The rebel traditionalist

“Change is a law of nature. It is important for us to grow.” Be it fusing sounds of veena with the guitar or making meaningful fusions to the delight of music aficionados across the world, or at home, Pandit Vishwa Mohan Bhatt has always brought changes aimed to help the cause of music. No matter, how much the conservatives scoffed at them in the beginning, he proved them all wrong. Beneath the revolutionary cover experiments, here is a man who religiously guards the 300-year-old tradition of Hindustani classical music, sticks to the broken axle (1967) of his Vespa scooter as a pick for his Mohan Veena and can cry when he loses a beloved instrument (an accident during transit). He had been wooing the world with the haunting, sometimes melancholic, sometimes joyful, strains of his magical veena. Aparna Banerji chats up the maestro:

Initially, there were problems when I created Mohan Veena. But later, my music convinced the so-called traditionalists, says Pandit Vishwa Mohan Bhatt

At what age did you start learning?

There’s no age for learning. I believe I started right from my mother’s womb. When she appeared for her music exam in 1950, I was learning from within her.

It has the right amount of drone and can do without much amplification. Along with that, the guitar also sustains sliding. (All through the conversation, an electric tanpura plays by his side)

Yes. Though the Veena has enough drone, even if I have to use a tanpura, I prefer the electric one. Otherwise, usually at concerts they make a beautiful girl play tanpura for us. Usually the poor girl doesn’t know how to tune it, which becomes a cause for disruption during the performance. (Laughs)

Initially there were problems. But later with my music, I convinced the so-called traditionalists. It seems like conservatism in Indian classical music has become more of a norm than a necessity. People have stuck to some heavy instruments in India for ages even though the sound produced by them is shrill and not really powerful. Why not go for better sounds if they can be produced with lighter instruments?

Unfortunately, not much is happening in this field in our country. Firstly, very few students pursue research and secondly the subjects that have been already researched are lying forgotten in the libraries with very few people interested in reading or talking about them.

Folk music is older than classical music. Classical is derived from folk. They just added shastras, some do’s and don’ts, and classical music was derived. The roots are the same.

Not many films are made on a format, which supports Indian classical music. In the name of classical music there’s just a few raag-based songs from time to time. For example, recently, "tere naina" with music from Shankar-Ehsaan-Loy springs to mind, but it stops at that.

Very different from the usual stuff that we do. You have to think differently. The music has to be moulded according to the producer or director’s preferences. At times you have to make compromises in your kind of music according to what the situation in a film demands.

I teach students during the time I get off travelling. As a guru I want my students to be intelligent, punctual and dedicated to music. The teacher-student scene is constantly changing. Gadgets have changed a lot of it. Students have become more Internet savvy. They remain in touch with their guru while on the go. Even the approach as a guru has changed. I try not to be too strict. Gurus today are more lenient than their predecessors.

There is a project for a movie in which the lead actress plays an Odissi dancer, along with my son Saurabh. One of my upcoming albums Sleepless Nights would be released on April 13. Another album with Jazz pianist Glen Halls is also in the pipeline.

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