SHIVDAS CHANDAVARKARand his Music Room(October 11, 1926 - January 25, <strong>2010</strong>)In Fond Remembrance– Prakash BurdeHe carried 84 years lightly on his small frame. With restless energy, like a man possessed,Shivdas Chandavarkar was totally and completely immersed in music - specifically, Hindustaniclassical music. Though asthma was his constant and nagging companion since his early years,Shivdas managed his vocal music creditably since childhood and was well groomed in his KiranaParampara. He was also an accomplished tabla player and was an accredited All India Radiosinger <strong>of</strong> Hindustani classical music. He continued to perform as long as it was possible to have acontrolled breath, so very necessary for the delineation <strong>of</strong> the theme. The day he realised that hewas unable to sing due to asthma, he called it a day and diverted his energy to building archives<strong>of</strong> the great masters. He made a name for himself as a collector <strong>of</strong> rare records and arrangedmany a listening session in and around Pune, Mumbai, Kolhapur, Nashik and many other places.He had already planned to donate his vast collection arranged according to the Gharanas andin chronological order. He had developed such a rapport with the Pakistan embassy that theyarranged to send him a rare audio-visual CD <strong>of</strong> Roshanara Begum and many listening sessionswere held in Mumbai and Pune.While we were in the midst <strong>of</strong> planning our itinerary to visit Hubli and Kundgol for the SawaiGandharva festival in this <strong>March</strong>, death struck like lightening. Rather, it came silently, stealthily,afraid as it were <strong>of</strong> his overcharged restless energy. During my three-month forced bed rest, it wasShivdas who unfailingly would phone every fortnight, cheer me up, and like a railway guard showme the green signal, urging me to move on. He was very happy to know that I was back on my feetand to keep me in good humour sent me recordings <strong>of</strong> the great masters <strong>of</strong> different Gharanas andto keep me busy asked me to send him a short write-up on Bhendi Bazar Gharana. This was to befeatured in our forthcoming visit to Hubli. Gangubai Hangal’s grandson Manoj was in touch withhim. He had already finalised a vehicle to carry us all to Hubli.While in his seventies, Shivdas developed the idea <strong>of</strong> maintaining the archives and moreimportantly share his passion with others. As Abraham Lincoln put it aptly, “And it’s not the years inyour life that count, its life in your years”. It is truly well said that he who learns to play his music inhis eightieth year, will play at the ResurrectionMangala (wife), Satish (son), Vinaya (daughter-in-law),Krishna, Shyamsunder (brothers), Rekha (sister), Relatives, Admirers and Friends.50Vol. 91, No.3, <strong>March</strong> <strong>2010</strong>Kanara Saraswat
Veteran classical singer Pandit Dinkar Kaikini passes awayMusic maestro Pandit Dinkar Kaikini passedaway on January 23, <strong>2010</strong>, following a cardiac arrest,leaving a great void in the world <strong>of</strong> music and in ourcommunity. He was 81.Born in a music-loving, middle class family onDecember 25, 1927, Panditji was only seven whenhe was exposed to the mysteries <strong>of</strong> Hindustanimusic by his discerning father who placed himunder the tutelage <strong>of</strong> Karekatte Nagesh Rao, aveteran exponent <strong>of</strong> the Patiala gharana. Later,he came under the influence, though briefly, <strong>of</strong>Omkarnath Thakur who had made his mark as aleading Hindustani vocalist, but it was from the longand fruitful tutelage <strong>of</strong> SN Ratanjankar, who startedteaching him at the age <strong>of</strong> 11 in Lucknow, that heflowered into an executant with a keen sense <strong>of</strong> styleand keener sense <strong>of</strong> aesthetics. Here, he also hadthe benefit <strong>of</strong> guidance from guru-bandhus like SCRBhat, in the clear enunciation and exploration <strong>of</strong>ragas. Among his other co-students were KG Gindeand music composer Roshan (Hrithik Roshan’sgrandfather).Pandit Kaikini’s innovative ability found amplescope for expression in the course <strong>of</strong> his associationwith All India