Literature & Music (Translations, Discussions, Sharing Music and Views)

This is the post excerpt.


Pu La Transformational Stories, Peston Kaka reposted blog to further refer to Siddharud Swamy referred by Peston Kaka .. Ashok Ranade interview of Pt Mansur .. 12 minutes play and you hear about the Swamy …
Pu La ’s transformational stories: Cultural Symbiosis in his story Pestonji or Peston Kaka:
When I shared my earlier blog on Pu La (Acharya P K Atre’s article on him in Maratha 1965) with one of my creative writer Marathi Playwright friend he didn’t seem to be pleased on my choice of writers : Prahlad Keshav Atre and Purushottam Lakshman Deshpande. <br>

The possible reason could be that these writers being pro establishment or that they were not vociferously supporting the class and caste annihilation through their writing. Their sensibilities were probably close to the middle class.
My friend and host of others are surely still under the spell of Marx and his ideas of social transformation. Therefore, I have deliberately given the title to this blog as ‘Transformational Stories of Pu La’
However, in today’s post modern world in which we believe that technology is a great leveller it will be wrong to straight jacket writers in certain categories or classify them among the various sections in the society.
Atre was the first playwright after Deval’s Sharada and Gadkari’s Sindhu who made the woman to leave the family in his play Gharabaher (घराबाहेर)

Later M G Rangnekar adapted Ibsen’s Doll’s House in his Kulvadhu (कुलवधू)

In our blindly following western critics and their theories we throw all old writers in the category of pro-establishment writers. This has two serious bad effects. The literature in which today’s young generation might take keen interest .. we are deliberately drawing them away from those classics. In our attempt to force them to toe our intellectual line we give them exposure only to so called anti establishment literature which is not read out of literature classes in which there is a miniscule minority of young reading public and they too read it for the sake of examinations.
My friend’s anger on Pu La seems to be in this line. However, how can we forget his Phulrani? (ती फुलराणी) , the beautiful adaptation of My Fair Lady, which was an adaptation of Shaw’s Pygmalion.

In the original play Shaw has shown the transformation of a slum girl who sells flowers into a princess by the means of her refined language and polished manners which she displays in a public gathering.
Mastery on language transforms our personality. Our status in society changes irrespective of our family background. I as a student and teacher of English have experienced this in my career of 33 years. Students who took hard efforts at their B A English in a college in whatever small village in India in last few decades have been extremely successful in their career in big metros as teachers of English, advocates , corporate persons , bank officers etc.
Now, when I see actual message of Shaw’s play transformed in reality like this how can I term him as old fashioned pro establishment writer, pro empire writer and how can I force my students to uphold only modern playwrights because we have given them the label of

anti-establishment? Does the so called modern sensibility mean that we should throw all that’s old into a dustbin?
There is indeed a sound alternative to that. We must Re introduce our students and reading public to old classics but in a different transformational perspective. Well , the whole discussion is diverted to the importance of these old writers and searching a new insight in their works.
The work under discussion here is a story by Pu La called Peston Kaka ( the English version would be Pestonji ) in which an Asst Foreman, who worked earlier under the British officers , is now retired from Railway and he is shown as having extremely high knowledge and taste in classical music (Abdul Karim Khan), religious compositions (Gopala karuna kyon nahi ave of Khansaheb , Tukaram’s abhangas of Vishnupant Pagnis) , Hindu spirituality (Vivekananda, Siddharur Swami in Hubli … ……..


