Classical musicians in India tread a hard path with endless practice and no certainties of the result. So it is always heartening to see the government step in to encourage its artistes. Last week, Pandit Venkatesh Kumar, who was recently awarded the Padma Shri, was honoured by the Karnataka Government’s Department of Information and Publications in New Delhi. An excellent concert by the maestro followed during which he regaled the audience with a tautly presented Puriya Dhanashri. On request, he sang Hameer – the famous Gwalior gharana khayal “Langar ghar kaise jaaoo”. He outlined the “shakal” of Hameer as only a master can, in a few swiftly etched strokes, in his magnificent baritone hitting each note unerringly. After this he sang a thumri “jab se shyam sidhare” which was again simple and pure in its appeal. He ended with three compositions in Kannada by the poet saints Purandar and Kanakdasa. Accompanying him on the tabla was Keshav Joshi and on the harmonium, Satish Kolli, both from Dharwad.
Karnataka clearly values and fosters its classical artists. Over the years, there have been 19 Padma awardees in this field from this region. Pandit Bhimsen Joshi, Gangubai Hangal, Pandit Mallikarjun Mansur and Pandit Basavrao Rajguru are some of the more eminent names. He says Padma Shri is the reward of the blessings of his Guru.
Edited excerpts from the interview:
Tell us about your childhood, which was a hard one. How did music fit in?
In my village Lakshmipura, there were only 20 families when I was born. School was a four km walk away. My father used to sing Natya Sangeet and I used to sing with him. My mama (maternal uncle) took me to my Guruji’s ashram (singer saint Padma Vibhushan Pandit Putturaj Gawai) in Gadag when I was 12, and I stayed there for 12 years.
How was the experience of learning under your legendary Guru?
People like him do not exist now. Dedicated to a pure life and to teaching, he was not at all interested in material gain. Guruji used to pray four to five hours a day; he was a Saint in the true sense of the word. My Guruji used to say ‘You know how to use a note after 60 years of singing.’ He learnt from both the Kirana and the Gwalior Gurus, as well as in the Carnatic style. I remained in touch with my Guru till his death and even today visit the ashram around twice a month, as it is peaceful there.
Why do you think Dharwad region has produced such magnificent music exponents?
It could be because of the immense patronage to the classical arts by the erstwhile Maharajas of Mysore. Even the poorest people are exposed to music and folk theatre. Music programmes start at about 10 p.m. and carry on all through the night even in the villages.
Tell us about your early career
My first big concert was at the age of 42 at Sawai Gandharva Pune. It was a big moment – I had never sung to so many people at a gathering before. I like singing to the Calcutta audience; Pune and Chennai. Listeners are also good because these cities have a parampara of music.
You have also been a teacher all your life.
I taught music at the Dharwad University all my life till I retired recently. I have at least four students who show immense promise, two from Maharashtra, two from Dharwar. They are Ramesh, Ayyappa, Soraj Patel, Machendra Bua.
Who are your musical inspirations today?
I try to pick up musical concepts that I like from wherever I hear them. I have always been inspired by Ustad Bade Ghulam Ali Khan, among others.
You have three concerts in Delhi itself this month. Do you find it exhilarating to travel and perform so much?
Programmes are nice but they do interfere with my riyaaz.
I try to restrict my programmes to two to three a month as each concert means losing four to five days of riyaaz time.
