Veena Sahasrabuddhe (14 September 1948 – 29 June 2016) was a leading Indian vocalist and composer of Hindustani classical music from Kanpur. Her singing style had its roots in Gwalior gharana, but it also borrowed from Jaipur and Kirana gharanas. Sahasrabuddhe was known as a singer of khyal and bhajan.
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08/12/2019.
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Veena Sahasrabuddhe (14 September 1948 – 29 June 2016) was a leading Indian vocalist and composer of Hindustani classical music from Kanpur. Her singing style had its roots in Gwalior gharana, but it also borrowed from Jaipur and Kirana gharanas. Sahasrabuddhe was known as a singer of khyal and bhajan.
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Veena Sahasrabuddhe was born in a musical family. Her father Shankar Shripad Bodas was a disciple of vocalist Vishnu Digambar Paluskar. She began her early musical education under her father, and then under her brother Kashinath Shankar Bodas. She also learned Kathak dancing in her childhood. Sahasrabuddhe's musical mentors included Balwantrai Bhatt, Vasant Thakar, and Gajananrao Joshi.\
She had a bachelor's degree in Vocal Performance, Sanskrit Literature, and English Literature from Kanpur University (1968), a master's degree (Sangeet Alankar) in Vocal Performance from A.B.G.M.V. Mandal (1969), and also master's degree in Sanskrit from Kanpur University (1979). A.B.G.M.V. Mandal conferred on her a doctorate in vocal music (Sangeet Praveen) in 1988. For some years she was the Head of the Department of Music at SNDT Pune campus.
A renowned vocalist, she performed all over India and in several countries around the world.
-------------------------------------------------------------------------------------------------------------------------
Her father Shankar Shripad Bodas was a contemporary of Omkarnath Thakur and Vinayakrao Patwardhan, and one of the earliest students of Vishnu Digambar Paluskar who founded the famous Gandharva Mahavidyalaya. Bodas was specially deputed by Paluskar to move to Kanpur from Mumbai and spread music. Bodas and Shanta migrated to Kanpur in 1926, founded a Sangit Samaj and began teaching students, inviting other performers and propagating music. The Paluskar tradition was essentially in the Gwalior Gharana style and temperament of singing. Kanpur was an industrial town without any notable cultural life, particularly classical music. Until then, Uttar Pradesh had other places such as Banaras and Allahabad where music thrived. Veena’s mother Shanta was also a singer and taught music in local schools in Kanpur. Veena grew up in this musical atmosphere at home. In addition to training from her father, she also trained with her brother Kashinath.
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Veena tai gave her last concert on December 2, 2012. She was detected with Progressive Supranuclear Palsy, a rare degenerative neurological condition that affects one in a thousand people. This disease has no known cure. She passed away on June 29, 2016.
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5. Awards :
A prize in Vocal Classical category in a national competition for artists under age 25, conducted by All India Radio (1972)
Uttar Pradesh Sangeet Natak Akademi Award (1993)
Akhil Bharatiya Gandharva Mahavidyalaya Mandal (ABGMV) confers posthumously the Honorary Degree " (2019)
=======================================================================
Veena Sahasrabuddhe (1948-2016) was one of the most authentic Gwalior gayaki exponents
The acclaimed vocalist had been ailing from a rare degenerative neurological condition.
Her father Shankar Shripad Bodas was a contemporary of Omkarnath Thakur and Vinayakrao Patwardhan, and one of the earliest students of Vishnu Digambar Paluskar who founded the famous Gandharva Mahavidyalaya. Bodas was specially deputed by Paluskar to move to Kanpur from Mumbai and spread music. Bodas and Shanta migrated to Kanpur in 1926, founded a Sangit Samaj and began teaching students, inviting other performers and propagating music. The Paluskar tradition was essentially in the Gwalior Gharana style and temperament of singing. Kanpur was an industrial town without any notable cultural life, particularly classical music. Until then, Uttar Pradesh had other places such as Banaras and Allahabad where music thrived.
