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OCTOBER 2001 Contents

 Heritage

 Qutub family becomes
 One

 Coronation Park 
 - the Raj junkyard 

 People

 Laxmi Sehgal

 Raghu Rai

 Technology

 E-Governance in south
 Asia - setting examples

 Films

 Mira Nair - 'Monsoon
 Wedding'

 Art

 'Uraan' - Exhibition of
 Pakistani Art in India

 Music

 Pandit Vishwa Mohan 
 Bhatt creates another
 Veena - the 'Vishwa Veena'

 Sports

 Karthikeyan & Formula
 Racing

 Books

 Vedas & the Mountains

 The Sikhs - a photo album

 Wisdom

 His Holiness The Dalai
 Lama's message on
 Restraint & Kindness

 

 

 the craft shop

 the print gallery

Books

 Silk Road on Wheels

The Road to Freedom

Enduring Spirit

Parsis-Zoroastrians of
India

The Moonlight Garden

Contemporary Art in  Bangladesh

 

 

Page  2  of  2

 

PANDIT VISHWA MOHAN BHATT 

- CREATING 'INSTRUMENTAL' MUSIC

by

Mukesh Khosla

Bhatts.jpg (21690 bytes) 
Vishwa Mohan Bhatt with Vishwa Veena, and his son Salil Mohan Bhatt with Mohan Veena

 

Moment of Glory

While winning the Grammy was Bhatt's moment of glory, creating A Meeting by the River was an experience in itself. For one, it was recorded at a quaint church in Santa Barbara and the half-hour session thrilled everyone. But what captivated music lovers most was that it was essentially Indian music produced on an East-West fusion instrument. The album lasted 40 weeks on the Billboard charts.

The only other Indian to have won the Grammy happens to be Pandit Ravi Shankar. " When Ravi Shankar won the Grammy we were extremely thrilled. But little did I know a time would come when I would also win the coveted award."

A resident of Jaipur and belonging to a family of musicians, Bhatt started his learning at an early age. His father, Manmohan Bhatt, a noted vocalist of his time, initiated him into music. " It is his blessings that have made me what I am today," he says.

Bhatt became a disciple of Pandit Ravi Shankar whom he regards as his godfather. And that period proved very crucial for Bhatt. As he explained later, he could not imitate Ravi Shankar. A better course for him would be to use what he had learnt from the sitar maestro to develop his own style. A Meeting by the River established that he had. Besides, he had imbibed the gayaki ang (vocal style) and tantrakari ang (instrumental style) that is reflected in his renditions.

Clearly, winning the Grammy and the great sense of achievement that preceded it as the album ran up the popularity charts, was a special moment for Bhatt. He says, "It was the greatest event in my life and I had the most receptive crowd I could ever get."

Now Bhatt hopes to re-create that magic all over again with his newly invented instrument, the Vishwa Veena. " The results have been more than encouraging," says an ecstatic Bhatt, " It is a great success and I am in consultation with the recording companies for an album based on this new instrument."

Behind his creation of the Vishwa Veena and his inspiring music is a philosophy of life. According to Bhatt, his sole objective " is to attract the young generation and to inculcate in them the spirit of Indian classical music."

Now besides him, his son Salil Mohan Bhatt too has followed his footsteps and is fast becoming a musician of repute. The father-son duo is now planning a joint album. And it goes without saying the two main instruments will be the Mohan Veena and the Vishwa Veena!

____________________

Readers' Feedback

Soumya Chakraverty, India

The truth is that Pt. Bhatt's instrument, or the naming of it has created a controversy in Hindustani Classical Music circles. Way back in the 1950's, the legendary sarod maestro, Lt. Pt. Radhika Mohan Moitra created an instrument by combining the Sarod with the Sur-Bahar which was named as Mohan Veena. In fact, the name was not given by Pt. Moitra, but by the then Director of All India Radio. This instrument was unique in its sorts and really sounded like a veena.

The original Mohan Veena got lost a bit with the untimely demise of Pt. Moitra. However, some of his disciples continued to carry the tradition of their guru and so did the Mohan Veena. Till date, the instrument is very much alive and there have been a few public performances in recent years by instrumentalists in India.

Even Pt. Bhatt's guru, the great Pt. Ravi Shankar, in his book, Raga Mala, has acknowledged this mistake by Pt. Bhatt. He has himself requested Pt. Bhatt to change the name of this instrument to something else but to no avail. I guess, the damage had been done by then and that it was difficult for him to go back on the name of an instrument that had made him famous. However, it should be kept in mind that it is not a true veena, but just a modified version of the slide guitar that has produced other maestros like Pt. Brij Bhushan Kabra and Pt. Dakshina Mohan Thakur.

I would like to bring this to your attention with the hope that you will publish this e-mail on your web page. This is a truth that the rest of the musical world needs to know.

Thank you!

 

 

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