Scion of a regal style
C.S. SARVAMANGALA
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Pandit Sharad Sathe is a treasure trove of the rich repertoire of the Gwalior gharana
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MAESTROPt. Sharad Sathe: `In music learning, a long association with the guru matters' PHOTO: Sampath Kumar G.P.
Great mastery over his music, a grand lineage and a vibrant gharana — all were simultaneously evident in Pandit Sharad Sathe's performance in Bangalore recently.
An authentic exponent of the Gwalior gharana, he excels as a treasure house not only of the Gwalior gayaki, but also the rich elements of other schools. His musical acquisition is backed by a careful understanding of the nuances of other streams of the gharana — mainly the Maharashtra style of Gwalior music as well as different practitioners within the same gharana.
Of places and kings
The very name Gwalior brings to mind fortresses, palaces, queens, music and all that can be associated with royal splendour. The Gwalior gharana too is associated with royal patronage, interesting anecdotes, and a place for artists and court musicians.
Gwalior is considered the fountainhead of vocal music and most gharanas trace their origin to it in some form or the other. In establishing the salient aspects that distinguish the bandish-centred Gwalior gharana he highlighted three basic trios: akshar-shabd-kavita, sur-dhun-raag and matra-taal-theka, which in turn lead towards expression, song and rhythm.
The Gwalior gharana lays stress on all these trayis, which, in combination and when rendered spontaneously, create good music. Krishnarao Shankar Pandit, the doyen of the Gwalior gharana is quoted to have said: "We from Gwalior do not sing ragas. We only sing bandishes."
An indepth knowledge of the authentic flow of the Gwalior gharana, of which he is a vital constituent, qualifies Pandit Sathe to document the history of a glorious stream of music with all the changes and negotiations that have come about from time to time. His enlightened approach has sharpened his perception of the aesthetics of music and its performance.
"In music learning, a long association with the guru matters," feels Pt. Sharad. He quoted his own guru who once said "Catch your guru in his most unguarded moments" and for that, one has to have a long and meaningful, preferably in-house association with one's guru.
Renowned musician Pt. D.V. Paluskar, son of the legendary Vishnu Digambar Paluskar, the famous musicologist Prof. B.R. Deodhar, and Dr. Sharadchandra Arolkar, a great musical mind — Pt. Sharad's musical world was lit up by these stars.
Rigorous training in the guru-shishya parampara under these stalwarts has lent a rare wholesomeness to his understanding and practice of music. Further, his open-minded learning and a well-informed approach enabled him to assimilate the best of other traditions, giving his music a multi-dimensional richness.
Coming to terms with the shocking death of D.V. Paluskar in 1955 at the age of 34, which also ended the accompanying travel and performances with his guru, was not easy for young Sharad. The next year he moved to Bombay for tutelage under Prof. B.R. Deodhar, also a student of Vishnu Digambar Paluskar. A decade-long association with a musicologist of his calibre was an intense educative phase and it is during this period that he built his repertoire of compositions in less-known ragas.
The deep urge to pursue the tappa (a semi-classical genre of vocal music inspired by the vivacious folk songs of camel riders in Punjab and the North-Western parts of India) lead Sharad to Pt. Arolkar, a philosopher, composer and an authentic singer, who enriched the Gwalior gharana. His repertoire included 700 to 800 traditional compositions and he added nearly 400 khayals of his own, the aesthetic merit of which is invaluable. Theirs was a long-lasting guru-shishya interaction for nearly three decades.
His focussed training under Arolkar not only endowed a sharp richness to Sharad's gayaki but also lent his music a thinking frame.
Panditji's academic accomplishments include the Sangeet Visharad conferred by the Gandharva Mahavidyalaya (1961) and a Science Degree from the Pune University. He served as Resident Professor of vocal music at the London Centre of the Bharatiya Vidya Bhavan (1986-87). He has rendered Gwalior gharana compositions for the archives of the University of Washington, Seattle, U.S.A. (1997).
Another special honour for this chosen disciple came in the form of an invitation to sing for the Films Division documentary on Vishnu Digambar Paluskar (1972). He has been an extensive performer within and outside the country. His rich repertoire, which includes a wealth of khayals, tappas, taranas and bhajans has won great appreciation and critical acclaim. Pt. Sharad Sathe's distinct vocalism, which has emerged from his multifarious learning under his gurus, and his abundant repertoire, stand as a rare sanctuary of the Gwalior gayaki.
Melodic expression
Pt Sharad spoke at length about the great instrumentalists of his gharana: Bande Ali Khan, the famous beenkar and Amir Khan and Babu Khan, the noted sitariyas. They knew their vocal music well and tried to reproduce these bandishes, well adapted to the instrumental form. The melodic expression of the raga was achieved but not the poetry, he felt.
Pt. Sathe teaches in Bombay, training his students in the traditional rendition of asthayi and antara compositions. His musician-wife who learnt under Govind Rao Desai, also a disciple of V.D. Paluskar, has been complementing his musical journey with her constant support.
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