Veena’s mother Shanta was also a singer and taught music in local schools in Kanpur. Veena grew up in this musical atmosphere at home. In addition to training from her father, she also trained with her brother Kashinath.
Veena’s father and brother sent her to train further with Balwant Rai Bhatt, a student of Omkarnath Thakur and later Vasant Thakar , the son and student of Anand Rao Thakar. Both Omkarnath and Anand Rao were students of Paluskar and in that sense Veena was training within the framework of the Paluskar school and style of vocalism. She was, one can say, pickled into that system and became an able inheritor of the Gwalior legacy. Veena began performing at a very early age in Kanpur.
Veena graduated in vocal music, Sanskrit and English literature in 1968 from the Kanpur University. The same year she was married to Hari Sahasrabuddhe. While Hari was not a performing musician, he was a great rasika. As a graduate of the Indian Institute of Technology, one of Hari’s first engineering projects was to create an amplifier. As Veena’s life partner, Hari had his own role to play, as a rasika with a critical ear.
Meanwhile, Veena was making waves as a performer. She also began teaching students who came to her. She taught at IIT in Kanpur and several other places. She also kept her regular education going. She got a Sangeet Alankar, equivalent to a Master’s degree in vocal music, from the Akhil Bharatiya Gandharva Maha Vidyalaya Mandal in 1969 and a master’s degree in Sanskrit from Kanpur University a decade later in 1979.
Veena and Hari Sahasrabuddhe decided to migrate to Pune in 1984. At the time of their leaving Kanpur, Veena had already trained almost 50 students in music. Her teaching methodology was to help her in her later years. Listen to this short clipping from later years, where she speaks of subtle differences between Ragas of the same scale. Her experience as a teacher comes through when you listen to how effortlessly she changes the Ragas Puriya, Sohini and Marwa that are from one scale.
The year Veena and Hari Sahasrabuddhe migrated, she was invited to sing in the prestigious Sawai Gandharva Music Festival organised by Pt Bhimsen Joshi, in the memory of his Guru. The festival in Pune was one of the landmark festivals on the Hindustani classical calendar and Pt Joshi maintained high standards of programming. Only those whose music thoroughly convinced him were presented to the discerning audiences of Pune, the heartland of Hindustani classical music. Veena’s concert in December 1984 revealed her musical virtuosity. She was hailed as one of the superstars on the scene. Her powerful voice projection and singing pronounced the salient features of the Gwalior gayaki like no other female vocalist of that time.
Along with her performance career, she also continued her music education under another stalwart of the Gwalior tradition, Pt Gajananrao Joshi. A versatile musician who could also play the Hindustani violin with equal mastery, “Gajananbuva” as he was fondly addressed, was a strict Guru who trained some of the top class vocalists, such as Ullhas Kashalkar. Veena trained under his guidance for some time. Gajananbuva’s training enhanced her music further. The finer aspects of a bandish, the emotional quality of a raga and the strict adherence to classicism were some of her signatures.
In 1988, she was conferred the honorary doctorate of Sangeet Praveen by the Vidyalaya. Veena Sahasrabuddhe had a successful performing career. She and her brother Kashinath were also highly influenced by the music of Kumar Gandharva. Experimenting in composing Kashinath tuned the famous Kabir Bhajan Ghat Ghat Mein Panchi which became a regular in Veena’s concerts. Listen to it here.
While most classical vocal concerts of the Gwalior Gharana kept lighter semi-classical pieces like Tappa towards the end of their concerts, Veena would sing songs of Kabir. In this way, she was a trendsetter among the female vocalists of the 1980s.