by the way this Siddharur Swami is referred by Ashok Ranade in his interview of Pt Mallikarjun Mansur… taken in 1960-70s for Doordarshan but available on You Tube …I don’t know how the name is spelt or pronounced .. Siddharur or Siddharood, another point I want to make here is that Pt Mansur ran away from home two times and his father anxiously brought him to this Swamy .. obviously a Lingayat Mathpati Swamy .. and Ranade tells us that this Swamy was a great supporter of music. He had blessed Pt Keshavrao Bhosale who is considered as a better natyageet exponent than Balgandharva or Master Dinanath Mangeshkar .. reference Vidyadhar Gokhale .. well my point is that can someone give me one name and of a Hindu Swami or a spiritual leader who blessed art and music and gave to the listening public such diamonds like Keshavrao and Mansur ? Now , the Karveer Peeth Shankaracharya Vidyanand Bharati was a Keertankar and is the son of a great Gwalior Gharana singer Keertankar Karhadkar Buva but his gayaki is lost in the heavily ritualistic nature of Hindu religion .. I’m sorry to say this but it’s a fact. I have heard this Karveer Shankaracharya ’s Keertan in my childhood and have been fortunate to chew the first ever areca nut .. or arica nut .. सुपारी to put it in simple terms from his nut cracker अडकित्ता sitting on his laps, so my observation is based on my own experience) , …
Well, coming back to Peston Kaka .. He displays this knowledge in informal talk to the writer in a train journey. He is such a romantic and loving husband that he is still sensually tickled at the age of 78 when his wife pinches him. I think Pu La attacks the very pro-establishment middle class sensibility by portraying this character. Music, Literature , Spirituality is not the ‘jagir’ or monopoly of a certain caste or class. Whoever is exposed to good music, effective communication skills at an early age can easily share the elitist sensibility or can move with confidence among intellectuals, corporate persons and scholars.
Pu La gets down at the next station and he shows the stark contrast between his own seemingly hypocrite ideas of being famous, having high taste and a scholar and Peston Kaka (actually under You Tube the pronunciation is written in Marathi as पेस्तन काका so I spelled it as Pestan earlier but my Parsee friend corrected it as Peston and I wrote this blog with corrections and additions) who has entered into the core of music and literature.
The thing to be noted is that he is not a teacher , artiste or a professional… these type of middle class persons are popularly portrayed by writers or are popularly considered by general public as the owners of good taste in music , stage and literature. (Read this as : Marathi middle class , Puneites , Mumbaikars or all such people living in other towns but who take pride in displaying a lineage to these towns) …
Peston Kaka was born in Mumbai but he has settled in Hubli (actually Hubli , Dharwad are the towns which are again described by Punekars as small Punes but these towns gave great artistes like Pt Bhimsen Joshi , Vidushi Gangubai Hangal to Hindustani Classical Music and since Bhimsen chose Pune for certain autobiographical concerns in his life Punekars got the advantage to associate them to great Marathi middle class taste. Pt Kumar Gandharva from Athni and Pt Mallikarjun Mansur from the village with his surname .. these artistes hail from Karnataka)
Peston Kaka is from Mumbai and is settled in Hubli .. he refers to Ustad Abdul Karim Khan Saheb singing his famous bhajan in Bhairavi “ Gopala karuna kyon nahi aave .. गोपाला करूणा कयों नही आवे। .. in a concert in Hubli. Karim Khan Saheb lived in Miraj. He founded the Kirana Gharana. His disciple Rambhau Kundgolkar alias Pt Sawai Gandharva lived in Kundgol near Jamkhindi . Bhimsen , Firoze Dastur lived at Kundgol and learnt music from him. Gangubai used to travel from Dharvad to Kundgol and learnt from him. Though Bhimsen earned great status to Kirana Gharana by his extremely hard efforts , strong voice and terrific strength of his lungs (he was a wrestler earlier in his childhood) other two artistes were also of immense capacities.
The referred composition गोपाला was sustained in the memory of the listening public primarily by another Parsee (like Peston Kaka , the topic of this blog) Pt Firoze Dastur. I will share another video of Pt Dastur on You Tube .. a DD Bangla program .. where he is seen presenting गोपाला and you can see Bhimsen and Pt Kanan on the first row among the audience. The point was that Pu La has deliberately portrayed this character of Peston Kaka who is beyond all popular criteria of music and culture loving middle class in Maharashtra. He is a Parser, a foreman, eats mutton openly , says ‘sala, sala ’ which is otherwise an abusive term but talks about Vivekanand , Siddharur Swamy, Shivanand as great divine souls. He considers Vishnupant Pagnis as the very Tukaram who lived among us. He insists Pu La to sing ‘Aadhi beej ekale , beej ankurale roap wadhle आधी बीज एकले , बीज अंकूरले , रोप वाढले .. the seed comes first , then the sapling grows from it .. the Abhang of Tukaram made famous by Vishnupant in the movie. Peston Kaka becomes the very Tukaram in that railway compartment itself imagining Vishnupant who has entered in his mind and body at that moment. Such oneness with the divine through art and music is more valuable according to Pu La than all middle class hypocrite babble of how they love music and literature. This also applies to the whole class of people who talk of Pu La as their favourite writer. They have indeed not still understood the real message in Pu La ’s writings and his personality. Pu La’s great admiration for Peston Kaka is the indication of his strong belief in equality in society through art , music and literature. Therefore , I’m surprised by my friend Marathi playwright’s sarcastic question to me about the significance of Pu La as the choice of the writer in my blog. What happens after these Abhangas rendered by Pu La exclusively for Peston Kaka in that train journey is also important. Pu La tells us that organisers of his speech , people who have come to greet him on the station greet him with ‘crest fallen stale flowered bouquet … what Pu La actually indicates here is the deep down hypocrisy and double standards of the middle class. They do everything just for its display value. Peston Kaka , however, openly orders non veg food in the compartment while Pu La eats home made tiffin …. there is fantastic ability of self ridicule in this writer.
(I had stopped this discussion at 5.46 pm on 14-5-2017 and completed it in this Re-blog at 1.14 am 15-5-2017, posted edited blog under Pt Firoz Dastur Gopala, reposted now for reference to Siddharud Swamy blessing Keshavrao Bhosale and Pt Mallikarjun Mansur at 2.38 pm 15-5-2017 and edited this post earlier here on FB and this is the final version)

Bhai Vyakti Ki Valli, Shanta Gokhale and Me

Professor of English and a well known writer, Translator Shanta Gokhale has written a brief introduction to Pu La Deshpande in English on Scroll.in. I read it and have my own point of view to share in response. I’m going to publish this response in my blog on WordPress because I can’t afford the paid subscription of scroll.in at the moment, to be able to get my response published.

