<p>Telengana to Rajasthan is a long way off. With their origins in the South, the Bhatt family of scholars had to move out in search of greener pastures in the face of a famine. It has been an uphill climb for this family which, in the course of its migration, passed through various places and finally settled down in Jaipur, where under the royal patronage, the accomplished members flourished. <br /><br /></p>.<p>Musicians, poets, astronomers, astrologers, Sanskrit scholars, writers — the Bhatts boast of an enviable lineage that goes back to nine generations, where music has resonated for more than five centuries. Salil Bhatt represents the 10th generation of this richly endowed family. <br /><br />No strings attached<br /><br />Salil is the son and disciple of renowned musician Pandit Vishwa Mohan Bhatt. Pandit Bhatt’s name is synonymous with the Mohan veena. Clearing some misconceptions about the term ‘veena’, Salil says it is only a generic term to indicate all stringed instruments. Thus sitar, sarod, sarangi, violin, South Indian veena, gottuvadyam or Chitra veena and so on all belong to the veena family and are called differently depending on the mode of playing, demographics etc. Salil says that there are innumerable variants of these stringed instruments, most of which have disappeared today. <br /><br />Salil recalls his childhood, where the house in Jaipur reverberated to the music emanating from different corners, with his father playing in one room, an uncle singing in another, a relative practising the tabla or harmonium elsewhere and so on. Heredity and environment, both played their roles and Salil started playing with the instrument. “I acquired most of the musical knowledge by observing and listening to my father who, with his busy performing schedule, never really had the time for formal lessons. But, at the same time, my father quietly observed my innate musical gifts and took me on as his supporting artiste in his performances,” Salil recalls. <br /><br />Stage debut<br /><br />At 17, Salil started performing independently, with his first solo concert at Birmingham. Thereafter, it has been a steady climb towards recognitions and achievements. His surging creativity has led him to construct the Satvik veena. But why the need for this new instrument? “I wanted to create an instrument that could fully portray my ideas and respond to my musical callings, that’s all,” says Salil. At first look, Satvik veena resembles a cello. But a closer look reveals more. <br /><br />The main body is a 100-year-old oak wood block. A pinewood top aids in sound filtering and resonation. Two f-shaped openings are for sound emergence, a rosewood fret board with an extension for wooden tuner keys mounted on concealed tuning devices, a crescent-shaped head with an attached gourd base, three strings for main melody, five for drone and 12 sympathetic strings complete the construction. <br /><br />The music that emerges from Salil’s hands is a virtual cascade of melody, with a richness and depth of tone that envelops the listener in its embrace. As he delineates a Bageshwari or a Pahadi, one marvels at the continuity in tone, at the dexterity with which he coaxes out the subtlest of nuances from this instrument. Every inflexion of the human voice, the meends and gamaks, stroke and strokeless taans, all are to be seen in Salil’s amazing artistry. It is chaste classicism when he embarks on a raag delineation, segueing from note to note methodically.<br /><br /> It is commendable that Salil has attempted to acquaint his audiences with Carnatic ragas like Vachaspati and Charukeshi. Folk tunes, world music, fusion, international collaborations — Salil has done it all. Innumerable awards and recognitions, including a pre-Grammy nomination, decorate immensely gifted, globetrotting Salil who cocoons his listeners in an aura of bliss. <br /><br /></p>
<p>Telengana to Rajasthan is a long way off. With their origins in the South, the Bhatt family of scholars had to move out in search of greener pastures in the face of a famine. It has been an uphill climb for this family which, in the course of its migration, passed through various places and finally settled down in Jaipur, where under the royal patronage, the accomplished members flourished. <br /><br /></p>.<p>Musicians, poets, astronomers, astrologers, Sanskrit scholars, writers — the Bhatts boast of an enviable lineage that goes back to nine generations, where music has resonated for more than five centuries. Salil Bhatt represents the 10th generation of this richly endowed family. <br /><br />No strings attached<br /><br />Salil is the son and disciple of renowned musician Pandit Vishwa Mohan Bhatt. Pandit Bhatt’s name is synonymous with the Mohan veena. Clearing some misconceptions about the term ‘veena’, Salil says it is only a generic term to indicate all stringed instruments. Thus sitar, sarod, sarangi, violin, South Indian veena, gottuvadyam or Chitra veena and so on all belong to the veena family and are called differently depending on the mode of playing, demographics etc. Salil says that there are innumerable variants of these stringed instruments, most of which have disappeared today. <br /><br />Salil recalls his childhood, where the house in Jaipur reverberated to the music emanating from different corners, with his father playing in one room, an uncle singing in another, a relative practising the tabla or harmonium elsewhere and so on. Heredity and environment, both played their roles and Salil started playing with the instrument. “I acquired most of the musical knowledge by observing and listening to my father who, with his busy performing schedule, never really had the time for formal lessons. But, at the same time, my father quietly observed my innate musical gifts and took me on as his supporting artiste in his performances,” Salil recalls. <br /><br />Stage debut<br /><br />At 17, Salil started performing independently, with his first solo concert at Birmingham. Thereafter, it has been a steady climb towards recognitions and achievements. His surging creativity has led him to construct the Satvik veena. But why the need for this new instrument? “I wanted to create an instrument that could fully portray my ideas and respond to my musical callings, that’s all,” says Salil. At first look, Satvik veena resembles a cello. But a closer look reveals more. <br /><br />The main body is a 100-year-old oak wood block. A pinewood top aids in sound filtering and resonation. Two f-shaped openings are for sound emergence, a rosewood fret board with an extension for wooden tuner keys mounted on concealed tuning devices, a crescent-shaped head with an attached gourd base, three strings for main melody, five for drone and 12 sympathetic strings complete the construction. <br /><br />The music that emerges from Salil’s hands is a virtual cascade of melody, with a richness and depth of tone that envelops the listener in its embrace. As he delineates a Bageshwari or a Pahadi, one marvels at the continuity in tone, at the dexterity with which he coaxes out the subtlest of nuances from this instrument. Every inflexion of the human voice, the meends and gamaks, stroke and strokeless taans, all are to be seen in Salil’s amazing artistry. It is chaste classicism when he embarks on a raag delineation, segueing from note to note methodically.<br /><br /> It is commendable that Salil has attempted to acquaint his audiences with Carnatic ragas like Vachaspati and Charukeshi. Folk tunes, world music, fusion, international collaborations — Salil has done it all. Innumerable awards and recognitions, including a pre-Grammy nomination, decorate immensely gifted, globetrotting Salil who cocoons his listeners in an aura of bliss. <br /><br /></p>