Veena also tuned a lot of Khayal bandishes and bhajans. From 2002 to 2004, Veena served as the adjunct professor in the Humanities department at IIT-Mumbai and conducted a series of music appreciation courses on campus. Veena had two children, a son, Lakshman, and a daughter, Durga. Neither of them took to music. But she trained a number of students – Surashree Ullhas Joshi trained for 14 years under her, while Savani Shinde and Aparna Gurav have made a good name for themselves among young generation of concert musicians. Jayanti, who studied music for five years under Veena’s guidance, became her daughter-in-law.
Several other students, including Ranjani Ramachandran, who went ahead to pursue music at ITC Sangeet Research Academy in Kolkata, and Mowna Ramachandra of Bangalore continue to spread the music they learnt from Veena.
Veena gave her last concert on December 2, 2012. She was detected with Progressive Supranuclear Palsy, a rare degenerative neurological condition that affects one in a thousand people. This disease has no known cure. In 2013, Veena was awarded the Central Sangeet Natak Akademi award for her contribution to Hindustani vocal music.
The sight of her being taken on a wheelchair to the glittering ceremony in the Rashtrapati Bhavan to receive the award from President Pranab Mukherjee touched many hearts. A gentle giant of music was slowly fading in front of everyone and no one could do anything about it. As she shrank by the day, her husband and her students looked after her. The end came on June 29 at night.
=======================================================================
Pt. This year, the highest degree of 'Mahamahopadhyay' of 'All India Gandharva College Board', started by Vishnu Digambar Paluskar, is the famous classical singer. Veenatai will be handed over to Sahasrabuddhe posthumously on May 7 in Vashi. Because of that ...
There are occasions in your life that they light up your whole life. They are a blessing on occasion. These blessings also act as lampstands. Thirty-eight years ago. M. A. As a musician, I used SNDT. Entered the Music Department of Pune. When she went to the classroom, neatness sarees, hair bracelets, a large kink on the forehead, trousers were worn in the hands and teachers of attractive personalities with mangalsutra in the neck were teaching girls to take their hands. Their singing, teaching girls ban, and speaking were all enticing. After two and a half hours, it was learned that Dr. The harp is sahasrabuddha. Later, after many years of schooling, I got help with Veenatai as a Guru. The power of the woman among them, working on so many levels of music and music, shone through me. I was still humbled by the memory of their inner energy. Harp There were fans of this specialty. Therefore, their variations ranged from singer, teacher, housewife to executive. They had a beautiful combination of intelligent intelligence and a sensitive mind. During his long association with them, I got to see him from time to time.
At the beginning of the twentieth century, Vishnu Digambar Paluskar became an early singer-teacher in Hindustani classical music. In those days the social status of music was very low. The artist was addicted to the addicts, in a bad mood. The Vishnu Digambaras tried their best to cleanse these immoral sons of many centuries and to keep their ripples flowing in all levels of society. It was through that inspiration that the Gandharva College was established in 1949. Vishnu Digambar, a teacher who devoted his life to this work with a sincere, well-trained and missionary attitude for spreading music. He conducted many musical, sub-musical activities such as music courses, choir, songwriting, printing press, musical center. Paluskar had joined his wife Ramabai in this activity. So from the production of music to the management, women were starting to get along with men. The same rites took place on the family of Veenatai. Veenatai's father Pt. Shankarao Bodas was one of the disciples chosen by Vishnu Digambar for composer. Maharaja (Vishnu Digambar) sent Shankarrao to Kanpur to spread the music. That's where the Bodas family became the workplace. Veenatai was born in the house of Shankarrao, his wife Shantabai, and son Kashinath Bodas, who understands the music work. There he received the fellowship of many great artists. Not only did they get to listen to concerts, concerts, but their responsibilities as a woman were also trained by their mother. Even though the house was free to learn the music, dancing, singing, he did not get the time to make himself a concert artist. The music of the house musician and father-in-law Kashinath Bodas was originally tuned and the music of the accompanying harp played the harp. Veenatai studied various musical thinking of such great artists as Gajananbua Joshi, Kishoreitai Ammonkar, Vasant Thakar, Balwantarai Bhatt and created the brilliant and brilliant music of these songs.Sing ! Which was Veena's own. Nevertheless, he did not hesitate to provide worldly pleasures such as swaddling floors, clarification of barricades, and completing housework all day and staying late at night.