Her translation of the title of the book on Pu La by his wife Sunita Deshpande’s आहे मनोहर तरी as ‘All that is beautiful though’ is very literal word to word translation. Gauri Deshpande has translated the book in English as ‘and Pine for What is Not’. This is excellent translation because Sunita bai has taken the lines from the famous Marathi Poem by less known Marathi poet Dinkar Nanaji Shinde who wrote under the pen name ‘सरस्वतीकंठाभरण’ . I quote the poem and the poet as below :

आहे मनोहर तरी गमतें उदास

सर्वांगसुंदर, सुभूषणवस्त्रयुक्त
चैतन्य, वाणि, मन, बुद्धिहि ज्या प्रशस्त
ऐसे शरीर, परि शील नसे तयास
आहे मनोहर तरी गमतें उदास II १ II

वैडुर्य-आदिकरुनी बहुदिव्यरत्नीं
शृंगारिले भवन की विविधप्रयत्नी
नाही तयांत गृहिणी जरि, तें मनास
आहे मनोहर तरी गमतें उदास II २ II

सौंदर्यखाणि, सुनया, विमला, सुशीला
विद्याविभूषित गुणी अशि मुग्ध बाला
दैवेचि हो गतधवा जरि ती जनास
आहे मनोहर तरी गमतें उदास II ३ II

आम्रादिकी गगनचुंबित थोर वृक्षी
उद्यान एक भरले, लतिकाविशेषी
तेथें परंतु न वसंत करी विलास
आहे मनोहर तरी गमते उदास II ४ II

पुष्पे, फले, खग, मुले, सुविचारमाला
नक्षत्रपंक्ति, गगनी तशिही विशाला
ऐशा मनोहर चमत्कृति पूर्ण खास
आहे मनोहर तरी गमतें उदास II ५ II

निद्रेत मी नृपति होउनी, सौख्य भोगी
कीं चित्पदी मिळुनि जाइं बनोनी जोगी
जेव्हां कळे सकल हा परि स्वप्नभास
आहे मनोहर तरी गमतें उदास II ६ II

विद्या, कला, कुशलता, बहु जेथ होत्या
जैं सृष्टिसुंदरिविलासनिवास होत्या
उत्साहहीन बघता अजि भारतास
आहे मनोहर तरी गमतें उदास ! II ७ II

विद्वान सुशिक्षित समाजधुरीण लोक
मोठ्या उदार मतिने लिहितात लेख
तैशा कृती न करिती, स्थिती ही मनास
आहे मनोहर तरी करिते उदास II ८ II

— सरस्वतीकंठाभरण (दिनकर नानाजी शिंदे)

Gauri Deshpande discussed the title (which she took from famous Romantic poet P. B. Shelley The West Wind) with us when I was doing my M. Phil. in English in the Dept of Pune University in 1995 (when my second daughter Rubai was born). Translation is the most challenging linguistic activity and it must be closest to the original. If you read the original Marathi poem and Shelley’s poem then you will realise why Sunitabai used that Marathi line as the title abd why Gauri used the English line for her title. Similarly her other translations in the article too are made in sweeping manner just to orient English readers to Pu La Deshpande. I’m going to give my own translations by copying the whole article. While doing that I will also make other comments on Pu La in brackets (like why he was called Bhai etc)

PL Deshpande, the celebrated writer and subject of a biopic, was ‘loved because he loved’

A tribute to the multi-hyphenate talent, whose life and times have been celebrated in Mahesh Manjrekar’s ‘Bhaai – Vyakti Kee Valli’.

by Shanta Gokhale

The recently released Marathi film, a biopic in accordance with present trends, calls itself Bhaai with Vyakti Kee Valli as a subtitle. Both need to be explained to the non-Marathi viewer if such an entity exists for Marathi cinema.
(Yes, such an entity does exist, but not a non-Marathi but those who are very much Marathi also don’t know much about him because most of them have not read him in original and are not aware of his समाजवादी or socialist intellectual stand in his days, essentially anti Congress and anti BJP too. Otherwise what Sachin Khedkar famously said in his rendering of excerpts from his unpublished writing, which appeared in Loksatta that he took pleasure in rendering chaste Marathi in the days when the language is largely polluted. Actually Pu La would have opposed this view because in his adaptation of My Fair Lady which was in turn an adaptation of Shaw’s Pygmalion the main thrust is to ridicule insistence of chaste language. Prof Jahagirdar famously asks ‘if नव्हता is correct then why not.’ व्हता’? )

Bhai was one of two names that writer-director-playwright-screenplay writer-actor-music composer-harmonium player PL Deshpande was known by. The other was Pu La, which stood for Purushottam Lakshman, his first and middle names. Both names, when pronounced, carried a load of love and affection.

