Song of Surrender

Friday, 29 July 2016

Delightful shadow play with puppets

By Sukanya Sankar

They were moving to the beat of the music and lip-syncing the song. No they were not dancers, but puppeteers at play. It was a delight to watch Kalaimamani S. Seetha Lakshmi and her group (all family members) narrating a segment from the Kamba Ramayanam, through the traditional Thol Bommalattam (Shadow Puppetry). The show was a joint effort of the Tamil Nadu Eyal Isai Nataka Manram and Sri Krishna Gana Sabha as part of the Yagnaraman Fest 2016.

The advent of television and Ipads has usurped a majority of the audience from this art. But, it was a pleasure to see a packed hall brimming with 7 to 14 year-old children, constantly cheering and applauding scenes when Rama attacked Soorpanakha, and Jatayu fought with Ravana, to name a few.

Seetha Lakshmi evinced keen interest in dance and puppetry even as a child. Born in 1946, in Kakinada, Andhra Pradesh, she started her career when she was eight. She accompanied her mentor and maternal uncle, Acharya M.V. Ramamurthy and his troupe to Chennai and performed at the Island Grounds. Among the audience, were Mrs. Y.G. Parthasarathy and Sanskrit scholar Dr. V. Raghavan. They were so impressed by the performance that they requested us to stay back in Chennai. “I am eternally grateful to Mrs.YGP for arranging many shows for us in majority of the schools and colleges in Chennai”, says Seetha Lakshmi.

Her next break came through Dr. Y. Nayuduamma, a well known leather technologist from CLRI, Chennai. He created a special division in CLRI, where Seetha Lakshmi could train students and other technicians in making leather puppets. “This was a big break for us. We also received an invitation to participate in the International Puppet Festival, one of the major festivals in the 1960s. Nayuduamma made sure that we participated in all these festivals as official representatives of the Indian Government through CLRI. Then on, there was no looking back for us, we have visited more than 60 countries till now. France is our favourite destination, and audiences there love the Ramayana and the Mahabharata”, says Seetha Lakshmi.

Although she started performing with a live orchestra, Seetha Lakshmi says that it is easier to travel to international destinations with recorded music. “This is something we learnt by watching puppet shows from other countries. Adherence to time, script and English narration, were some of the other changes we have adapted to.” Talking about  some of the transformations this art has undergone, she says, “Initially we used to customise the leather according to the characters. A demon in the story would be made of buffalo skin, while a sacred character would be made with deer skin. But now because of the regulations, we only use goat skin. We buy the leather and as a family we sit together, punch, colour and get the puppets ready in a matter of a few days”.

Seetha Lakshmi has worked with glow puppets, string puppets and rod puppets, but at the end of the day, shadow puppetry is closest to her heart. Her face lights up as she talks about her favourite puppet – the dancer. "My favorite puppet is the lady dancer in all my productions. I can make her swirl and dance to my tunes”, smiles Seetha Lakshmi. Among her memorable  performances are the Molla Ramayanamu which combined live Kuchipudi dancers and puppets. Another is the famous One-Man puppet show in Prague, where she single-handedly staged excerpts from the Ramayana.

Behind the shadow play....
When I asked them how they rehearse for such shows, Srini Vasu, her nephew laughed and said, “I have been in this field from the age five and we have not rehearsed a single show. Once we get the script and the music is ready, we are good to go”. Srini Vasu is also a successful executive at HCL, Chennai. As he says, “This is our passion but unfortunately it cannot be our livelihood, as the income is not directly proportional to the production costs”. Srini Vasu, his wife Bharani, daughters Priyanka and Madhumikha (who are also engineering students) are all involved in this art form and they say that their respective establishments readily grant them leave of absence whenever they have a show.

“It is a true labour of love,” says Seetha Lakshmi. “Although, we do get some recognition from the Government, they often come with restrictions. Art forms cannot really thrive with too many restrictions”. The State Government had set up a scheme, through which Seetha Lakshmi has trained many youngsters and school children. She has won many accolades both in India and abroad. The Kalaimamani and the Poompuhar award from the Government of Tamil Nadu, Kala Saraswathi from the Government of Andhra Pradesh are some of them.