In the harp, the sparkling of the 'artist' flowed with relentless riyazah. In the most celebrated vowel festivals such as Sawai Gandharva, he rained on sparkling jokes. After that they didn't look back. The song of their spirit made the whole world mad. They made many anger unforgettable. Shri Anagraha's rotating Rishabh Panchama's passionate dialogue and the passionate poem that stands out from Panchama to Tari Rishabh still captures the hearts of many. The passionate stars of Veena Tata strengthened their concerts (it was from the Taraana that they taught me that my program of 'Tarana - Saguna to Nirguna' was created). His concert later returned to the concert of many, while the hymns of Kabir-Mira-Surdas and Tulsidas showed great devotion to everyone from ordinary jokes to top performers. "Come home to me," In 'Ghat Ghat', the virtuous and virtuous hymns reached the house of Veenatai. What a special addition to these brilliant inventions was that of an honest meeting! Blazing sarees, glittering ornaments and facial complexion were not in the Puluskari tradition, whose hearts have shone, how do they need these things?
Veenatai was a bone teacher. Since Maheri has a habit of teaching songs at an early age, it is easy for students of any age to teach them to laugh, play and play. He incorporated melody, group songs, patriotic songs, innovative melodious works of musical instruments composed by his father and brother into the program and disseminated them to the teachers and students. Even today, the implication of teaching them to 'go easy' is to stand before the eyes. He spread rage music through theme programs like 'Ritusangeet', 'Krishnasandhi' and many music tastings workshops from abroad. He got a lot of popularity through the sound of 'Rituchakra', 'Saraswati Upasana', 'Bhavvina' and 'Bhaktimala'. 'Succession' and 'Nooninad' From this book and soundtrack, Veenatai has given a treasure trove of sanctions to himself and brother, father and 'Atoba' (Prahladrao Ganu). In addition, he has taken care to ensure that his legacy will continue to happen to many disciples all over the world.
They saw the need and importance of organizational building in their work to speed up any work. She was a witness to Vishnu Digambar's change in his organizational skills towards the music of the community. Their home had a direct role in the struggle for change. They were the beneficiaries of this tradition. He had always kept this loan in his pocket and tried to get it out of debt at the right time. It was with that spirit that he helped to build a real house in Vashi, the 'All India Gandharva College'. He organized a concert in the United States calling for financial assistance for the erection of the Vastu. After the magnificent song of the great concert, the heroine of the concert, Veenatai stood at the aid box and saw many people at that time appealing for help. The humble reminder of the negatives of tradition, setting aside our heroism, was the result of a groove attached to the Pulaskari tradition. The House was visited by his father, Pt. He honored this great tradition by giving the name of Shankarrao Bodas.
Pt. 'Mahamahopadhyay', the highest degree of 'Akhil Bharatiya Gandharva College' started by Vishnu Digambar Paluskar, will be given to Veenatai posthumously on May 7 (evening) at Vashi College. In fact, while performing music, Veenatai never expected the honor. One hundred percent loyalty to his work, which he respected. Even so, they must have been proud of this honor. They certainly would have been proud to have given this compliment to the Paluskar tradition of loyal music. In the end, how can you appreciate the appreciation of homeowners? Her husband, Dr, who stands firmly behind Veenatai's hard work. Green millennials will be witnesses of the event. Though Veenatai is not dehumane, his singing form and disciple will always be with us as a family. 'Sir Honor is the recognition of their immortal society. His singing performance, which has gained a place in the hearts of the listeners, was authorized by this honor. Hundreds of greetings to their everlasting energy!
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08/12/2019.
