RMIM Archive Article "107".
From the RMIM Article Archive maintained by Satish Subramanian
#
# RMIM/C Archives..
# Subject: Great Master's series
# Great Masters 12a: Acharya Vishnu Digambar
#
# Posted by: Rajan Parrikar (parrikar@spot.colorado.edu)
# Sources: "Great masters of Hindustani Music" by Smt. Susheela Misra
#
Namashkar!
This is a nice supplement to the first article on this noblest of
souls that comprised "Great Masters 12."
Rajan Parrikar
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Pandit Vishnu Digambar Paluskar
by
Susheela Misra
"Great masters of Hindustani Music" by Smt. Susheela Misra
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Music was one of the casualties of foreign rule in our
country. In the lethargic age which preceded our political
struggle, this fine art fell from its high pedestal into
low, illiterate society, and lay there uncared for, and looked
down upon. It were the two Vishnus, Vishnu Narayan Bhatkhande and
Vishnu Digambar Paluskar who salvaged our music which had been
submerged for years under the cold waves of public apathy and
alien contempt.
Early in this century, along with the freedom revolution, there
began an awakening of interest in our fine arts too. The two in-
dividuals responsible for this awakening were the two Vishnus who
dedicated their lives to this great cause. But for the life-long
efforts of Vishnu Digambar and Vishnu Narayan Bhatkhande, our
music would still have remained an inaccessible art imprisoned in
the un-relenting clutches of a few narrow-minded and illiterate
professionals. Thanks to these two reformers, however, today Hin-
dustani classical music is no longer confined to an esoteric cir-
cle, but is an art within the reach of every aspiring home. To
them goes the credit and thanks for the rehabilitation and res-
toration of music to a highly respected and admired position. No
wonder, therefore, that musicians of many Gharanas sink their mu-
tual differences at least to pay homage to these two savants
every year. Pt Digambar's Punya-Thithi is observed and celebrat-
ed: in August, and Pt Bhatkhande's in September.
Vishnu Digambar's father, Pdt. Digambar Gopal Paluskar, was a,
well-known Keertankar and a favorite of the Raja Dajisahib of
Kurundwad (14 miles south of Miraj). Originally the Paluskar
family-name was "Gadgil", but as they hailed from the village
Palus, they came to be known as the "Paluskar" family. Born in
Kurundwad on l8th August (Raksha-Bandhan day) in 1872, Vishnu was
brought up in the luxurious palace-atmosphere because he was a
close friend and playmate of the Raja's son, Srimant Nanasaheb.
They were educated together and their sacred thread-ceremonies
were celebrated together. Vishnu and his elder brother Gopal
often used to accompany their father during his Keertans, with
the Jhanjh and Manjeera. Even as a boy, Vishnu became a favourite
with everyone because of his good looks, sweet voice, and melodi-
ous Bhajans. Since he was a very intelligent boy, his teachers
were sure that he would one day become a high Government offi-
cial. But fate intervened and gave an unexpected twist to his
career. During the annual festivities and fireworks in the Datta-
treya temple, a piece exploded over his face and damaged his
eyes. The Raja Saheb got the best doctors for his treatment.
Although the facial injuries were cured marvelously, the boy's
eyesight was damaged for ever. The doctor (Trimbakrao) suggested
that the boy should be trained in music. Accordingly, the Raja of
Kurundwad sent him to Miraj and put him under the training of
Pdt. Balakrishnabuwa Ichalkaranjikar, the founder of Khayal music
in Maharashtra, who had received his training under great masters
like Devjibuwa (disciple of the Dhrupadiya Chintamani Misra),
Vasudeobuwa Joshi (disciple. of the famed Hassu Khan of Gwalior)
and Mohammad Khan (son of Hassu Khan). For years, Vishnu un-
derwent arduous training in the old-fashioned Gurukula style, do-
ing all the domestic chores in the guru's home, washing clothes
and utensils, cutting up firewood, filling pots of water, sweep-
ing and cleaning floors, cooking etc. After nine years of
rigorous musical training in Miraj, at last Pdt Balakrishnabuwa
permitted Vishnu to set out on his own in 1916 to give solo reci-
tals. At the time he ventured into the field of music, there was
a stigma attached to the profession of music, and musicians were
looked down upon in society. He felt deeply pained at the con-
temptuous treatment meted out to music and its devotees. This
sparked off his keen ambition to secure for musicians as high a
status in society as that enjoyed by any o ther profession. And
as we all know, he succeeded in this noble mission of his, as a
result of his life-long efforts. At 25, his voice was in excel-
lent form and his recital in the Ram-mandir of Baroda was ac-
claimed by all; his fame spread. Rani Jamnabai who had adopted
Maharaja Sayajirao as her son invited Vishnu into her palace for
recitals. She liked his music so much that she detained him in
Baroda for 4 months. Great artistes like Khan Saheb Nasir Khan
(percussion maestro of the darbar) and Ghulab Singh (the famous
Tabla maestro) became his admirers. In his music they detected
the grand style of Ustad Mohammad Khan (son of Hassu Khan, and
brother of Rahmat Khan). The Rani greatly wished to engage Vishnu
as a Darbari-gayak at Rs 400 per month, but Vishnu declined, as
he wanted to tour various parts of the country, learn different
styles and enrich his own repertoire.