“We are doing our best to keep this art alive. It has become extremely unaffordable to come up with new productions without grants or sponsorship, but I will continue to give my best," concludes Seetha Lakshmi. <>

Thursday, 28 July 2016

Sri Krishna Gana Sabha announces Choodamani Awards 2016


Mridanga vidwan Tiruvarur Bakthavathsalam will receive the 'Sangeetha Choodamani' award, and veteran musician and teacher vidwan B. Krishnamoorthy will be honoured with the  'Aacharya Choodamani' award on the inaugural day of the 61st Gokulashtami Sangeetha Utsavam on 6th August 2016.

R. Seshasayee, Chairman, Infosys and Indusind Bank will inaugurate and preside over the function. Umayalpuram K. Sivaraman will confer the award on the artists. Cleveland V.V. Sundaram and Nandini Ramani will felicitate the artistes.

This will be followed by a unique percussion presentation on the khanjira, mridangam and konnakol by B.S. Purushotham, B. Shreesundarkumar and K.V. Gopalakrishnan. <>

Wednesday, 27 July 2016

Magsaysay Emergent Leadership award for TM Krishna

The Ramon Magsaysay Award Foundation list of awardees announced on Wednesday included the name of Carnatic singer T.M. Krishna, who will receive the award for “social inclusiveness in culture.” 
His citation says: "He saw that his was a caste-dominated art that fostered an unjust, hierarchic order by effectively excluding the lower classes from sharing in a vital part of India’s cultural legacy. He questioned the politics of art; widened his knowledge about the arts of the dalits (“untouchables”) and non-Brahmin communities; and declared he would no longer sing in ticketed events at a famous, annual music festival in Chennai to protest the lack of inclusiveness. Recognizing that dismantling artistic hierarchies can be a way of changing India’s divisive society, Krishna devoted himself to democratizing the arts as an independent artist, writer, speaker, and activist.”
Hearty congratulations to Krishna.

Birthdays & Anniversaries

Sunday, 24 July 2016

Sangita Kalanidhi for violinist A. Kanyakumari

“The executive committee of the Music Academy held on 24 July has unanimously chosen senior  Carnatic violinist A. Kanyakumari for the Sangita Kalanidhi award,” said N. Murali, president of the Academy. Kanyakumari will be the first woman violinist to get the award in the history of the Music Academy and she will preside over its 90th annual conference to be held from 15 December 2016 to 1 January 2017. The award will be conferred on her at the sadas to be held on New Year's Day 2017.

Rudrapatnam brothers — R.N. Thyagarajan and R.N. Tharanathan and K. Venkataramanan, vocalists and music teachers, will receive the Sangita Kala Acharya awards.

TTK awards will be conferred on vocalist Nirmala Sundararajan and Tevaram  singer M. Kodilingam.

The Musicologist Award will go to Rama Kausalya and the Pappa Venkatramaiah award to violinist Sikkil Baskaran. 

The Natya Kala Acharya award will be conferred on senior Bharatanatyam dancer Malavika Sarukkai on 3 January 2017, at the inauguration of the dance festival.

Friday, 15 July 2016

Felicitations to Rudrapatnam Brothers for 60 years in music

By Vivek Sadasivam

The Rudrapatnam Brothers -- R.N. Thyagarajan and R.N. Tharanathan -- are a   senior vocalist duo in Carnatic music. Starting with a chamber concert in Mysore in 1956, the brothers have been giving performances ever since, in India and abroad, enthralling music lovers through the decades. 

Their music is known for its aesthetic appeal and purity, and their erudite rendition of compositions. Their vast repertoire has been a hallmark of their career. 


Recipients of many awards and graded in the top rank by All India Radio, the brothers were recently nominated to receive the Central Sangeet Natak Akademi Award.

Their students have made plans to honour and felicitate them in a programme scheduled for 16 July 2016,  at Vyalikaval Ramamamandira,   Vyalikaval in Bengaluru. Dignitaries who will felicitate the Rudrapatnam Brothers include N.S. Krishnamurthy, retired Director of All India Radio, and vidwans R.K. Padmanabha and B.K. Chandramouli.

The event will also feature a flute concert by Amith Nadig, accompanied by Mathur Srinidhi (violin), K.U. Jayachandra Rao (mridangam) and Omkar Rao (ghatam).

Birthdays & Anniversaries

Tuesday, 12 July 2016

Sangita Kalanidhi for VVS?

 VV Subramaniam: An honour overdue

By Samudri

It’s that time of the year again, when the Music Academy will sit down to elect its new Sangita Kalanidhi. 

Sruti’s vote goes categorically to VV Subramaniam, the violinist most fellow musicians consider worthy of that supreme honour in Carnatic music.