Veena Sahasrabuddhe : Hindustani classical music, singer of khyal and bhajan : https://youtu.be/j6DlmUaxnhQ
1. Introduction :
Veena Sahasrabuddhe (14 September 1948 – 29 June 2016) was a leading Indian vocalist and composer of Hindustani classical music from Kanpur. Her singing style had its roots in Gwalior gharana, but it also borrowed from Jaipur and Kirana gharanas. Sahasrabuddhe was known as a singer of khyal and bhajan.
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2. Musical career :
Veena Sahasrabuddhe was born in a musical family. Her father Shankar Shripad Bodas was a disciple of vocalist Vishnu Digambar Paluskar. She began her early musical education under her father, and then under her brother Kashinath Shankar Bodas. She also learned Kathak dancing in her childhood. Sahasrabuddhe's musical mentors included Balwantrai Bhatt, Vasant Thakar, and Gajananrao Joshi.\
She had a bachelor's degree in Vocal Performance, Sanskrit Literature, and English Literature from Kanpur University (1968), a master's degree (Sangeet Alankar) in Vocal Performance from A.B.G.M.V. Mandal (1969), and also master's degree in Sanskrit from Kanpur University (1979). A.B.G.M.V. Mandal conferred on her a doctorate in vocal music (Sangeet Praveen) in 1988. For some years she was the Head of the Department of Music at SNDT Pune campus.
A renowned vocalist, she performed all over India and in several countries around the world.
-------------------------------------------------------------------------------------------------------------------------
3. Childhood / Early days :
Her father Shankar Shripad Bodas was a contemporary of Omkarnath Thakur and Vinayakrao Patwardhan, and one of the earliest students of Vishnu Digambar Paluskar who founded the famous Gandharva Mahavidyalaya. Bodas was specially deputed by Paluskar to move to Kanpur from Mumbai and spread music. Bodas and Shanta migrated to Kanpur in 1926, founded a Sangit Samaj and began teaching students, inviting other performers and propagating music. The Paluskar tradition was essentially in the Gwalior Gharana style and temperament of singing. Kanpur was an industrial town without any notable cultural life, particularly classical music. Until then, Uttar Pradesh had other places such as Banaras and Allahabad where music thrived. Veena’s mother Shanta was also a singer and taught music in local schools in Kanpur. Veena grew up in this musical atmosphere at home. In addition to training from her father, she also trained with her brother Kashinath.
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4. Death :
Veena tai gave her last concert on December 2, 2012. She was detected with Progressive Supranuclear Palsy, a rare degenerative neurological condition that affects one in a thousand people. This disease has no known cure. She passed away on June 29, 2016.
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5. Awards :
A prize in Vocal Classical category in a national competition for artists under age 25, conducted by All India Radio (1972)
Uttar Pradesh Sangeet Natak Akademi Award (1993)
#Sangeet Natak Akademi Award (2013)
Akhil Bharatiya Gandharva Mahavidyalaya Mandal (ABGMV) confers posthumously the Honorary Degree " (2019)
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6. TRIBUTE:https://youtu.be/8W3jFs8rxXA
=======================================================================Veena Sahasrabuddhe (1948-2016) was one of the most authentic Gwalior gayaki exponents
The acclaimed vocalist had been ailing from a rare degenerative neurological condition.
#Steeped in tradition : https://youtu.be/ObFeG7PIO1Q
Her father Shankar Shripad Bodas was a contemporary of Omkarnath Thakur and Vinayakrao Patwardhan, and one of the earliest students of Vishnu Digambar Paluskar who founded the famous Gandharva Mahavidyalaya. Bodas was specially deputed by Paluskar to move to Kanpur from Mumbai and spread music. Bodas and Shanta migrated to Kanpur in 1926, founded a Sangit Samaj and began teaching students, inviting other performers and propagating music. The Paluskar tradition was essentially in the Gwalior Gharana style and temperament of singing. Kanpur was an industrial town without any notable cultural life, particularly classical music. Until then, Uttar Pradesh had other places such as Banaras and Allahabad where music thrived.
