The ragam-pallavi format would have offered a more level playing field. (Or, as a listener suggested, why not attempt a khyal format and see if something new could be evolved?). However, Vishwa Mohan Bhatt was too much of a veteran, and too used to jugalbandis to let this faze him completely. He let his imagination roam, adding his phrases here and there. He also showed his class in kalpana swara improvisations. The finale had the audience totally involved.

A heartening feature in the recital was that the drums were given their full turns in both segments of the concert. Mridangam and tabla had a shorter interlude even in the first half. They not only played with zest, but created a distinct style for this first essay, quite different from the style they kept reserved for the more elaborate tani later.

Indian, with strings attached

Pandit Vishwa Mohan Bhat likes to go on and on about his achievements. But as you listen to him play his modified Hawaiian guitar, the Mohan Veena, you begin to believe he has every right to do it

Pandit Vishwa Mohan Bhat: `In India, people are more informed about the music, but they walk around during the concert and talk on their cellphones.' — Photo: K. Gopinathan

I KNEW asking him how he felt after winning the 1994 Grammy Award for World Music would be silly. And to ask the stock "How do you like the audience in Bangalore?" would make him say what "the press wanted to hear" and would make me terribly in dearth of quotes. So I ask Pandit Vishwa Mohan Bhatt if we can finish the photo shoot first. He readily obliges and walks towards a guitar case splashed with "FRAGILE" stickers in every fathomable colour and language.

Ringing note

His outstanding Mohan Veena in hand, he settles down on the bed in his hotel room, buttons his sequined kurta up to his neck, shuts his eyes for a moment, and nods softly at the photographer. The man is used to all the attention, I think, remembering how he didn't fail to ask me on the phone whether a photographer would be accompanying me, because he had to "be ready and dressed well for attractive photos". But once he strikes the first string of the Mohan Veena, I realise fully why everyone raves about his creation. The note seems to endlessly ring in the air, and as he starts playing more tunes, I decide I'm going to gloat to the world about this private concert. I hadn't bought tickets, I hadn't asked him to play, and yet, here was the Padmashree award-winner serenading me, just me.

"Even if I go to the next note, the previous note still sings," he says, demonstrating how the sympathetic strings he has put in resonate and lend continuity to every note. Pandit Vishwa Mohan is known for his mastery in combining the tantrakari ang (instrumental) and gayaki ang (vocal), made possible by his Indianisation of the Hawaiian guitar with perfect integration of sitar, sarod and veena techniques. He trained under Pandit Ravi Shankar, but he wanted "something more... a music that is tender at times and aggressive, loud at times and soft". Since the creation of the Mohan Veena (which is now even mass-produced in a factory — "Now I'm the only person in the whole world who can teach people to play it," he says, revelling in his monopoly), he has been highly acclaimed all over the world for his electric performances.

He has collaborated with Chinese erhu player Jei Bing Chen, American dobro guitar player Jerry Douglas, Arabian oudh player Simon Shaheen, and it was his alliance with Ry Cooder that fetched him the Grammy. "The instrument is familiar to Western artistes because it's a modification of the guitar," he says. "But all this elaboration, extempore and spontaneity is beyond their imagination. They're amazed that we can play one raag for more than one hour!"

Having performed in various countries, Pandit Vishwa Mohan says he is in a position to compare audiences. "In India, people are more informed about the music, but they walk around during the concert, and talk on their cellphones. It's not just distracting, but kind of insulting to me. Abroad, people are more disciplined and courteous."

Critics don't faze him. "My target is the listener — whether an expert, layman or child. Once they listen to my music, they're mine. In one hour itself, I know I can mesmerise people," he says, as I tell myself that he has won worldwide acclaim, hence probably has the right to blow trumpet.

He tells me a story that changed his life when he was 12: "I once saw an Indian classical concert in a university for the youth. They all got bored and started walking out after some time. I decided then and there that I have to make my music such that people should not blink their eyes for even a second." And his music is like that too — characterised by speed, versatility, and vigour, guarding the Indian method, but using a modern medium.