Sri B.R.Deodhar recounts a mystical experience of his Guruji. It
is said that once Pdt. Vishnu Digambar met a great "Bairagi"
(ascetic-renouncer) and that this meeting left a deep influence
on Digambar. Until then, he had been full of over-confidence
about his music and his behaviour tended to be a bit "arrogant".
After hearing the Bairagi's divinely-inspired and melodious music
in the solitude of the Girnar mountains, Vishnu felt extremely
humble, and fell at his feet begging for his forgiveness. The
Sadhu blessed him and advised him- "Your chosen path is very no-
ble. But you must shed all your arrogance and learn the virtue of
humility. Only then can you succeed in your noble mission. Start
your work in the Punjab".
>From there Pdt. Vishnu Digambar went on a long tour of various
places like Kathiawad, Gwalior, Aligarh, Mathura, Jullundur, Am-
ritsar, Lahore, Kashmir, Rawalpindi, Bharatpur and so on. In
Mathura he stayed on for some months in order to study the
theoretical aspect of music in the library, to master Hindi and
Brajbhasha, and to think out a notation system, After touring the
Punjab, he started his very first Gandharwa Mahavidyalaya in
Lahore in the year 1901. The inaugural function was presided over
by Justice P.C.Chatterji, and the palatial Haveli of Raja Ram-
singh was hired on rent at Rs 13 per month ! Although no students
joined in the beginning, gradually more and more students came
in, and the staff consisted of teachers trained free of charge by
Pdt. Digambar himself. Among the staff were Keshavrao Datar
Govindrao Apte, Vishnu A. Kashalkar, Keshavrao Kale, Yashwantrao
Mugholkar and others. From 1904 Digambar began to actively co-
operate in the Swadeshi Movement by singing patriotic songs along
with his groups of students and quietening the most noisy throngs
through the magic of his grand voice which needed no microphone.
His rendering of the prayer-song "Raghupathi Raghava Rajaram" was
one of Gandhiji's favourites. Important citizens of Lahore like
Lala Lajpatrai, and Swami Sraddhananda, and other social leaders
became his admirers and friends. By his own personality and his
clean and noble living, he won for himself as well as for his
profession, a respected place in the highest society. With his
impressive personality, sweet and powerful voice, and fine train-
ing, he was splendidly equipped for the mission of promoting love
and respect for the art of Music all over the North. Once, a cri-
tic tried to tease him by asking: "Panditji, how many Tansens
have you produced?". With, his ready wit he cleverly retorted
that he had trained a very large number of "Kaansens" (con-
noisseurs of Music) all over the country.
The Mahavidyalaya in Lahore had been started in the very teeth of
opposition, and there was a constant shortage of funds, but Pdt.
Digambar and his brave band of co-workers pulled on somehow. At
one stage, they were so bankrupt that they apprehended that the
school might have to be closed down but at that critical hour
came a windfall in the form of an invitation from the Maharaja of
Kashmir. Vishnu Digambar accepted the offer gladly. By his suc-
cessful recitals in Kashmir be earned enough money and the life-
long patronage of the Raja, so that thereafter, he was not only
able to run the school on a stable basis but also to maintain and
support a large number of poor but talented students in his
school. Being a strict disciplinarian as well as of a very char-
itable disposition, he commanded great respect and affection. In
an atmosphere of mutual concord and under a systematic routine
the students were trained not only in vocal and instrumental
music, but they were also taught to repair musical instruments
and run their own printing press and journal. Well aware of the
importance of proper publicity, Vishnu Digambar saw to it that
the school's work and activities were brought before the public
eye from time to time through journals and newspapers. What with
his own regular practice, the conscientious lessons to students
and the extensive tours he undertook along with his groups of
students, his was indeed a very busy life. The example of his own
pure life and the unsullied atmosphere of the school gradually
broke down all the existing prejudices against music, and at-
tracted larger and larger numbers of boys and girls from respect-
ed families. Branches of the Gandharva Mahavidyalaya spread into
various other towns like Bombay Poona and Allahabad, and the
strength swelled. Though the songs were taught by rote, they
were also published with notations in the School-Journals. Among
the many Journals and books published in their own printing press
were "Sangeeta ( costing 2 annas per issue ! ), Sangeeta-
Baala-Prasad" in 3 volumes, "Sangeeta Baala- bodha", "Raga Prave-
sa" and so on. Pdt. Digambar himself used to teach in the classes
until he trained a large number of eminent disciples like Narayan
Moreswar Khare (who later on, stayed with Mahatma Gandhi in Sa-
barmati), Vinayakrao Patwardhan, Narayanrao and Shankarrao Vyas,
V.A. Kashalkar, Pdt. Omkarnath Thakur, Wamanrao Thakar, Wamanrao
Padhye, Venkatesh Modak, Keshavrao Kale and Datar Rambhau Ash-
tekar, Govindrao Apte, Yashwantrao, B.R.Deodhar and so many oth-
ers. His own son Dattatreya Vishnu Paluskar outshone them all,
flashed like a meteor in the musical firmament but alas ! was
snatched away by the cruel hands of death at the youthful age of
34 ! Pdt. Vishnu Digambar's personal life was full of tragedy. In
1882, he had been married to Vithabai, the sister of Balwantrao
(the post- master of Kurundwad), and 12 children were born to
them but tragically 11 of them died in their infancy, while Dat-
tatreya (or Bapurao as he was fondly called), the l2th son who
lived long enough to become an excellent and most popular classi-
cal musician was snatched away in the prime of his life and at
the peak of his musical career by a rare virus infection of the
brain which could not be cured in spite of the best and most
prompt medical attention. But D.V.Paluskar's popularity has not
waned even after the passage of so many years (he was born on
18/5/1921, and he died in 1955) as is evident from the large
number of his gramophone records that adorn tapes of this melodi-
ous musician.