(He was called Bhai because its a common name in left winged parties. All leftist activists are called Bhai and that’s why Pu La was called as Bhai by his political activist friends. In his famous ridicule of Pudhari in Raosaheb he ridicules all those who are Bhau or Saheb when he says why this Pudhari when he finds ‘bonduk’ that is the Mike goes on babble incessantly? Why doesn’t he rather listen to music? That’s the question he has asked to contemporary Congress and other party leaders.)

It is not difficult to see why – while other writers were only respected and admired, Pu La was loved. He was loved because he loved. He was loved because he carried no writerly airs about him. He was loved most of all because he made people laugh. His impish, indulgent, affectionate laughter, which carried not a shred of malice, was directed as much at his own foibles as at others. He was serious only when he wrote about music and then his writing often bordered on the sentimental and the hyperbolic. But in music too, he laughed at stuffed shirt punditry and its hierarchies.

(That’s because he was the Socialist and wanted to eliminate social hierarchies, the message of Shaw which he replicates in Phulrani, by mastering language a flower girl can challenge the language Professor)

In his essay on Lata Mangeshkar, he says, “Pundits turn up their noses at film music because their ears are blocked to all except one track. But music flows from all sides. Film music is today’s folk music and Lata Mangeshkar is our real national artist.”

Vyakti kee Valli, the subtitle of Mahesh Manjrekar’s biopic, refers to Deshpande’s hugely popular collection of character sketches Vyakti ani Valli. Published in 1962, it won the Sahitya Akademi award in 1965 and is now in something like its 40th edition. The ‘vyakti’ of the title is the individual and ‘valli’ is the nicely off-kilter individual. The vyaktis and vallis that people the book are creatures of Deshpande’s bountiful imagination, but it is an imagination fed by a lifetime spent befriending the most incredible variety of human beings from clerks to musicians, scholars to sculptors, housewives to backstage men.

(Here I would like to draw readers’ attention to the fact that Pu La as a playwright and activist is different from Pu La as a caricaturist because he made an appeal to the typical Marathi middle class located in metros in his Vallis and tigers why people forgot great humorous writers from Pune like P K Atre and Pu La could draw a large fan following. The first President Gold Medal to Shyamchi Aai, the first revolving stage in To Mi Nhavech and dare devil journalism of Maratha.. All these achievements of Atre are forgotten by Marathi population and Pu La Biopic is made because Manjrekar knows that the Marathi middle class has forgotten Atre, only Pu La can draw crowds. As a playwright Pu La is a pan Marathi writer who appeals to Marathi readers in all regions but Valli has its reader class only in metros.)

While laughter was Pu La’s instinctive response to human life, one cannot say the same for his wife Sunitabai. Perhaps living with him made her stern. She needed to rein in his carefree joie de vivre to give some shape and direction to their life. Ultimately, however, despite the companionship they shared and the respect they had for one another, her autobiography Ahe Manohar Tari…(Although Everything Looks Beautiful…)

(I have already made my comments in the beginning about this wrong translation)

Last but not the least I pay a glorious tribute to Suresh Alurkar who for the first time brought audio recordings of Pu La ‘s Kathakathan in cassette form. Nobody talks about this great man. In his Swapnanagari stands Kalyan Jewellers now. The travesty of times. But for Alurkar even I would not have loved Pu La as much as did throughout my life. His Raosaheb, Mhais, Antu Barva, Chitale Master, Haritatya, Narayan have nurtured generations of Marathi listeners and touched their hearts. These audio recordings have given Marathi Culture its identity along with Shankar Patil ‘s Meeting, Dhind, Natak and Pahunchar. According to me the sacrifice of his whole career as a music shop owner on Karve Road is much great a contribution to these writers than today’s age of bio pics.

Deepika and Swarangi: Grand Daughters of Pt Ram Marathe

Pandit Ram Marathe .. a great exponent of classical and Natyasangeet … on stage and in concerts … I’m extremely happy I’m associated  to this doyen of Indian Classical Vocal through his grand daughter Swarangi who appreciated my blog on Surdaas … the successor to this great artiste and her friend Dipika are associated to my writings through my student Pratibha ..Amita Bhagwat .. her whatssapp message:

“Two of my singer students.Deepika Bhide/Bhagwat and Swarangi Marathe/ Kale…Swarangi is granddaughter of Late Pt.Ram Marathe.I will send them also the link of your blog!”
Thanks Pratibha,  Dipika and Swarangi


7 pm

Tribute to Pt. Madhukarbuva Joshi, Guru of Sou. Sucheta Dadhe & Dr. Mrudula Dadhe-Joshi