Showing all

Though not one to hold back on talking about his life and achievements, the Pandit keeps going back to his Mohan Veena, eager to show me everything it can do. "1-2-3, 1-2-3," he says, plucking the strings, and gradually increasing speed, "1-2-3-4, 1-2-3-4," this time his fast fingers only a blur. After a good 15 minutes of showing me everything the Mohan Veena can do, he sits back, enjoying the sight of my mouth falling open in awe. "In every jugalbandi also, 75 per cent is my contribution only... The Western artistes are all intimidated by this music," he offers, stroking his chin, as I wish again that the 15-minute private concert he granted me had gone on for hours.

ROHINI MOHAN

Medley of talent

"A Meeting of Minds — Indian Fusion" promises an exciting blend of raga and rhythm

MUSICAL CONFLUENCE (clockwise from left) Umayalpuram K. Sivaraman, Vishwa Mohan Bhatt, Ravikiran and Ramkumar Mishra

Umayalpuram K. Sivaraman, Vishwa Mohan Bhatt, Ravikiran and Ramkumar Mishra will perform at The Music Academy on November 19, 7.15 p.m.

Jugalbandis, especially involving stringed instruments, can develop into strident and aggressive exhibitions of showmanship. But with N. Ravikiran's chitra veena and Pandit Vishwa Mohan Bhatt's mohan veena, the listener can expect a confident focus on melody. They do not have to depend on fireworks to offer quick thrills.

Besides, their jugalbandi has been conceptualised by Umayalpuram K. Sivaraman, whose mridangam can evoke the kind of mellifluousness that vocalists envy. Supported by doyen tabla artiste Pandit Ramkumar Mishra, the concert promises to offer enchanting raga music banked by exhilarating rhythm.

A child prodigy who began with vocal concerts where he was accompanied by stalwarts, N. Ravikiran made family instrument chitra veena his own. Inspired by grandfather Narayana Iyengar and trained by father N. Narasimhan, he has established a reputation for uncompromising depth and classic control.

Enriched by the grand and emotive Veena Dhanammal school, Ravikiran is sensitive to the dynamic nature of the art form he practises, and enjoys making `melharmony' with artistes from both sides of the Atlantic.

His ancient chitra veena is paired with the modern mohan veena, a slide guitar modified by the artiste himself, to play the gamaks and meends of Hindustani music. Trained initially by brother Shashi Mohan, this disciple of Pandit Ravi Shankar is at ease on the classical music circuit as well as with experimental ventures. The mohan veena has proved its ability to jam with instruments across the world, winning a Grammy for Bhatt's collaboration with Ry Cooder in "Meeting by the River". Bhatt is a seasoned jugalbandi artiste, revelling in exchanges with Carnatic musicians like L. Subramaniam, T. N. Krishnan, N. Ramani, M. S. Gopalakrishnan and Shashankh. He has teamed with Ravikiran more than 20 times so far.

Born in music-rich Banares, into a family of renowned tabla players, Pandit Ram Kumar Mishra claims the redoubtable Pandit Anokhe Lal for grandfather. Stringent training came from uncle Chhote Lal Mishra to shape him into a leading representative of the Delhi gharana of the tabla.

For three generations of listeners, Umayalpuram Sivaraman's mridangam is often the deciding factor in their choice of concerts. His magic enhanced even the music of giants like Ariyakudi Ramanuja Iyengar or G. N. Balasubramaniam. Sivaraman has matched his drum with maestros like Pandit Kishen Maharaj and Ustad Alla Rakha. Known for his ability to play for both vocalists and instrumentalists, Sivaraman remains a star of the first magnitude, his mastery of technique balanced by imagination and taste.

GOWRI RAMNARAYAN

Presenting sponsor: Geojit Financial Services Ltd.

