Frail frame, sturdy music
|
Pandit R.K. Bijapure's enchanting harmonium recital surely changed many opinions of this underrated instrument
|
MODEST MAESTRO Pandit R.K. Bijapure: `Take my mistakes in your sweet stride' Photo: V. Sreenivasa Murthy
"I'm old and frail. If I make mistakes, don't be bitter, take it in your sweet stride," was the 89-year-old Rambhau Bijapure's refrain, at the felicitation programme organised by the Bijapure Foundation, recently. With over seven decades of music behind him, the frail harmonium maestro is self-effacing. Unlike the musicians of today, the harmonium maestro is completely unfazed by glamour and is content in his own little music world, teaching his students back at Belgaum. Kirana doyenne Gangubai Hangal's words seem more than apt: "Bijapure's commitment to teaching was so great that on many an occasion he even refused to come for outstation performances." For the fast-track world we live in, where music albums are churned out by artistes with barely a year of training, this bit of information is staggering: Pandit R.K. Bijapure, who gave harmonium the status of a solo instrument, released his first album at the ripe age of 87! And at 89, he boasts of two albums only.
Early years
R.K. Bijapure, born in 1917 in Kagwad, set out to be a vocalist. But it was never the same again after his voice changed during his teens. He switched over to learning the harmonium from Govindrao Gaikwad and Rajwade. His untiring practice, deep thought and a fine retention ability helped him achieve mastery over the instrument. Interestingly, his first outing was as an organ player at the Shirahatti Venkobrao Drama Company between 1932 and 34. After a brief stay here, he worked as a harmonium accompanist during HMV recording sessions at Belgaum for over a year. He started his music school Sri Ram Sangeet Mahavidyalaya in 1938, and has so far trained over thousand students.
In his career that has lasted over seven decades, he has accompanied just about every stalwart Hindustani musician including Abdul Karim Khan, founder of the Kirana Gharana. And there aren't too many who haven't been touched by the maestro's sincerity. Well-known musician Appa Jalgoankar remarks: "Pandit Bijapure never expected cheap popularity. He has chosen to remain in Belgaum even at the cost of remaining anonymous."
Post-felicitation, there was a short documentary on Pandit R.K. Bijapure by Giridhar Diwan, which came as a disappointment. The film, sadly, didn't get the maestro to talk at all. This was followed by Pandit Bijapure's recital, beginning with an intense Todi (also known as Miyan Ki Todi). The tiny frame was more or less masked behind the harmonium that looked bigger. His deft fingers travelled on the instrument with such flamboyance that it seemed like feather caressing baby soft skin. Each note bathed in the mood of the raga with great leisure, rising sharply, carrying with it an entire experience. Pandit Bijapure's special technique of bellowing draws particular mention. The way he etched out the nuances brought to mind delicate filigree work. Whether they were short gamaks or torrential taans, the emotion remained intact. And when he played around with rhythm, he reinforced the rasa of the raga with a short spell of silence.
Thought clarity
Pandit Bijapure's presentation was marked with great thought. Even as he kept pushing boundaries of each note, you could see how beautifully he placed the grand sweeps alongside lilting glides. His Todi was followed by a crisp Bhimpalas, a heady Natyasangeet and a compelling Des.
The audience, surprisingly, had youngsters in huge numbers. They not just gave him a thunderous applause and a standing ovation, but rushed to the stage to get his autograph. For a generation that knows of only an Adnan Sami, a far more mesmerising Bijapure's virtuosity was mind-boggling. Pandit Bijapure probably was signing autographs for the first time! Freedom fighter Madan Mohan Malaviya had great disdain for the "inconsequential instrument" until he listened to the veteran player Arunachalappa. It changed his notions about the instrument and in fact, even apologised for his folly. On listening to Pandit Bijapure, many others, like Malaviya, will surely change their minds.
DEEPA GANESH
Printer friendly
page
Send this article to Friends by
E-Mail
Entertainment
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