Radio, Delhi. Till 1971, for 17 yearsas producer <strong>of</strong> music, he distinguished himself asa perceptive composer, with presentations to hiscredit.In 1971, in response to an invitation from theBhavan’s management, Pandit Kaikini joined theBharatiya Sangeet-Nartan Shiksha Peeth (Bhavan’sCollege <strong>of</strong> Music and Dance) <strong>of</strong> Bharatiya VidyaBhavan, Bombay, succeeding Chidanand Nagarkar,his senior guru-bandhu, whose sudden death hadrendered the post vacant. Panditji took it as a call <strong>of</strong>duty to work in a new field – <strong>of</strong> teaching, for whichhe readily quit his All India Radio job in Delhi.As principal <strong>of</strong> the Bhavan’s College <strong>of</strong> Musicand Dance, from which position he retired in1992, Pandit Kaikini devoted himself, throughouthis career, to imparting scholastic education inmusic. Yet, the rigours <strong>of</strong> the teaching pr<strong>of</strong>essiondid little to affect the quality <strong>of</strong> his voice nor dullhis initiative and formalize his music. He was amulti-faceted musician – an excellent performer, adedicated teacher and a creative composer, all rolledinto one. In the old texts, such singers were called‘chaumukhi gavaiyya’, which means a versatile singer.His versatility covered a wide compass; whateverthe song-form-be it dhrupad, dhamar, khayal, tappaor thumri – each carried a charm <strong>of</strong> its own, showingin varying degrees the beautiful amalgam <strong>of</strong> theelements <strong>of</strong> purism and romanticism. It is said thathe had the ability to move one to tears with hisvoice throw (pukar).Pandit Kaikini was also known for his impressivearray <strong>of</strong> self-composed ragas like Guna-Ranjani,Bhoopavali and Khern-Dhwani, and had pennedseveral bandishes under the pseudonym ‘Din-Rang’and set them to traditional and self-composedragas.Most <strong>of</strong> these have found acceptance in themusical community.A little-known fact about Panditji relates to abrief change in his career – first in the singing role<strong>of</strong> the legendary Tansen in the musical ballet, “TheDiscovery <strong>of</strong> India”, based on Jawaharlal Nehru’sfamous work, and then as a playback artiste in thechoral item, ‘Mere to Giridhar Gopal’, in Gulzar’s“Meeraa”. Incidentally, the music for both wasgiven by Pandit Ravi Shankar. As a composer,Pandit Kaikini could connect music with his lifeexperiences. When Neil Armstrong had stepped onKanara Saraswat Vol. 91, No.3, <strong>March</strong> <strong>2010</strong>51
- Page 4 and 5: Letters to theEditorDear Editor: Dr
- Page 6: Besides medicine, Dr. Samsi had a l
- Page 12 and 13: Dear Devotees,SHRIMATH ANANTHESHWAR
- Page 14 and 15: 80 GLORIOUS YEARSBIRTHDAY GREETINGS
- Page 16: With best compliments fromPrecomp t
- Page 20 and 21: 18Vol. 91, No.3, March 2010Kanara S
- Page 22 and 23: 20Vol. 91, No.3, March 2010Kanara S
- Page 25 and 26: Kanara Saraswat Vol. 91, No.3, Marc
- Page 33 and 34: q 1980 Vw§ Canara Union, Bangalore
- Page 35 and 36: q J«m_rU {dH$mgmIm{Îma Karjat Far
- Page 37 and 38: and failure need not be a full stop
- Page 39 and 40: Kanara Saraswat Vol. 91, No.3, Marc
- Page 41 and 42: Nuest - 4 colour pages 1Kanara Sara
- Page 43 and 44: Nuest - 4 colour pages 3Kanara Sara
- Page 45 and 46: -: With Best Compliments from :-TUL
- Page 47 and 48: DIAMOND WEDDING ANNIVERSARY5 March
- Page 49 and 50: Dr. Aroon B. Samsi - A karmayogi pa
- Page 51: All for a fishy taleMeera S. Sa s h
- Page 55 and 56: on the moon, he was so moved that h
- Page 57 and 58: Silent I (eye) witnessSu d h a Ph i
- Page 59 and 60: With Best WishesfromDivgiWarnerthe
- Page 61 and 62: Shrinath S. Shiralkar -First Chitra
- Page 63 and 64: ^amè`m _maV AgVmZm {Xgcm. gdmªZr
- Page 65 and 66: : With Compliments from :THENKASI R
- Page 67 and 68: Fame is...Mihika Pa i d h u n g atF
- Page 69 and 70: NRI Sanskriti Prachar Shibir - A Re
- Page 71 and 72: The aim was to initiate a similar Y
- Page 73 and 74: PersonaliaPankaj Kumta, 23, son of
- Page 75 and 76: Kanara Saraswat Vol. 91, No.3, Marc
- Page 77 and 78: Kanara Saraswat Vol. 91, No.3, Marc
- Page 79 and 80: The Punyatithi of HH Shankarashram
- Page 81 and 82: Saraswat Mahila Samaj, Gamdevi, Mum
- Page 83 and 84: Kanara Saraswat Vol. 91, No.3, Marc