I quote from the Tribute to Pt. Madhukarbuva Joshi on the occasion of the recent celebration of his ‘witnessing a million moons’ (सहस्रचंद्रदर्शन सोहळा), of his turning 80 years… Here in my blogs I have earlier paid tribute to Pt. Gajananbuva Joshi and so its quite apt that I pay tribute to the living legacy of the same great Gharana of Joshis from Aundh..and also to the Dadhes of Aundh.. So here I quote from Facebook, what senior artiste mother Sou. Sucheta Dadhe and her artiste daughter Dr. Mrudula Dadhe-Joshi have said about the ‘million moon’ Gayanacharya Guru..concluding with my comment with a few poetic lines my Baba used to refrain at such occasions.. .. My intention is to put on record this marvellous event here on WordPress so that it reaches larger audience in the world, those who are not connected to the artistes on Facebook and also as my ‘if not a flower but at least a petal’ type of modest tribute to the Gayanacharya Guruji


Pt Madhukarbuva Joshi….my Guru! गुरुजींचा सहस्रचंद्र दर्शन सोहळा नुकताच साजरा झाला। सर्व शिष्यांनी अथक परिश्रम घेऊन दृष्ट लागण्यासारखा कार्यक्रम केला!Noopur Gadgil आणि सर्व शिष्यांनी फार मेहनत घेतली। आमचे मधूबुवा म्हणजे अत्यंत तेज:पुंज चेहरा,भेदक नजर आणि तितकाच काळजाला भिडणारा आवाज! आम्हाला इतकं दिलंत तुम्ही,आम्ही तुमच्या फक्त ऋणातच राहू इच्छितो.। सुगम संगीत हे गायला अत्यंत कठीण असतं असं नेहमी सांगणारे मधुभाई म्हणूनच मला नेहमी जवळचे वाटले।बुवांच्या तालमीत, अनेकदा चित्रपट संगीतावर चर्चा रंगत,मदन मोहन च्या गझला, खळेकाकांची गाणी..अनेक विषय रंगत!आमच्या या तालमीत, कठीण राग,सोपा राग असा काही भेदभाव नसे।त्यामुळे एखादा लहान मुलगा भैरव बहार निरागसपणे शिकतानाही दिसायचा.राग कसा “सोडवायचा’ (हा खास त्यांचा शब्द) हे बुवा फार छान सांगतात.त्यांच्या कडे काही वर्षे शास्त्रीय गायन शिकायला मिळालंच,पण त्यांनी संगीत दिलेली भावगीतं गाण्याचं ही भाग्य मला लाभलं!त्यांची काही वाक्ये तर अविस्मरणीयच..”तुम्ही संपता,राग संपत नाही!”हे असच कोरलं गेलेलं वाक्य आहे!मध्येच स्वतः ला दाद देण्याची त्यांची लकब काही निराळीच..कित्येकदा कलाकार इतका मनस्वी असतो,की स्वतः च्या गाण्याला साक्षीभावानं ऐकून,स्वतःच अवाक होऊ शकतो,नव्हे तो आनंद त्याला पेलणं ही कठीण असतं,हे मी डोळ्यांनी पाहिलंय।माझी आईसुद्धा त्यांच्या कडे शिकत असे।।तिने फार सुंदर लिहिलंय ते इथे पोस्ट करते!
मला भावलेले मधुभाई
(सौ सुचेता दाढे, पुणे )
एक दिलदार आणि मनमोकळे व्यक्तिमत्व म्हणजे आमचे गुरु मधुभाई! मी संगीत विशारद झाल्यानंतर चार पाच वर्षे त्यांच्या कडे शिकले. खरोखर ताल सूर पक्का होण्यासाठी त्यांचे मार्गदर्शन मिळणे हे मी माझे भाग्य समजते .त्यांची गायकी आत्मसात करणे हे मला कठीण वाटत होते कारण त्या वेळी माझे वय होते पन्नास.! घरच्या जबाबदाऱ्या पार पाडताना रियाझाला वेळ मिळत नसे. पण त्यांच्यामुळे खरे दर्जेदार संगीत कसे असते हे मात्र मला चांगले समजले.सूर तालाची समज वाढल्यामुळे एखाद्या कलाकाराचे गायन ऐकताना त्याचा मी पुरेपूर आस्वाद घेऊ शकते. सरांच शिकवणं म्हणजे मूर्तिमंत चैतन्य असे, आमच्या क्लास च्या अनेक आठवणी आहेत त्यापैकीच काही इथे सांगते.
शिष्यांनी क्लास ला येताना घरी रियाझ करून यावे हे सांगताना ते म्हणत ,असा “ खरकटा’ गळा घेऊन येऊ नका! आवाज तयार असेल तरच त्यांनी सांगितलेले आलाप लगेच म्हणता येत असत.
ख्याल गाताना आवर्तन कसे विचारपूर्वक भरावे हे खूप छान समजावून सांगत असत. म्हणत,”उगाच आले कसे तरी ‘फरपटत’ समेवर,असे होऊ नये!” प्रत्येक आवर्तनात काहीतरी “बात” झाली पाहिजे. गाताना श्रोत्यांचाही विचार झाला पाहिजे. बुवांच्या मते,गाणे जर पकड घेणारे नसेल तर श्रोते आपसात “हवापाण्याच्या” गोष्टी करू लागतात,तेव्हा आपले गाणे कसे पकडून ठेवणारे हवे !किती खरं आहे हे..!