Veena’s mother Shanta was also a singer and taught music in local schools in Kanpur. Veena grew up in this musical atmosphere at home. In addition to training from her father, she also trained with her brother Kashinath.
Veena’s father and brother sent her to train further with Balwant Rai Bhatt, a student of Omkarnath Thakur and later Vasant Thakar , the son and student of Anand Rao Thakar. Both Omkarnath and Anand Rao were students of Paluskar and in that sense Veena was training within the framework of the Paluskar school and style of vocalism. She was, one can say, pickled into that system and became an able inheritor of the Gwalior legacy. Veena began performing at a very early age in Kanpur.
Veena graduated in vocal music, Sanskrit and English literature in 1968 from the Kanpur University. The same year she was married to Hari Sahasrabuddhe. While Hari was not a performing musician, he was a great rasika. As a graduate of the Indian Institute of Technology, one of Hari’s first engineering projects was to create an amplifier. As Veena’s life partner, Hari had his own role to play, as a rasika with a critical ear.
Meanwhile, Veena was making waves as a performer. She also began teaching students who came to her. She taught at IIT in Kanpur and several other places. She also kept her regular education going. She got a Sangeet Alankar, equivalent to a Master’s degree in vocal music, from the Akhil Bharatiya Gandharva Maha Vidyalaya Mandal in 1969 and a master’s degree in Sanskrit from Kanpur University a decade later in 1979.
#The soaring Gwalior vocalist :https://youtu.be/4tV4Y56wQlE
Veena and Hari Sahasrabuddhe decided to migrate to Pune in 1984. At the time of their leaving Kanpur, Veena had already trained almost 50 students in music. Her teaching methodology was to help her in her later years. Listen to this short clipping from later years, where she speaks of subtle differences between Ragas of the same scale. Her experience as a teacher comes through when you listen to how effortlessly she changes the Ragas Puriya, Sohini and Marwa that are from one scale.
The year Veena and Hari Sahasrabuddhe migrated, she was invited to sing in the prestigious Sawai Gandharva Music Festival organised by Pt Bhimsen Joshi, in the memory of his Guru. The festival in Pune was one of the landmark festivals on the Hindustani classical calendar and Pt Joshi maintained high standards of programming. Only those whose music thoroughly convinced him were presented to the discerning audiences of Pune, the heartland of Hindustani classical music. Veena’s concert in December 1984 revealed her musical virtuosity. She was hailed as one of the superstars on the scene. Her powerful voice projection and singing pronounced the salient features of the Gwalior gayaki like no other female vocalist of that time.
Along with her performance career, she also continued her music education under another stalwart of the Gwalior tradition, Pt Gajananrao Joshi. A versatile musician who could also play the Hindustani violin with equal mastery, “Gajananbuva” as he was fondly addressed, was a strict Guru who trained some of the top class vocalists, such as Ullhas Kashalkar. Veena trained under his guidance for some time. Gajananbuva’s training enhanced her music further. The finer aspects of a bandish, the emotional quality of a raga and the strict adherence to classicism were some of her signatures.
In 1988, she was conferred the honorary doctorate of Sangeet Praveen by the Vidyalaya. Veena Sahasrabuddhe had a successful performing career. She and her brother Kashinath were also highly influenced by the music of Kumar Gandharva. Experimenting in composing Kashinath tuned the famous Kabir Bhajan Ghat Ghat Mein Panchi which became a regular in Veena’s concerts. Listen to it here.
While most classical vocal concerts of the Gwalior Gharana kept lighter semi-classical pieces like Tappa towards the end of their concerts, Veena would sing songs of Kabir. In this way, she was a trendsetter among the female vocalists of the 1980s.
