Indian classical music has long been celebrated for its ability to evoke emotions and mirror the seasons through its scales and melodies. Last evening, the Delhi duo Mohan Brothers — Aayush Mohan (sarod) and Lakshay Mohan (sitar) — brought the magic of the rains alive at the second edition of ‘Monsoon Ragas’ in Delhi’s Kamani Auditorium, transforming storm, drizzle, and mist into music.
Through their performance, the brothers sought to draw listeners into the “Malhar mode”, once believed to summon the rains. “There is nothing better than classical music to celebrate the monsoons. For us, it’s a complete joy to play in this season,” says Aayush.
From being the first Indian instrumentalists to be invited to perform at the Grammy Museum in Los Angeles in 2015 and having toured extensively across the globe, performing in their home city carries a special meaning. “To play in your hometown, where you first listened to concerts and gave your first recitals, is always a mix of excitement and nervousness,” admits Aayush. “Delhi holds all our early memories of music, so performing here will always be both nerve-racking and wonderful.”
Raised in a supportive household with their father, an amateur sitarist and their first guru, and their mother, who encouraged them towards the classical arts, music was never far away. “Our childhood was filled with concerts and listening to music at home. I can’t remember a time when we were not surrounded by it,” says Lakshay. He recalls their earliest recitals nearly 15 years ago, including at the Kamani concert in 2012, also dedicated to the monsoon ragas, which marked their arrival on the classical stage.
Their formal training connects them to a formidable lineage: Lakshay was a disciple of Pandit Uma Shankar Mishra, while Aayush studied under Padma Bhushan Sharan Rani. Both trace their roots further to Pandit Balwant Rai Veema, senior most disciple of renowned sitarist Bharat Ratna Pandit Ravi Shankar, anchoring them in the Senia-Maihar Gharana tradition.
Art of jugalbandi
Celebrated for their jugalbandi, the brothers see it as an extension of their bond. Having trained side by side, their intuitive connection naturally
carried into performance. “Classical music relies heavily on improvisation and spontaneity. Jugalbandi can only happen properly when two artists have spent years understanding each other’s mind,” says Aayush.
The sitar–sarod jugalbandi itself carries a rich legacy, dating back to Pandit Ravi Shankar and Ustad Ali Akbar Khan in the 1950s, when instrumental jugalbandi was first introduced. “We see ourselves as carrying forward that tradition in our own way,” the brothers say.
Keeping it alive
If jugalbandi embodies expansiveness and slowness, today’s audiences often demand the opposite: short and repetitive algorithm-friendly tracks. Long-drawn classical concerts that once lasted hours now need reimagining. “We adapt, but never compromise on the quality of the music. We record long performances and then create shorter clips, so the depth remains intact,” they explain.
Still, they admit the balance between accessibility and authenticity is not easy. “Presentation is the key. Indian
classical music can be preserved in its form while also being compact and relatable for the younger generation,” says Aayush. This philosophy shapes their album Echoes from the Yellow Land (2013), where the duo include shorter compositions designed to welcome new listeners without diluting the traditions.
Beyond the stage, Mohan Brothers sees themselves as cultural educators — a bridge between tradition and the contemporary, younger audience. Having performed at Berklee College of Music in Boston, Royal Festival Hall in London and at TEDx talks, their focus goes beyond teaching scales, and towards cultivating the art of listening itself, allowing Indian classical music to thrive in spaces outside the concert hall.
“Even if someone doesn’t understand the music, there should be awareness about the culture and about how to truly listen to a concert — how to appreciate it,” they explain. “You may not know the technicalities, but you should at least know what raga was played, just like football fans know their players. That awareness itself is preservation,” notes Lakshay.