ते नेहमी सांगत,आपल्या गाण्यात जेवढे म्हणून चांगले आहे, ते मोकळेपणी श्रोत्यांसमोर मांडावे.म्हणजे श्रोत्यांचा वेळ सार्थकी लागतो.काहीतरी चांगले ऐकल्याचा आनंद व समाधान त्यांना लाभतं.ख्यालाच्या आवर्तनात जो मजकूर भरायचा त्याची मांडणी सुरेख करावी.जसे, आपल्या जवळ मोजका पैसा असतो तेव्हा तो अत्यावश्यक मोजक्या बाबींवर खर्च होईल या कडे आपण लक्ष देतो .जे काही सुचले असेल ते कुशलतेने मांडावे,उपज कशी आहे, त्याला साजेसा शेवट करता आला पाहिजे.प्रत्येक रागाची एक चौकट असते.राग वाचक आलाप म्हणजेच phrase.ही महत्वाची वाक्य राग गाताना आलीच पाहिजेत.त्यामुळे रागाचे स्वरूप चलन स्पष्ट होते.मी बुवांच्या कडून दहा थाटांचे प्रमुख राग विस्तारपूर्वक शिकले.पुढे मला त्यांचा खूप उपयोग झाला.माझ्याकडे शिकणाऱ्याना मला उत्तम प्राथमिक ज्ञान देता आले आणि पाया पक्का करून घेता आला.या सर्व गोष्टींचा उपयोग उत्तम कानसेन तयार करण्यासाठी नक्कीच होत आहे.
मधुभाईंचे लाडके ताल म्हणजे तिलवाडा आणि झुमरा!या तालांबद्दल सांगताना ते म्हणायचे, हत्ती ची चाल कशी दिमाखदार डौलदार असते,तसा हा तिलवाडा आहे. सगळी “दुनिया” एकतालात गाते,आपण मात्र तिलवाड्यात गायचे!आम्ही चार पाच शिष्य क्लास मध्ये शिकताना रागाचे एक एक आवर्तन ते सांगायचे,आम्ही म्हणायचो. साधारणपणे अर्धा पाउण तास असं चालायचं.मग म्हणायचे आता थांबा,नुसते ऐका ! आणि तो राग सर स्वतः गायचे! काय आनंद असायचा तो! त्या वेळी त्यांचा तार षड्ज इतका सुंदर लागायचा, की आम्ही स्वरानंदात बुडून जायचो.
रागसंगीताचे परंपरेने आलेले वैभव त्यांच्या कडे होते.आणि अगदी उदार मनाने ते शिष्यांना वाटत होते.प्रत्येक रागाच्या चार चार बंदिशी ते शिकवत असत.जेणे करून तो राग सर्वांगाने समजत असे.,सर्वार्थाने उमजत असे.शिकवताना मध्येच एखादा विनोद करायचे आणि त्यावर स्वतःच एवढे खो खो हसायचे की विचारू नका.
प्रत्येक विद्यार्थ्याला तानपुरा मिळवणे हे जमलेच पाहिजे असा त्यांह आग्रह असे.अगदी तंतोतंत तानपुरा मिळवणे हे प्रयत्नानेच साध्य होते .
उत्तम जुळवलेला तानपुरा बोलू लागला की सगळे वातावरणच एकदम सुरेल होत असे.
एकदा एका गुरु पौर्णिमेच्या निमित्ताने झालेली त्यांची मैफल खूपच रंगली.त्यांचे तालासुरांवरील प्रभुत्व बघून सगळे भारावून गेलो. शेवटी भैरवी गाताना “बाजूबंद खुल खुल जाये” ही ठुमरी त्यांनी गायली.त्या वेळी मला वाटले की यातल्या प्रयेक आवर्तनातून एक नवे गाणे बनू शकेल,इतकी त्या प्रत्येक उपजेत ताकद होती.
माझे पती डॉ.प्रफुल्ल दाढे व त्यांचे मोठे बंधू श्री अरविंद दाढे आणि मधुभाई यांचे बालपण औंध (जि सातारा) येथे गेले. त्यांचा एकमेकांत खूप स्नेह होता. त्यामुळे मधुभाई मला “वहिनी” म्हणूनच संबोधत असत. एकदा क्लास सुरु असताना माझे दीर श्री अरविंद, मधुभाईना भेटण्यासाठी आले होते.त्यांना पाहून सरांना एवढा आनंद झाला की त्यांनी सर्व विद्यार्थ्यांसमोर माझ्या दिरांना कडकडून मिठी मारली व ते आनंदाने ओरडले, आणि ताबडतोब सगळ्या विद्यार्थ्यांना म्हणले, “आज माझा बालमित्र आला आहे त्या निमित्त आज सर्वांना सुट्टी!”कारण खूप वर्षांनी ते एकमेकांना भेटत होते.व त्यांना खूप गप्पा मारायच्या होत्या!
त्यांचा एकदा कलकत्त्याला कार्यक्रम होता.त्या वेळी मी, माझी मुलगी मृदुला आणि काही मंडळी त्यांच्या बरोबर गेलो होतो.त्या कार्यक्रमात मी आणि मृदुलाने त्यांना स्टेजवर तानपुरा साथ केली होती.हा एक दुर्मिळ योगायोग होता.
संगीताच्या छंदामध्ये वर्षामागून वर्षे कशी जातात ते कळतच नाही. मधुभाई ऐंशी वर्षांचे झाले.त्यांचा सहस्र चंद्रदर्शन सोहळा साजरा होत आहे याचा आम्हाला खूप आनंद आहे.त्यांचे उत्तरायुष्य सुखासमाधानात व आरोग्यपूर्ण जावो अशी शुभेच्छा व्यक्त करते.
सौ सुचेता प्रा दाढे.