Associate sponsors: Bose, Kingfisher Airlines, RmKV, AVT Premium Coffee

Hospitality sponsor: Taj Connemara

Event manager: Show Space

Where nights sing to the light

The leading lights of classical music recently brought the sleepy town of Maihar in Madhya Pradesh alive with the Allauddin Khan Samaroh. KAVITA SHUKLA tunes in.

 
Pandit Vishwa Mohan Bhatt... Magical fingers at work .

MAIHAR, A small township famous for its natural beauty and the temple of Ma Sarada and her world famous disciple Baba Allauddin Khan of the Maihar-Seniya gharana, came alive with the Allauddin Khan Samaroh recently.

The festival opened with the melodic tunes of the Maihar band filling the heart with love and remembering those who were devoured by the tsunami waves. It is the third generation of the legendary Maihar band, which was founded by Ustad Allauddin Khan. His grandson Ustad Aashish Khan is its present guide. The second item was a Kathak recital by Nalini and Kamalini, conducted by Pandit Jitendra Maharaj with his forceful padhant.

They presented Shiva stuti and a bhajan. The huge audience enjoyed Jitendra Maharaj's padhant,thrilled by the vigour of the senior artiste performing with such authority.

In the third item young Abhijeet Pohankar from Mumbai displayed his talents by playing raga Kaushi-Kanhara in Roopak tala on the keyboard.

He is one of the few to attempt playing Indian ragas on the keyboard under the guidance of the famous santoor player Pandit Shivkumar Sharma.

Next came Parthasarthi on the sarod. He displayed his taleem of the Maihar gharana through raga Hem Bihag, a creation of Baba Allauddin Khan. He emphasised the notes creating the musical sentences of Ma, Ni, Dha, Pa, Ma, Pa, Ma in a rhetoric establishing the pakar - characteristic notes of the raga. Parthasarthi's sarod recital possessed many characteristics of the Maihar gharana, and the audience might have enjoyed it more if he had opted for a musical duel with his tabla player Anshubh.

First night's concluding presentation was by sitar exponent Prateek Choudhary, who played raga Basant interwoven in Matta tala in nine beats, where he displayed his immense taiyari through emotional alap and his ati-drut taankari and jhala.

He joined his guru and father Pandit Debu Choudhary in raga Ahir-Bhairav, in which the elder musician expressed the musical essence of the morning raga in a mesmerising way.

The short alap was highly impressive, painting the smooth contours of Ahir-Bhairav along with the rising sun in the East of pandal.

Night two

The second night of the conference started with the traditional Maihar band, which recited the tune "Vaishnav Jan To Tene Kahiye". The band comprises instruments like nal-tarang, sitar-benzo and chandra-sarang invented by Baba Allauddin Khan.

After the band the huge gathering of about 5000 people eagerly waited for the Manipuri recital by Priti Patel and her group from Kolkata in the unique style of their guru Vipin Singh school.

Priti Patel has advanced her dance form by adding martial arts and other poetic verses providing more classicalism and substance to the Manipuri dance.

She started with Surya upsana and travelling through Jaidev's ashtapadi, Dashavatar, etc., she concluded with Ras leela.

Next was the jugalbandi of Rajesh Srinivasan's mridangam with Anuradha Pal's tabla. They selected the Adi tala of Carnatic music, performing first individually and then together.

The three-day festival had the mostbefitting end in the magical fingers of Pandit Vishwa Mohan Bhatt.

One remembers the times Vishwa Mohan was struggling to develop his customised guitar into the Mohan veena, making it suitable for Indian classical music.

Vishwa Mohan played the raga Nat Bhairav using the Komal Dhaivat and Shuddha Rishabh, a version developed by Pandit Ravi Shankar. His alap, jod and jhala were the hallmark of a great instrumentalist.

In the taankari, his speed, force and clarity can only be compared with the sitar maestro Buddhaditya Mukharjee. Vishwa Mohan sang raga Basant while playing it on the Mohan veena.

He ended with Bhairavi, demonstrating his skill in beenkar, khayal, thumri and instrumental style of rendering a raga.