The famed Father-son Enfant Terrible Duo needs no mention as they form cynosure of all discerning music lovers worldwide. Global acclaim follows their mastery in respective instruments having a huge legacy of over 500 years or more. Though they belong to a similar Gharana of learning, distinct styles of their handling these improvised versions of Hawain Guitar and Sitar or may be shorter version of Veena, catapults them on a distinctive pedestal altogether.

On last Saturday evening, the 06 June 2015, I had the opportunity to attend to one of their recent outings in Bangalore Chowdaih Memorial Hall under the auspices of ‘All India Round Table Musical convergence’ by Shriram Properties. True to their character and resolute treatment of the instrument, both enthralled the invited audience no end with their impeccable melody & difficult  speedy tempo that is reminiscent to their form of music, much difficult to live perform with many improvisations.

Whereas young Shri Salil Bhatt performs with clear dexterity, essence of his music is harbinger of modern music confluences to the likes of Indian classical, western and eastern classical or if I’m not wrong, hard and soft rock forms of western classical, speedy taans and sargams need to be ably accompanied by the percussive instruments lest would fall flat on the ears. Raag Jog was perfect choice for elaborative different speeds. Yet most in the audience feel Sathvik Veena has to be a little more ‘Sathvik’ in terms of sound management, though the performance was played with gusto. Salil Bhatt spells a cast like a roaring waterfall from dizzy height otherwise.



In sequence, Padmashri Pandit Vishwamohan Bhatt followed it up with Raag Jinjhooti and mini forms of melodious Raagamalikas in tandem with his soft vocals that would remain in the hearts for long time to come, The immaculate Sardar of melody is so humble with his words too. To our surprise, he brought one up by soft singing few sargams and swaras along with the resonance of Mohana Veena. He personifies the very much essence of melody on a superior version of Hawain guitar/Sitar with such ease akin to a seasoned veteran singer of yore. His music cuts through Pure Indian classical while global music stalwarts salute his mastery in adopting western Jazz and blues in most professional manner. Father-son duo have popularized Indian music to a major extent in nearly 50 countries or more is a matter of pride for Indianness.

Sri Vishwamohan Bhatt rather lives by an instrument so melodious and soothing on ears but breathes thro’ singing acumen he’s so adept at too. He can be a tough customer when it comes to deft speed, yet maintains composure analogous to a calm river in full spate after heavy downpour joined by all tributaries while flowing to the mainstream ocean. He handed out a quintessential performance a listener always looks forward to from a Grammy Award Winner traversing all through the globe tirelessly ever since on the trot. To describe him in a nutshell is to decipher oneself on not just mere writing a post but to avidly listen, because his focus has always been on perfection attained with such ease. He is one of the most modest and highly respected musicians to have met in the circuit and humility personified.

More so, the whole event proceeds were meant for a noble cause with so many unseen bighearted helping hands to have been lending support by their meaningful contribution actively or passively. In particular, Sri Vishwamohanji & Salilji, Pandit Parmeshwar Hegde of Rajguru Smruthi, his whole Team alongside one Ms.Deepa Kishan​ who also selflessly worked intently with her Guruji’s moral support, but for which this wouldn’t have been such a success it were deemed to be.

Many such events happen with the help of so many well meaning people but this was something very special that made me write these lines without offending anyone’s ego. Only those lionhearted shall understand the nuance of a good cause. As a complete outsider, it is obvious I found these lines to be added on.


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