Veena also tuned a lot of Khayal bandishes and bhajans. From 2002 to 2004, Veena served as the adjunct professor in the Humanities department at IIT-Mumbai and conducted a series of music appreciation courses on campus. Veena had two children, a son, Lakshman, and a daughter, Durga. Neither of them took to music. But she trained a number of students – Surashree Ullhas Joshi trained for 14 years under her, while Savani Shinde and Aparna Gurav have made a good name for themselves among young generation of concert musicians. Jayanti, who studied music for five years under Veena’s guidance, became her daughter-in-law.
Several other students, including Ranjani Ramachandran, who went ahead to pursue music at ITC Sangeet Research Academy in Kolkata, and Mowna Ramachandra of Bangalore continue to spread the music they learnt from Veena.
Veena gave her last concert on December 2, 2012. She was detected with Progressive Supranuclear Palsy, a rare degenerative neurological condition that affects one in a thousand people. This disease has no known cure. In 2013, Veena was awarded the Central Sangeet Natak Akademi award for her contribution to Hindustani vocal music.
The sight of her being taken on a wheelchair to the glittering ceremony in the Rashtrapati Bhavan to receive the award from President Pranab Mukherjee touched many hearts. A gentle giant of music was slowly fading in front of everyone and no one could do anything about it. As she shrank by the day, her husband and her students looked after her. The end came on June 29 at night.
=======================================================================
7. Soul song : https://youtu.be/cSsInnAJqfk
========================================================================
Pt. This year, the highest degree of 'Mahamahopadhyay' of 'All India Gandharva College Board', started by Vishnu Digambar Paluskar, is the famous classical singer. Veenatai will be handed over to Sahasrabuddhe posthumously on May 7 in Vashi. Because of that ...
There are occasions in your life that they light up your whole life. They are a blessing on occasion. These blessings also act as lampstands. Thirty-eight years ago. M. A. As a musician, I used SNDT. Entered the Music Department of Pune. When she went to the classroom, neatness sarees, hair bracelets, a large kink on the forehead, trousers were worn in the hands and teachers of attractive personalities with mangalsutra in the neck were teaching girls to take their hands. Their singing, teaching girls ban, and speaking were all enticing. After two and a half hours, it was learned that Dr. The harp is sahasrabuddha. Later, after many years of schooling, I got help with Veenatai as a Guru. The power of the woman among them, working on so many levels of music and music, shone through me. I was still humbled by the memory of their inner energy. Harp There were fans of this specialty. Therefore, their variations ranged from singer, teacher, housewife to executive. They had a beautiful combination of intelligent intelligence and a sensitive mind. During his long association with them, I got to see him from time to time.
At the beginning of the twentieth century, Vishnu Digambar Paluskar became an early singer-teacher in Hindustani classical music. In those days the social status of music was very low. The artist was addicted to the addicts, in a bad mood. The Vishnu Digambaras tried their best to cleanse these immoral sons of many centuries and to keep their ripples flowing in all levels of society. It was through that inspiration that the Gandharva College was established in 1949. Vishnu Digambar, a teacher who devoted his life to this work with a sincere, well-trained and missionary attitude for spreading music. He conducted many musical, sub-musical activities such as music courses, choir, songwriting, printing press, musical center. Paluskar had joined his wife Ramabai in this activity. So from the production of music to the management, women were starting to get along with men. The same rites took place on the family of Veenatai. Veenatai's father Pt. Shankarao Bodas was one of the disciples chosen by Vishnu Digambar for composer. Maharaja (Vishnu Digambar) sent Shankarrao to Kanpur to spread the music. That's where the Bodas family became the workplace. Veenatai was born in the house of Shankarrao, his wife Shantabai, and son Kashinath Bodas, who understands the music work. There he received the fellowship of many great artists. Not only did they get to listen to concerts, concerts, but their responsibilities as a woman were also trained by their mother. Even though the house was free to learn the music, dancing, singing, he did not get the time to make himself a concert artist. The music of the house musician and father-in-law Kashinath Bodas was originally tuned and the music of the accompanying harp played the harp. Veenatai studied various musical thinking of such great artists as Gajananbua Joshi, Kishoreitai Ammonkar, Vasant Thakar, Balwantarai Bhatt and created the brilliant and brilliant music of these songs.Sing ! Which was Veena's own. Nevertheless, he did not hesitate to provide worldly pleasures such as swaddling floors, clarification of barricades, and completing housework all day and staying late at night.
