Two Famed Pupils of Pt Ravi Shankar Underscore Importance of Having a Guru
Hyderabad: Two legendary Hindustani classical instrumentalists took Hyderabadi audience in the palm of their hands with their virtuoso renditions. Exclusive interactions with them provided insights on the connection between life and music.
Grammy-nominated flautist Ronu Majumdar and Grammy-winning slide guitarist Vishwa Mohan Bhatt are highly acclaimed musicians (both are recipients of Padma Bhushan and Sangeet Natak Academy awards), who are widely recognised for carrying forward the legacy of their revered guru, Pandit Ravi Shankar.
The two captivated the city audience with their stunning performances during the Bade Ghulam Ali Khan music festival, under the auspices of Sangitanjaly Foundation, at Ravindra Bharati here on Sunday. The proceeds of the show are earmarked for Autism Ashram.
Speaking to Deccan Chronicle about his time spent with Pt Ravi Shankar, Majumdar said that he understood the concept of ‘spiritual loneliness’ from his guru.
“At that time I was unable to fully understand it, but now I can beyond its mere technical sense: the ‘thehraav’ (pause) between two notes. You can hold a note for long and create magic. It is about being one with your instrument; you are so immersed that you tend to forget that someone is listening to you. You meet the raag where the aatma and parmaatma blend. What you like is liked by the audience also because the music is so refined at that stage.”
He said that his association with Hyderabad goes back a long way. He performed with Pt Ravi Shankar in the late 1980s and even shared the stage with tabla maestro Zakir Hussain.
Pandit Bhatt, who won the 1993 Grammy for the album ‘A Meeting by the River’ with Ry Cooder, said Pt Ravi Shankar “was a complete guru; a god to me. I learnt a lot watching him closely, including the technical aspects of music; life itself so to say. He taught me to be honest, disciplined and punctual and concentrate on what I am doing and that too with integrity.”
The two amazing exponents spoke about the shifts in music and how accessing good music was a struggle in their learning days. The internet has simplified things for learners, albeit at its own cost, they said.
“In my days, I was thirsting for some good music. I wanted to hear Bade Ghulam Ali Khan, but where was the problem. We had to depend on radio broadcasts and akashvani. Nowadays, it is just a click away. I even utilise my bathing time to listen to songs on YouTube,” Pt. Bhatt said.
They opined that the internet has helped music reach a larger audience and democratised the world of music.
“This is the golden time for any kind of music. You can become popular within months”, Bhatt said.
Majumdar said that it is both a boon and bane but for learners, YouTube can guide you to ifs and buts to go about your passion.
“Guidance is lacking. You can listen, learn, create and upload your music on platforms like YouTube and Spotify but it cannot tell you the finer aspects, which only a guru can. It is good to reach a mass audience. In my time, finding record companies was a daunting task,” he said.
On how artificial intelligence (AI) could change the world of music, Bhatt said, “It is intelligent and at the same time quite dangerous. It can destroy many significant things. I hope that this is not misused. Creativity is within you. AI is just a medium to help you express your ideas the way you wish because sometimes it is difficult for us to define our ideas.”
Interview with Flautist Ronu Majumdar
“Music becomes transcendental when there is spiritual loneliness in renditions”
Interview with Grammy nominated flautist Ronu Majumdar, who performed at Ravindra Bharathi on Sunday, as part of Bade Ghulam Ali Khan music festival organised by Sangitanjaly Foundation. He is a disciple of Pandit Ravi Shankar.
Excerpts:
Would you like to talk about your association with Hyderabad?
RM: My association with Hyderabad goes way back. I used to perform here with my guru, Pandit Ravi Shankarji. Later, I had the opportunity to bring together many artistes like Bickram Ghosh and Roop Kumar Rathod, on the same platform for the ‘One World Fusion’. I also had the privilege of performing alongside Zakir Hussain at Hussainsagar. Hence, there are many fond memories of this city.
Is there any defining moment that made you decide to dedicate your life to music?
RM: Honestly, I never thought of music as a career in the beginning. For any musician, music starts as a passion, a hobby. Even today, it cannot be just a profession—it’s something you do because you’re deeply passionate about it. I was born in Varanasi and my first concert was alongside my brother at New Era High School in Mumbai, when I was 13. From the age of six, I had been playing the flute, while balancing my studies with hours of practice. But it was during my first concert when I realised that there was nothing else I could do. Music was my calling.
When did you decide that flute was going to be your instrument?
RM: I never really "decided" to play the flute. It was something my father gifted me. In Varanasi, I used to play with flutes as toys, even breaking many of them. It wasn’t a conscious decision—it just happened.
