| Mohanrao Palekar | |
|---|---|
| Birth name | Mohanrao Palekar |
| Born | September 13, 1898 |
| Died | June 6, 1962 |
| Genres | Hindustani classical music, Natya Sangeet |
Mohanrao Palekar (Devanagari: मोहनराव पालेकर) (1898–1962) was a noted Hindustani classical vocalist and is considered a stalwart of Jaipur-Atrauli Gharana, commonly referred as "Jaipur Gharana". He boundlessly worshiped and revered the gharana gayaki and was a brilliant artist.
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Mohanrao was born in a musically oriented middle class family. He somehow waited patiently till he completed the matriculation examination and then left home to pursue his aspirations in the field of music and stage performances. Like many marathi singers, Mohanrao moved to Hindustani Classical Music via Natya Sangeet. He first joined "Bharat Natak Mandali" as a stage actor. Here Mohanrao was not getting any opportunities to showcase his natural musical talent. Later, he worked with Govindrao Tembe's "Shivraj Natak Mandali", and there his talent got new opportunity and direction.
While working at the "Shivaraj Natak Mandali", Mohanrao met Ahmed Khan sahib from Alladiya Khan sahib's gharana; Ahmed khan sahib was the grandson of Alladiya Khan Sahib's guru Jehangir Khan Sahib. Ahmed Khan sahib was well trained in the traditional gharana style but was not a very well known singer because of his indifferent attitude. However, Mohanrao recognized Ahmed Khan sahib's talent and became his disciple. Needless to say that Mohanrao got taleem in the truest tradition of the gharana. He also got ample opportunities to listen to great musicians ad libitum. It was therefore not surprising that talented young Manoharrao quickly rose to great heights in the field of music. He was well known for creating style and technique of the Jaipur gayaki.
Despite the training and the talent, Mohanrao could not pursue his aspirations to be a fulltime classical music exponent due to family and other considerations; his performances were mostly confined to private mehfils. Therefore, he was not widely known to the general public. However, he was very highly revered among the knowledgeable and cognoscenti musicians, artists and listeners.
Even though Pt. Mohanrao could not be a fulltime classical music exponent, he did not give up his passion, and unrelentingly continued deliberations and riyaz. He not only mastered rare bandishes of popular and intricate (anvat) ragas, he also composed and arranged bandishes for some of the complex ragas. Natural melodiousness of his voice, further honed, mellowed & enriched by uncompromising riyaz, gentle movement of asthaee and flair of beautifully adorning every note with interleaving notes, like filigree work, was considered his forte and a specialty of his style.
Probably there aren’t many people around today, who have had the privilege of listening to Mohanrao in person. With whatever little he sang, Mohanrao presented very distinct and extraordinary music. With great devotion and dedication he had acquired the style that reflected multiple facets like intellect, charm, tenderness, marvel etc. His singing style was unprecedented—the natural charm of a thumari was perceptible in his asthaee and the depth, solemness and command of an asthaee was noticeable in his thumari.
Pt. Mohanrao's singing style was passionate and inspired; therefore it was not possible for the students to learn by taking only structured lessons. Only the vocalists who had attained a certain level of mastery in their singing could benefit from his tutelage and guidance. This is very discernible by the list of his illustrious disciples that included Pt. Ratnakar Pai, Manohar Potdar, Pt. G. T. Tilak (popularly known as टिळक मास्तर), Krishnarao Chonakar, Kishori Amonkar, Kamal Pathare, Suresh Haldankar, Bhalchandra Patekar etc.
^ G. K. Nimkar: प्रथम मासिक श्राद्धदिनानिमित्त वाहिलेले परिचयपुष्प - a brief biographical sketch after the first month