रस के भरे तोरे नैन
आजा सांवरिया
तोहे गरवा लगा लूँ
रसके भरे तोरे नैन
दिन नाहि चैन,
रात नाहि निन्दिया,
तरपत हूँ दिन रैन
[Not checked against delivery. This is the standard text as I recall it and given only for indicative purposes.]
Apparently, recorded at PuLa Deshpande's home in 1969.
When Vasantrao Deshpande (1920-1983) passed away, Bhimsen Joshi (1922-2011) declared that Marwa had died in Maharashtra.
[These pics are clearly from different time periods, and I plead guilty of not being thoughtful enough when choosing them]
From Veena Nayak's translation of Ramkrishna Baakre's article in Marathi:
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In the early half of 1940 when Vasantrao arrived in Pune, the world of music in that city was bustling with reputed personalities. One could count these luminaries like the large Maruti temples that abound in Pune. Step out of Shivajinagar station to find Pandit Mirashibuwa, turn left at the Shaniwarwada and go towards Appa Balwant Chowk to meet Pt. Vinayakbuwa at Jamkhindikar’s bungalow, Patankarbuwa at the late Bhaskarbuwa’s Gayan Samaj, Vazebuwa at Bharat Itihaas Mandal, Master Krishnarao behind Maharashtra Mandal, Keshavrao Bhole and Hirabai Barodekar in the vicinity of the wild sadhus, Sureshbabu at Shukrawar, near the wooden bridge was Ustad Mohammed Khan, son of Kadar Bux, the sarangiya of Gandharva Natak Mandali. Bhimsen Joshi had yet to start dropping in at Vaidya Pandurang Shastri Deshpande’s house in Shukrawar for riyaaz. Sawai Gandharva was bedridden after a stroke of hemiplegia.
Such was Pune, a garden in full bloom! Vasantrao, however, chose Sureshbabu (as his teacher. The reference is to Sureshbabu Mane, son of Abdul Karim Khan – VN). In spite of Dinanathrao’s pronouncement that Sureshbabu was a cursed artist whose teaching would not take a student too far, Vasantrao went to Sureshbabu with the inner conviction that the music that he wished to learn was vested in him and none else. “In the decade between 1942 and 1952, I began to understand music”, Vasantrao had once said. If we bear in mind that Sureshbabu passed away in 1953, it becomes clear that he played a significant role in Vasantrao’s musical development.
Learning music and understanding music are two entirely distinct matters. Vasantrao picked up Dinanathrao’s gayaki by going back and forth between Nagpur and Amravati. Years later, in 1938, Vasantrao went to Lahore with his uncle who was transferred to that city during his tenure with North Western Railways. I do not know which half-wit coined the phrase, “Matulaha sarvanAshaya” (“Maternal uncles are a source of ruin”). Vasantrao’s life shows that the saying ought to be amended as “Matulo bhaagyavrudvaye” (“Maternal uncles enhance fortune”). It was Vasantrao’s uncle who entrusted him to Dinanathrao. It was also his uncle in Punjab who gave him strategic advice on how to glean musical treasures from the likes of Asad Ali, Barkat Ali and Bade Gulam Ali. It is greatly enjoyable to hear Vasantrao recount the tales of his wandering days in Punjab.
In 1938, Vasantrao came to Lahore on the railway pass that his uncle had sent him. Gandharva Mahavidyalaya was situated in Lahore, but Vasantrao went there only occasionally and for social purposes at that. Patiala gayaki had enamoured him and he began to take delight in its search. In the course of his wanderings at the koThas of dancing girls, he learnt that an excellent saarangiya such as Haider Bux would take the landlord’s buffaloes to pasture in the forest with a sarangi nestled under his armpit. As the cattle grazed unhurriedly, Haider Bux calmly did his riyaaz under a tree. At nightfall, he would take off to the brothels to ‘accompany’ the dancing girls. He earned his daily bread through these jobs. Such instrumentalists were called Mirashis. The fact that a Brahmin talked to the Mirashis so openly was a source of annoyance to the Arya Samajists. Vasantrao was part of a small group of people which was deeply involved in music. They were greatly sympathetic of the musicians in Lahore, especially Bade Ghulam Ali Khan...
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Playlists:
• Vasantrao Deshpande
• Bhimsen Joshi
• Bhairavi
• Ras Ke Bhare Tore Nain
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