The flute is often seen as a folk instrument, not always on par with other classical instruments. How do you respond to that?
RM: You’re right as historically the flute is considered a folk instrument that is often used in tribal music or bhajans, rather than in classical settings. But it was Pandit Pannalal Ghosh, who, in the 1930s, revolutionised its role in Indian classical music. He introduced the flute in solo performances and jugalbandis, including for serious ragas like Raga Darbari. This shift had a profound impact, and today the flute is accepted in the same league as the sitar and sarod, which were traditionally seen as the primary instruments for classical music.
The flute is also associated with Lord Krishna. Do you think its spiritual and devotional aspects have influenced its place in classical music?
RM: Yes, there is a spiritual and devotional aspect to the flute, particularly in folk traditions where it’s associated with Lord Krishna’s bansuri. However, the acceptance of the flute in classical music came with the contribution of great musicians like Pandit Pannalal Ghosh. Over time, we’ve seen the flute become a serious classical instrument, capable of conveying the depth and emotion of ragas, alongside its more devotional connotations, with equal dexterity.
What’s your take on fusion music, and where do you see the flute fitting into that genre?
RM: Fusion music is an area where the flute excels. The instrument’s versatility allows it to seamlessly transition across different pitches and octaves, making it ideal for fusion genres. You can easily switch between different types of flutes, like C-sharp, D, or A, to suit the requirements of the music. This flexibility makes the flute a perfect fit for fusion.
Do you think young people are also getting attracted to the flute these days?
RM: Absolutely. Flute playing is becoming more popular, and you’ll see young people playing the instrument in every corner of the country. On that count, it has caught the attention of many. I notice more and more youngsters picking it up, which is unprecedented.
What do you think about the interest of young people in classical music? Has it increased in recent years?
RM: Yes, I believe interest in classical music has increased, especially among younger audiences. Today’s youth seek something new, and classical music is finding its place in their lives. However, classical music faces the challenge of adapting to shorter formats. In the past, we would perform a long aalap or a detailed rendition of a raga. But now, to engage younger audiences, we need to condense it into more digestible packages. For example, jugalbandis—both south and north Indian—are becoming more popular. While older generations still believe in long, detailed renditions, younger audiences want something that’s compact yet rich in content. It’s about making it engaging while still honouring the tradition.
Do you think platforms like YouTube and Spotify are changing how young people learn and listen to classical music?
RM: Music, especially classical music, is traditionally passed down through the 'guru-shishya' tradition. While platforms like YouTube can teach you 'what' to do, they cannot teach you 'what not to do'. I have come across students in the US saying “I learnt this from YouTube,” but they often miss the finer details—the nuances of a raga and the proper way to phrase a note. A video can’t correct you if you go wrong, whereas a teacher can guide you. Technology can assist, but it can’t replace the depth of learning that comes from personal instruction.
Could you share an anecdote from your time with your Guruji?
RM: One of the most memorable moments was when I was recording the album 'Chants of India' with George Harrison. At that time, I was learning Raga Parmeswari from Pandit Ravi Shankarji. He was listening to me play, but he kept telling me that there was no “spiritual loneliness” in my notes. At first, I didn’t understand what he meant. But after many trials, I finally succeeded, and he blessed me, saying, “You are ready now. You will be the first flute player to play my raga.” That precise moment, when I truly understood what he meant, was the turning point of my life.
What did he mean by "spiritual loneliness"?
RM: As I matured in music, I came to understand that it refers to the space, the silence, between two notes that creates the magic in music. It's that "emptiness" or "gap" that gives music its soul. Whether you’re performing for an audience or playing alone at home, the magic happens when you’re able to fill that silence with deep, personal expression. Initially, I was copying the notes mechanically, but Guruji was teaching me that true music comes from a place of inner stillness and spiritual connection. It’s that sense of “aloneness” with your instrument that allows you to bring music to life.
Your son Hrishikesh has been performing with you for some time now. What advice would you give him and other young classical musicians?
RM: I always tell Hrishikesh to be true to himself. Find your own identity, go beyond the teachings I’ve given you, and discover your own voice. To be a legend in this field, you must contribute something new, something unique. A true legend doesn’t simply mimic but bring something fresh to the table, something unexpected. It's about creating that “awakening” in your music—a moment when you know you’ve played something extraordinary. That comes from within. A true masterpiece is born from your own soul, and when you play with that connection, the music becomes transcendental.