…. सहस्रहस्ते कमलाकराने.. घेता किती घेशील दो कराने? … मी ठेवतो मस्तक ज्या ठिकाणी तेथे तुझे सद्गुरू पाय दोन्ही… या दोन वेगवेगळ्या ओळी माझ्या बाबांच्या मुखातून अनंत वेळी अनंत ओळी ऐकल्या.. त्यापैकी या आठवल्या मृदुलाच्या आईंच्या त्यांच्या गुरुंबाबतच्या भावना वाचून. घेशील कीती दो कराने? म्हणजे आई अशी म्हटल्यावर मृदुला आणखी आम्हा रसिकांना किती गाणे देणार आहे ते समजते. तिच्या आईकडून तिच्यामधे आलेली ऋजुता तिच्या गाण्या, वागण्यात जाणवते. सद्गुरु ही काय चीज आहे हे त्यांनी मोजक्या शब्दात सुंदर मांडलेय. धन्य ते औंध, धन्य तो सातारा, धन्य ते गायनाचार्य (पं अंतूबुवा, पं गजाननराव आणि सहस्रचंद्राभिषिक्-त पं मधुकरबुवा जोशी ) आणि धन्य ते पंत:प्रतिनिधी! सौ. आईंना सादर प्रणाम!

“I give up the fight, let there be an end” Robert Browning


esterday a well known scholar among my friends sent me a private video of Arya Chanakya proclaiming that Rishi Yagnyawalkya rightly said the true Hindu Philosophy doesn’t uphold discrimination and that Sudras are not by birth, neither are Brahmanas by birth.. So Chandragupt can become Kshatriya King though he is born as Kshatriya… That video which he should have written with his comment as a post and then he should have tagged me (I expected that)…made me think more and I got these lines from Browning which challenge even God…

Robert Browning published his first major poem, Paracelsus, in 1835. The poem is about a sixteenth-century physicist. It is one of Browning’s most celebrated works. Browning took approximately six months to write the poem. He would take walks late at night in London, meditating about the passages.

All are equal rich and the poor, wise and fools… Those lines are from Robert Browning’s well known poetic drama Paracelsus Part V.. Here I quote lines before and after these famous lines (I want to be forgotten even by God) I quote the lines and part of his poem on the eve of Christmas.. Let people read such a great poet and such great lines :


Ha—stay! true, I forget—all is done since,
And he is come to judge me. How he speaks,
How calm, how well! yes, it is true, all true;
All quackery; all deceit; myself can laugh
The first at it, if you desire: but still
You know the obstacles which taught me tricks
So foreign to my nature—envy and hate,
Blind opposition, brutal prejudice,
Bald ignorance—what wonder if I sunk
To humour men the way they most approved?
My cheats were never palmed on such as you,
Dear Festus! I will kneel if you require me,
Impart the meagre knowledge I possess,
Explain its bounded nature, and avow
My insufficiency—whate’er you will:

I give the fight up: let there be an end,
A privacy, an obscure nook for me.
I want to be forgotten even by God.
But if that cannot be, dear Festus, lay me,
When I shall die, within some narrow grave,
Not by itself—for that would be too proud—
But where such graves are thickest; let it look
Nowise distinguished from the hillocks round,
So that the peasant at his brother’s bed
May tread upon my own and know it not;
And we shall all be equal at the last,
Or classed according to life’s natural ranks,
Fathers, sons, brothers, friends—not rich, nor wise,
Nor gifted: lay me thus, then say, “He lived
“Too much advanced before his brother men;
“They kept him still in front: ‘t was for their good
“But yet a dangerous station. It were strange
“That he should tell God he had never ranked
“With men: so, here at least he is a man.”