Another veteran musician on Sruti’s roll of honour is ghatam maestro TH Vinayakram, who put south Indian percussion on the world map.

If Sruti’s line of thinking gains acceptance, there could one day be discussion of the idea of more than one Sangita Kalanidhi annually. 

Vinayakram is certainly Kalanidhi material in our book.

Birthdays & Anniversaries


Sunday, 10 July 2016

A memory of Veena Sahasrabuddhe

A magical glimpse of Gurukulavasam
By Kamakshi Mallikarjun

The lilting Chandrakauns tarana in the Music Today cassette compilation Tarana – Flights of Melody was the first time I heard Veena Sahasrabuddhe. I was blown away and longed to attend her concert. Thereafter, during periodic trips to Chennai, I used to search for Veenaji’s cassettes and CDs and continued to hope that one day I would be able to attend her concert.

Circa 2008, I heard that a local organization called Sangeet Society was arranging a Veena Veena Sahsrabuddhe concert in New Jersey. At a gathering at my friend’s house for Ganesh Chaturthi, I bemoaned that here was this golden opportunity to listen to Veenaji but it was too far for me to drive but not only did I find a ride to the wonderful concert, my friend introduced me to Suraja who was one of the organizers. Suraja informed me that Veenaji would be staying with her. She was arranging a workshop and invited me to attend that as well.


Veenaji was that rare avatar: a legendary performing artist who was also a great teacher with a passion for igniting a greater understanding and appreciation of Hindustani classical music amongst all students. In every facet of this workshop, Veenaji would come back to the guiding principles – ultimate respect and devotion for the great art of classical music, dedication, integrity and daily, diligent practice. Her dictums, explanations, corrections and clarifications were so lucid and struck such a deep chord in me that I came back home and wrote it all down.

Some excerpts of what Veenaji shared with us:
Ascending the stage is like entering aag or fire
You want fast results ; input-output. It won’t happen

All of you are singing because it makes you happy; if you had the slightest desire of performing, I will not proceed further till you get the ni re ga ma phrase of this raga correct

I want it 100% correct every time
No hovering around the note; if that is where the note is, that is where it should be
You need to repeat each phrase at least 50 times

I don’t understand why people ask me, “Do you still practise? Of course, I still practice—for three or four hours everyday. A marathon cannot happen suddenly. In your work, if you decide to not do anything for five days or just spend half an hour here and there, will it work?

In every raga, you need to learn at least ten songs or bandishes as a starting base for understanding the raga

My father used to make me sing every bandish I learnt while playing the tabla; I also had to showcase all the embellishments for the bandish while playing the tabla

Alap has patterns of symmetry like drawing a rangoli—if there is a loop here (lower octave) there is a loop there (higher octave), a double loop there, double loop here

We must treat the raga with respect ; the raga is in front of us and we pay respect and we are not in front. We cannot utter things that don’t make sense.

During the workshop, when Veenaji tuned the tanpura and strummed it, the reverberating nada brought tears to my eyes. We started with singing notes and akara for the raga Yaman traversing the notes from the lower ma to the higher pa. Veenaji also took the extraordinary and completely unexpected step of having each of us take turns on strumming her tanpura, as she would have done for her full time students in India. The entire experience was indeed a magical glimpse of gurukulavasam and, for two spellbinding hours, my dreams were no longer daydreams.

She next taught us Purya Dhanasri, taking the unusual step responding to repeated pleas from many participants in the workshop to please teach something other than Yaman. She did admonish us repeatedly for that sentiment saying that more than a lifetime is needed to master Yaman. 

The choice of Poorya Dhanasri was perhaps a masterstroke to get these pivotal points across to every student in the workshop. In the raga, there is no safety of Sa or Pa in the ascent and hence the phrases ni re ga ma, re ga ma ni are fiendishly difficult and slippery. And yes, it did become crystal clear to everyone why there is a prescribed progression to the ragas that beginning students are taught.

Veenaji said that since our primary focus was a better understanding of Hindustani classical music and singing for the sake of personal enjoyment and not professional aspirations, she would still teach us the bandish. She then taught us the hauntingly beautiful bandish Tere daras ki and also shared with us the notation written in her own hand. 