Interview with Viswa Mohan Bhatt, Grammy winning instrument player
Viswa Mohan Bhatt won Grammy for his album 'A Meeting By the River' with Ry Cooder in 1993. He was a disciple of Bharat Ratna Pandit Ravi SHankar, renowned Sitar player and music composer. Viswa Mohan Bhatt is known for the invention of a 20-stringed instrument 'Mohan Veena'. He performed at Ravindra Bharathi on Sunday on occasion of Bade Ghulam Ali Khan music festival organised by Sangitanjaly Foundation. The organisation felicitated him with a Lifetime Achievement award.
Could you share the journey behind the invention of the Mohan Veena?
VMB: The idea for the Mohan Veena started in 1966 or 1967, when I had a simple thought: to create an instrument that could combine the sound and technique of several traditional Indian instruments — veena, sitar, sarod, santur, and sarangi — all in one. Then, quite serendipitously, a German lady came to India to learn Indian music on her guitar. When she left, we bought her guitar for 25 rupees. It sat there, tempting me to do something with it.
I began experimenting with it, but I felt the sound was somewhat lonely. So, I added sympathetic strings, inspired by the sitar’s principle. These strings vibrate on the same frequency as the main strings and resonate without being struck. This idea of sympathetic resonance became the core of my design. Pandit Brijbhushan Kabra ji had already introduced this guitar to Indian classical music, and I added to it by incorporating 12 sympathetic strings, a tumba (a resonator), and other features. The result was the Mohan Veena, with a total of 20 strings.
I also created another instrument, the Vishwa Veena, which combines the 20 strings of the Mohan Veena with 15 harp strings — totaling 35. However, it became difficult to manage, so I now primarily perform with the Mohan Veena.
I made my debut performance in 1970 in Mumbai, and I still remember the headline: "20-year-old artiste steals the limelight." That was a huge encouragement for me. From there, my journey continued, performing at major Indian classical music conferences, receiving awards, and gaining recognition.
That’s more than 50 years in your musical journey. Looking back, what has been the most memorable or transformative experience?
VMB: There are many memorable moments, but the biggest encouragement came from my Guru, Pandit Ravi Shankarji. His blessing meant everything to me. He once told me, "You will rule the world. What you have done with this instrument is unparalleled, and you will receive your due recognition soon."
His words were powerful and guided me through my journey. Later, receiving prestigious awards like the Padma Shri, Padma Bhushan, the Tansen Award, and the Grammy was validating, but for me, the true reward is the respect from my peers and the satisfaction of knowing I’ve contributed to Indian classical music. The Padma awards and the Sangeet Natak Akademi Award are particularly meaningful to me, as they recognise the artistry and tradition of my work. But I don’t chase awards; I am content with my music and my life.
Could you share your experience of winning Grammy?
VMB: I would say I was the one who popularised Grammy in India, as most people were not aware. Nowadays everyone talks about Grammy and the award popularises me. For me, the prestige comes from Padma awards and Sangeet Natak Akademi award.
What are some life lessons you learned from Pandit Ravi Shankar that you carry with you?
VMB: There were so many lessons. He was not only a great musician but a complete Guru to me. I observed him closely — his discipline, punctuality, how he conducted himself, and how he ran his programmes. Beyond the technical aspects, he taught me important life values: be honest with your work, be honest with others, be disciplined and punctual and always perform with integrity. These lessons have stayed with me throughout my career.
You mentioned how media and technology have transformed music, with platforms like YouTube and Spotify making music more accessible. What’s your perspective on this?
VMB: These platforms are a wonderful way to spread music. They’ve completely changed the landscape. In my time, we were starving to hear good music. I wanted to listen to Bade Ghulam Ali Khan, but where could I find it? We were dependent on Akashvani (radio), and sometimes you’d only hear rare broadcasts. Now, with just a click, you can listen to anything, anywhere. Even I use YouTube to listen to music when I’m bathing! It’s a golden era for music, where exposure is just a click away, and artistes can become popular in months.
But there's also artificial intelligence (AI) emerging in music production. What do you think about this?
VMB: AI is certainly intelligent, but it can be dangerous too. It can help us express ideas, but if misused, it could harm the very essence of creativity. AI can replicate music, but it lacks the emotional depth and spiritual connection that human creativity brings. While AI may assist in composing or producing, true creativity comes from within us—it’s deeply connected to our soul and experience.
Do you think AI can truly replace the kind of creativity and spirituality associated with classical music?
VMB: Creativity is within you. I live in the U.S., and my daughter is learning about AI. AI can help you express ideas, as it gets difficult to define them sometimes but AI needs to be used appropriately.