Sangeet Kalakaar Sangh, Belgaum was led by wise and talented performers. They belonged to a long and unhindered chain of Guru-Shishya Parampara, which stretched to many generations. Belgaum was home to many such artistes, who became instrumental in bridging the gaps of the audiences’ ages and learning.
It was heard many times by our generation that “In olden days, we had more number of audiences and their quality of listening was very high!” Till some thirty years back, it was so true; since we, as young listeners, did see a large number of good listeners in the concert hall as big as Maratha Bank hall. The late comers sat on the stage keeping only two to three feet distance with the performers. (Remember Pt. Jitendra Abhisheki’s concert in Maratha Bank hall in the eighties? And yes, Pt. Anant Terdal’s Gandabandhan ceremony at the hands of Bharatratna Bhimsen Joshi?)
The vocalists like Utturkarbuva proved that classical singing could attract novices and the learned too! I personally saw that he made the audiences happy and wise. ‘Wise’ because his traditional way of Gwalior style of Badhat, Behalawe, Aakar, Boal Aalaps, Boal Taans and more than everything his ever-smiling face while singing! I had the privilege to provide Tanpura accompaniment to him in Kavale Math hall in the early eighties. Another Tanpura was played by Mukund Gore.
Pt. Vinayak V Utturkarbuva (1914-1989) was admired for his simple living and high thinking. My friend Vidyadhar Abhyankar was his nephew. He liked my singing and used to speak very highly about his uncle. We went many times to his house in Konwal Galli. I still remember his soft voice and affectionate enquiries. Being a new entrant into the press reporter’s job, I developed a special interest in his musical life. My music was also growing steadily, and that itself was the reason to be closer to him. My Guru in Tabla Pt. Suryakant Gokhale, Pt. Yeshwantbuva Joshi of Gwalior Gharana and his sister vidushi Malini Phatak had a very cordial relation with Vinayakrao.
I gathered that he popularised Gwalior Gayaki in the musical minds of Belgaum’s listeners. His father Pt. V K Utturkarbuva was one of the luckiest students of great Pt. Balkrishnabuva Ichalkaranjikar. Balkrishnabuva is believed to have brought “Khyal Ganga” of the north to the south for the first time in the history of Hindustani music. His students were supposed to have spread Gwalior Gayaki in Maharashtra and North Karnataka. V K Utturkarbuva opened his own music school named “Anandmurty Sangeet Vidyalaya” in Belgaum. Vinayakrao received his initial lessons there under his father.
In his youth, Vinayakrao went to Pune to get further guidance from Pt. Yeshavantbuva Mirashi, the celebrated Shishya of Pt. Balkrishnabuva. From Tilak Maharashtra Vidyapeeth, he got the degree of Sangeet Visharad. He also received guidance from Pt. Hanumantrao Walvekar of Dharwad for deeper knowledge. In the meanwhile attended college and completed the first year of B.A.
Vinayakbuva began his career as a music teacher in Vanita Vidyalaya of Belgaum. Since 1950, his vocal programmes were broadcast on All India Radio. He was an A-grade artiste and performed regularly from Dharwad, Mumbai and Delhi centres of AIR. The Maharaja of Mysore invited him for the yearly Dasara festival. He gave many programmes in Karnataka, Goa, Maharashtra and Delhi. His knowledge in musicology was commendable. His lectures and demonstrations attracted students and general audiences equally. He was a panel member of the audition committee of AIR. Vinayakrao was a reputed examiner for the KSEE Board and ABGMV Mandal.
Pt. V V Utturkar was conferred the title “Sangeet Sagar” by Veereshwar Punyashram of Gadag. Karnatak Sangeet Nritya Academy offered him Rajya Puraskar in 1980. He was the first Vice-President of Sangeet Kalakaar Sangh, Belgaum.
About the author:
Pt. Nandan G. Herlekar is a renowned Hindustani classical vocalist, music educator and author from Belagavi. A lifelong student and teacher of Indian classical music, he has dedicated himself to documenting the city’s rich musical heritage. This series chronicles the lives and contributions of Belagavi’s musicians, preserving an important chapter of the region’s cultural history.