Even though I had been an avid listener of Hindustani classical music for several decades, understanding of the grammar and innate intricacies came only after listening to Veenaji’s Language of Raga Music CDs and later the more comprehensive online lecdems at IIT Mumbai/ IIT Kanpur. These lectures were structured meticulously, the explanations are articulate and poetic and the demonstrations sublime. They progress from the fundamentals of swara, laya, raga to gamakas, tala, bandish, alap, and gharanas. In addition to the grammar of Hindustani classical music, Veenaji illustrates the aspects of improvisation and embellishments in the singing of alap and bandish.

You can get a glimpse of this master class in the following youtube link – an excerpt from Veenaji’s lecdem on 24 October 2010 arranged by Sruti, the India Music and Dance Society Philadelphia. Veenaji explains the difference between the allied ragas Poorya, Marwa and Sohini.


In a concert the previous evening in Philadelphia, one of the ragas featured was Chandrakauns. As she explained in her lectures, Veenaji sang three pieces in slow, medium and fast laya, starting with a mesmerising Chandarki Chandini (it was a full moon night) and ending with a tarana in Chandrakauns.

You can view excerpts from this concert at this link (Chandrakauns is Video 4)

In an interview for the Hindu, With ragas in her heart, Veenaji said – “"My father taught not just music but every other skill that a singer needs; writing, reading notes, the basics of each instrument... I try to do the same with my students, even though they are spread out all over the country and the world."

Veenaji, you will be an eternal guiding beacon of light in our lives.

Birthdays & Anniversaries


Saturday, 9 July 2016

Father and son honoured for contribution to Tamil theatre

By Charukesi

Tamil stage actor-playwright-director, K.S.N. Sundar was conferred the title ‘Nataka Kala Sarathy’ by the Governor of Tamil Nadu, K. Rosaiah, on the occasion of the 116th anniversary of Sri Parthasarathy Swami Sabha, on 14 June at the Sadguru Gnanananda Hall in Chennai.   Just a few minutes prior to this, his father ‘Kalanilayam’ K.S. Nagarajan – veteran stage actor and director – was honoured by the Governor, for attaining 100 years and continuing to  perform  on stage.  (He acted in the play Yaar Payyan? penned by K.S.N. Sundar the previous day).

Not many father-son duos have had the privilege of being honoured on the same stage and it was a rare sight for the audience. While the sabha secretary M. Krishnamurthy welcomed the gathering and read out the citations, Nalli Kuppuswami Chetti, President of the sabha heaped praise on both the artists for this unique honour. “Perhaps, this is the first time, or the one and only occasion that such an honour is bestowed upon the father and son,” he declared.  The federation of city sabhas had performed ‘kanakabishekam’ on the centenarian a fortnight ago and this was the second occasion that the 100-year old was being felicitated in the presence of a large number of rasikas. 

Former Solicitor General of  India, Mohan Parasaran felicitated the centenarian for his contribution to Tamil theatre. Tiruppur Krishnan, Editor, Amudasurabhi eulogised the role played by the veteran actor in shaping several stage actors like Poornam Viswanathan, ‘Kalanilayam’ Chandru, Karur Rangaraj and a dozen other artists.  He mentioned Nagarajan's innovation in presenting the ‘Janavasam’ procession in the auditorium itself when he staged Savi’s Washingtonil Thirumanam. Nagarajan has produced plays of writers like Anuradha Ramanan, Devan, Sujatha, ‘Marina’, Indira Parthasarathy, ‘Deepam’ Na. Parthasarathy.  He brought over hundred artists on stage when he presented Na.Pa’s Kurinji Malar. Krishnan congratulated K.S.N. Sundar for staging the ‘Manikodi’ era writer Swaminatha Athreya’s Anubhava Aradhanai, depicting the life of saint Tyagaraja.

In his acceptance speech, K.S.N. Sundar thanked the organisers and all those who had stood by them throughout their journey in Tamil theatre.

The Palace of Illusions

By S.D. Desai

With no direct hint to it, The Palace of Illusions by Chitra Banerjee Divakaruni (Picador, 2008) becomes a metaphor. As a gesture of gratitude for his survival, the demon king Maya is going to build an amazing palace on the ashes of the Khandava forest Arjuna has destroyed. Bheema would like to see ‘a hundred cook fires lit all at once’. Yudhishthira anticipates kings discussing statesmanship and listening to music in it. Arjuna wishes to see ‘a dome that reaches up toward the sun!’ 