FB post Tagged with :
PeerMohammad Attar, Cl Khatri Ravindra Singh Amita Bhagwat Nikhil Dattatray Bhosale Rohit Kulkarni, Vilas Shinde, Dattatraya More

P. S. To the Tribute to Baba

Raosaheb Rangnath Borade https://g.co/kgs/rhkxoD

I’m happy I’m alive as the student of literature since my early childhood, my love for letters fostered by my late Baba and which found firm roots during my M. A. in Pune University. Eighteen twenty hours each day spent in Jaykar Library made us what we are today. Dr. Nagarajan, Dr. Daswani, Dr. Patke used to cross check library cards whether we indeed referred to the books which they asked us to read in their lectures and our internal marks totally depended on our honest work in the library. Today (yesterday 13.12.18, 2 pm, now it’s 3 am 14.12.18) a boy from a village called Pathardi met me. He is doing Engineering. Ajinkya Patil. He said he loved literature. I told him about my late Baba’s death anniversary and asked him whether he knew a famous Marathi writer from his place (I don’t know its the same Pathardi from which the writer whose link I’m sharing here hails from or not but I remember in my 8th STD. Marathi Text his personal essay on summer उन्हाळा was there and I have not forgotten it till today) I wanted to tell him about the writer but somehow I was unable to recall the name. I called and asked all illustrious teachers of Marathi from Kolhapur and Sangli and asked them who is the writer from Pathardi whose essay we studied in school, who insisted that fine arts and literature must be taught together. Dear Vilas Shinde, Ranjeet Shinde PeerMohammad Attar.. None of them told me the name. My ready reckoner in such things was always my Baba but…. Well.. Then I wrote a Tribute to him and till now.. 12 hours I troubled, tortured my brain, searched all Google links but मराठी लेखक सूची, विकी nowhere I got his name. Pain is in eyes demanding sleep I was just closing lids forcefully and it flashed before my inward eye.. रा. रं. बोराडे. It’s like finding a gold mine for me. I will read about him. Tomorrow I will visit Jaykar and find out उन्हाळा, will relish reading it again. I will share this (will add this in my blog on Baba) with Ajinkya. Will tell those illustrious writer teachers tomorrow… Good night dear readers friends. I’m happy I’m alive.

Fourth Anniversary

Fourth Thirteenth Day of Twelfth Month of Fourteen when you marked your u intimated untimely exit. Baba, do figures mean anything? You know they do never, for me!

Each moment I went nearer and nearer to all those moments at which I went farther and farther (from you)! Was your exit essential for teaching me what’s being lonely or alone? Alone in this wide, wide sea of people sans heart? Why didn’t you really go? Why do you sit beside, stand aside, smile silently each moment? You tell me look didn’t I teach you to cope up without me with all that I filled your heart within, right before it thumped its start and right till yours stopped.

If you knew you will live in these clicks which the world calls language and literature then why you had to go physically out of this?

My cancer horoscope will never be able to answer these and future questions!

Adieu further in Vaikunth and Kailash till, like Tuka’s immortal words you will surge on the top of waters what we call as flux of life!

Tribute to my Baba on his fourth anniversary!

A Day of ‘Ghabaad’ Mrudula in Muskat, Saskia in Loksatta, Late Leelatai in heaven


oday is the day of Ghabad or the day of highest endowments, so to say for me. Mrudula Dadhe-Joshi ‘s performance (in her series of performances in India & abroad) in Muskat, which I have already posted in the morning started my day. Later I visited Prabhat Road 11th Lane where late Mrs Leela Sathe, mother of my friend Ashotosh fostered our love for music, lived in her Vrindavan bungallow.. I was M A student in 1982-84 in the university but I learnt how to understand and uphold good literature and fine arts in many night long discussions with her. Many early dawns, 3 to 5 am I used to bicycle or used to go on Luna of Shubhangi Deshpande back to university hostels…today I visited the place.. Now closed windows, moving blinds of an apartment, with no physical sign of that Sathe family silently welcomed me like such curtains welcomed the boy in the famous story Let’s Go Home…and he realised his mother was no more and the house was empty. Another picture is of the column “जे आले ते रमले” (Those who came to India, stayed here happily) of Sunit Potnis.. A scan from daily लोकसत्ता Edit page..written on my long time FB friend musician Saskia Rao de Haas.. How she came from Netherlands, appropriated Cello as an instrument for Indian Classical, married Shubhendu Rao and became a true Indian.. A million greetings to her…. I will copy this post into a WordPress blog to reach different set of readers connected to me…. Kathleen Rao Vemulapalli Sada Siva Rao Siddhartha Rao.. I tag all Rao_s in my group here….