Perhaps it was the tragic loss of 11 children that made Pdt. Di-
gambar so intensely religious-minded, and turned his attention
to Ramayan Keertan and so on. From classical music, his interest
seems to have shifted to devotional and patriotic songs. His
Schools contributed not a little towards the popularisation of
music all over the country. Instead of cringing for fiftful pa-
tronage of a few interested royal patrons, Digambar turned to-
wards the masses for support and appreciation. He undertook musi-
cal tours from time to time and sang along with his students too
in public halls. These concerts were accessible to rich and poor
alike through moderate tickets. Among the many factors that
helped him to captivate huge audiences and acquire admirers were
his melodious and powerful voice, his dignified personality
(with the long loose robes, and flowing beard, like a seer) and
his capacity to cater to every type of audience. He could sing
before an audience of thousands without the aid of any micro-
phone. Moreover, he could serve highbrow stuff for real con-
noisseurs, national songs for the patriotic-minded, devotional
music for the pious, Abhangs for the people of Pandharpur and
Maand renderings for the Marwaris ! His admirers and disciples
have recorded for us many instances where scoffers of Panditji's
work were put to shame on witnessing the spell which his music
cast over mammoth audiences, or instances where the highest au-
thorities of a State intervened to protect his person from
jealous rivals who sneakingly tried to harm him. A professional
musician moving on terms of social equality with respected na-
tional leaders and social leaders, and with exalted persons of
other "respected" professions was indeed a rare sight in those
days. That was Pdt. Digambar's great ambition and achievement.
Through his untiring efforts, he gradually managed to secure a
place for our music in the highest and most snobbish parties of
fashionable Lahore. His own disciplined and clean personal life
was a great inspiration to all those who came into contact with
him. In his Gandharva Vidyalayas he stressed the importance of
prayers, strict self-discipline, and clean living. He selected
the Padas of Meera, Nanak, Tulsidas, Surdas and other saint-poets
and set them in appropriate ragas and talas to be sung as classi-
cal songs.
His Gandharva Maha-Vidyalaya in Bombay which was inaugurated by
His Holiness Sri Jagatguru Shankaracharya, attracted students
from all castes and creeds in the cosmopolitan city. He founded
the Ramnam Adhar Ashram in Nasik. Along with his pupils and co-
workers he toured all over this country and also visited Burma,
giving performances and popularising Indian music. A great patri-
ot and an impassioned singer, he became one of the favourite
Bhajan-singers of Mahatma Gandhi. So successfully did he utilize
his art for inspiring patriotism that no political meeting or
Congress session in Lahore, Ahmedabad etc. was complete without
his powerful music. "Raghupati Raghava Rajaram", "Vande
Maataram", "Jaya Jagadisha Hare", "Rachaa Prabhu Toone" have all
come to be associated specially with Pdt. Vishnu Digambar. His
spirited defiance of the unreasonable ban on "Vande Maataram" at
the Cocanada Congress was given deserved praise and publicity in
all the national newspapers. His emotional rendering of "Raghu-
pati Raghava Rajaram" after his musical discourses got such a
hold over people's hearts that during his Hyderabad trip, it is
said that people of all religions joined him in singing it !
Towards the last phase of his life, Digambar became more and more
spiritual- minded, a real Bhakta of Sri Rama, spending long hours
in solitude, praying and singing. With his handsome face, and the
serene and pious expression on his noble face, he was an imposing
figure. In 1930 he had paralytic stroke. Through sheer will-
power and self-discipline, he recovered enough to be able to walk
about with the aid of a walking-stick. On 20th August 1931 it was
the auspicious Tulsi Jayanti Day. He devoted the whole day for
prayers and requested his students to sit beside him and sing
Bhajans. These continued until he gently slipped away from this
earthly existence on 2lst August 1931.
Sadly, he lived in an era when even the greatest music could not
be recorded and preserved for future generations. Death merci-
lessly silenced the creative genius of Vishnu Digambar's brilli-
ant son Dattatreya in 1955 at the young age of 34. But we have at
least his AIR recordings and gramophone records to cherish and
preserve glimpses of the beautiful music of this worthy son of a
really great and noble father who was "a great evangelist of Hin-
dustani music".
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Rajan Parrikar
From the RMIM Article Archive maintained by Satish Subramanian