What would Panchali like to have in it? ‘Water. I want water. Everywhere,’ the daughter of the earth says cryptically. She cannot bear to see and feel the agony of the once luxuriating soil of the Khandava forest turned to total ruin. It is in this palace that Duryodhana invites humiliation by mistaking crystal clear pond water to be a clean tiled floor and falling into it. The motif of illusion keeps recurring in the work at many levels. And, at the end, her triumphant laughter turning into disillusionment, Panchali longs for yet another palace. 

In The Palace of Illusions, Panchali revisits the episodes of the epic from birth till her dissolution into the elements of the earth. She narrates them with her emotive and intellectual responses – developed by a modern woman gifted with imagination and exceptional verbal felicity. The female take on major happenings and characters in the Mahabharata catches the creative impulse of a dance choreographer Uma Anantani and her disciple and daughter, Shivangee. The result is an hour-long eminently watchable dance piece From Fire to Fire. 

Will a mere 12-page gist of an unputdownable 360-page novel brilliantly written in a racy style succeed in conjuring up on stage – largely in a solo Bharatanatyam performance – a flamboyant, sensitive and articulate individual intelligible to the modern mind? The skepticism was dispelled by both the choreographer and the dancer. The choreographer, who has a doctorate in Indian aesthetics under the guidance of Dr. Kanak Rele, picks up from the rich classical repertoire just the right karanas and mudras to match Panchali’s moods, emotions and contextual responses while working in the format of a brilliant combination of text, dance and a bit of theatre.

A good Bharatanatyam dancer, Shivangee as Panchali in her best performance to date runs the whole gamut of emotions from imperiousness and vengefulness to despair and anguish in a style the viewer familiar with the story of the epic follows. With the precision of expression she has acquired at Kanak Rele’s Nalanda, she emerges as a strong Panchali in episode after episode standing tall in her interactions with major characters, including Krishna, and brooding. 

The story remains largely linear as in the novel. The flashbacks giving a glimpse of Panchali’s thinking in a context are momentary – so momentary a viewer not alert enough is likely to miss them. There are welcome relevant insertions like the sloka Nainam chhindanti shastrani…’ from the Geeta. Unlike the performance, the novel affords space and time to the viewer to reflect. An identical costume in beige for a bevy of girls led by Koral Adenwala, a senior student of the dance centre Rasadhwani, making a striking functional entry, now forming the palace, now becoming a tree, now as warriors, against Draupadi’s radiant colours is a considered choice to keep the group in the background, avoiding intrusion. 

K. Jayan’s music has a creative touch. It supports dance movement and at the same time enhances the dramatic effect. Parth Raval at the lights matches the moods on the stage. The three voiceovers (Makrand Shukla, Chirag Trivedi, Diana Raval) are dramatically effective – one in deep baritone, another conversational, a third intensely emotive. Shivangee beautifully translates or responds to them with her visual vocabulary. The beauty of spoken English, however, is in its rhythm and cadence, which need to be approximated. 

This Panchali – of Divakaruni’s, of Anantani and of Shivangee – is critical of the Pandavas and yet not revolting, on an even keel with the divine, empathetic to the lowly in society, human to be vengeful, imperially triumphant when her moment comes, anguished at realising the vanity of her driving desire and at the annihilation she invites, psychologically credible to have had a special place in her heart for the man among men, Karna, silenced to suffering. And this is why she gets so endearing to the modern mind. 

At the end, when her body is dissolving, she asks Krishna, “Are you truly divine?” “Will you never be done with questioning?” the ever-dependent friend responds, “Yes, I am.” And, singing a paean to her he adds, “You are, too, you know!” The culmination of Divakaruni’s verbal performance is seen in those words, along with what Krishna’s words that precede, “Like the small brass bells tied around the necks of calves, that sound will remain with me even when hearing has gone.” Intriguingly, the short script and the performance based on it omits a refreshing original interpretation of Panchali’s psyche, of something that remained buried in her subconscious and pops out now at the end. 

At Krishna’s touch, “… something breaks, a chain that was tied to the woman-shape crumpled on the snow below. I am buoyant and expansive and uncontainable … I am beyond name and gender and imprisoning patterns of ego. And yet, for the first time, I’m truly Panchali. I reach with my other hand for Karna – how surprisingly solid his clasp! Above us our palace waits, the only one I’ve ever needed. Its walls are space, its floor is sky, its centre everywhere.”