In the harp, the sparkling of the 'artist' flowed with relentless riyazah. In the most celebrated vowel festivals such as Sawai Gandharva, he rained on sparkling jokes. After that they didn't look back. The song of their spirit made the whole world mad. They made many anger unforgettable. Shri Anagraha's rotating Rishabh Panchama's passionate dialogue and the passionate poem that stands out from Panchama to Tari Rishabh still captures the hearts of many. The passionate stars of Veena Tata strengthened their concerts (it was from the Taraana that they taught me that my program of 'Tarana - Saguna to Nirguna' was created). His concert later returned to the concert of many, while the hymns of Kabir-Mira-Surdas and Tulsidas showed great devotion to everyone from ordinary jokes to top performers. "Come home to me," In 'Ghat Ghat', the virtuous and virtuous hymns reached the house of Veenatai. What a special addition to these brilliant inventions was that of an honest meeting! Blazing sarees, glittering ornaments and facial complexion were not in the Puluskari tradition, whose hearts have shone, how do they need these things?
Veenatai was a bone teacher. Since Maheri has a habit of teaching songs at an early age, it is easy for students of any age to teach them to laugh, play and play. He incorporated melody, group songs, patriotic songs, innovative melodious works of musical instruments composed by his father and brother into the program and disseminated them to the teachers and students. Even today, the implication of teaching them to 'go easy' is to stand before the eyes. He spread rage music through theme programs like 'Ritusangeet', 'Krishnasandhi' and many music tastings workshops from abroad. He got a lot of popularity through the sound of 'Rituchakra', 'Saraswati Upasana', 'Bhavvina' and 'Bhaktimala'. 'Succession' and 'Nooninad' From this book and soundtrack, Veenatai has given a treasure trove of sanctions to himself and brother, father and 'Atoba' (Prahladrao Ganu). In addition, he has taken care to ensure that his legacy will continue to happen to many disciples all over the world.
They saw the need and importance of organizational building in their work to speed up any work. She was a witness to Vishnu Digambar's change in his organizational skills towards the music of the community. Their home had a direct role in the struggle for change. They were the beneficiaries of this tradition. He had always kept this loan in his pocket and tried to get it out of debt at the right time. It was with that spirit that he helped to build a real house in Vashi, the 'All India Gandharva College'. He organized a concert in the United States calling for financial assistance for the erection of the Vastu. After the magnificent song of the great concert, the heroine of the concert, Veenatai stood at the aid box and saw many people at that time appealing for help. The humble reminder of the negatives of tradition, setting aside our heroism, was the result of a groove attached to the Pulaskari tradition. The House was visited by his father, Pt. He honored this great tradition by giving the name of Shankarrao Bodas.
Pt. 'Mahamahopadhyay', the highest degree of 'Akhil Bharatiya Gandharva College' started by Vishnu Digambar Paluskar, will be given to Veenatai posthumously on May 7 (evening) at Vashi College. In fact, while performing music, Veenatai never expected the honor. One hundred percent loyalty to his work, which he respected. Even so, they must have been proud of this honor. They certainly would have been proud to have given this compliment to the Paluskar tradition of loyal music. In the end, how can you appreciate the appreciation of homeowners? Her husband, Dr, who stands firmly behind Veenatai's hard work. Green millennials will be witnesses of the event. Though Veenatai is not dehumane, his singing form and disciple will always be with us as a family. 'Sir Honor is the recognition of their immortal society. His singing performance, which has gained a place in the hearts of the listeners, was authorized by this honor. Hundreds of greetings to their everlasting energy!
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