Birthdays & Anniversaries

Friday, 8 July 2016

Yagnaraman July Fest


Veteran violin vidwan M. Chandrasekaran was honoured  with the 'Yagnaraman Living  Legend Award' by R.T. Chari, Managing Director of Tag Corporation, on the valedictory day of the Yagnaraman July Fest organised by Sri Krishna Gana Sabha in Chennai. The 'Yagnaraman Awards of Excellence' were presented to Carnatic musicians Ramakrishnan Murthy (vocal), V. Sanjeev (violin) and J.B.Sruti Sagar (flute), in the presence of Krishna Gana Sabha office bearers Nalli Kuppuswami Chetti - President, Y. Prabhu - General Secretary, and  R. Venkateswaran - Joint Secretary.

Tuesday, 5 July 2016

Art of tanam singing at the Pallavi Darbar

By Sukanya Sankar

The inaugural day (29 June) of the Pallavi Darbar festival organised by Carnatica and Parthasarathy Swami Sabha at the Bharatiya Vidya Bhavan, Chennai, commenced with an interesting lecture demonstration on the 'Art of tanam singing' by Carnatic musician and Sanskrit scholar Dr. T.S. Sathyavathi. She began by highlighting the importance of breath control in singing tanams, and explained the significance of 'swasa sastra' and 'siksha sastra' –  the two anchors of tanam. 

When Sathyavathi said that the inspiration for tanams stemmed out of the veena, it seemed like interesting trivia, but when she went on to demonstrate how each syllable should be actually sung and how it resonates from the nabhi or navel, the “Taanam..anantam” sounded just like the veena. The manner in which Sathyavati was able to demonstrate every syllable in various permutations and combinations of swara patterns of 3,5,7 and moved from a six-pattern to a three, were  commendable. 

She beautifully demonstrated how to approach a tanam using the ghana ragas – the combination of notes in ghana ragas she said, naturally leads to an aesthetic unison of ghana and naya (powerful and soft) and hence is a fine choice for singing tanam. Tyagaraja’s pancharatnas, a fitting example of the ghana ragas were demonstrated in tanam and the beauty of the raga flowed seamlessly. 

She then moved on to the importance of practicing tana varnams. She demonstrated the simple Abhogi, Mohanam and Saveri varnams in the tana krama, using the solfa syllables, ‘Takara and Nakara’. She demonstrated on how one can shift the breath control and stress on the syllables while practicing the tana varnams and they can actually produce a scintillating effect on the listener. 

Sangeeta Ratnakara, Natya Sastra, and other Sanskrit treatises give different musical interpretations to tanam. These texts have explained tanam as a series of six, five, three or two notes arranged in a specific combination. The straightforward combinations of these notes are called ‘suddha tanam’ (for example, ss rr gg, srg) and the vakra combinations which are not straightforward are called ‘kuta tanam’ (Sa ma, Da pa da ri). She demonstrated and explained the training for such tanams using the sahitya of stotras like Mudakaratta modakam and the Kalabhairava Ashtakam. 

She then went on to explain the different type of tanams which when sung, depict the movement or gait of birds and animals, such as the gaja (elephant), hareena (deer) markata (monkey), and mayura (peacock).  Every time she demonstrated the tana krama for each of these classifications, you could actually visualise the animal or the bird. Her demonstration of Ghanta tanam and Sankha tanam was really powerful and it is a pity that we do not get to hear some of these tanams in concerts today. 

While most musicians talk of innovation in their concerts, why not adopt some of these existing techniques in tanam singing? When the audience today is willing to accept changes in the kutcheri paddati, why not try something novel in the form of a tanam? It could well be a totally new ‘Ananta’ for both the musician and the rasika.

Friday, 1 July 2016

Veena Sahasrabuddhe is no more

1 July 2016
By Samudri


Celebrated Hindustani classical vocalist Veena Sahasrabuddhe, an exponent of the Gwalior gharana, who had been ailing for a few years, passed away at Pune on Wednesday 29 June.

A Sangeet Natak Akademi awardee, Saharabuddhe was 68 and survived by her husband, son and daughter.

Born at Kanpur on 14 September 1948, Veena
Sahasrabuddhe started her musical lessons with her father, Shankar Shripad Bodas, a sishya of Vishnu Digambar Paluskar.

She later trained with her brother Kashinath Shankar Bodas. Her gurus included Balwantrai Bhatt, Vasant Thakar and Pandit Gajananrao Joshi.


Known for her flawless voice and diction and mastery of raga music, Sahasrabuddhe included the nuances of the Jaipur and Kirana gharanas in her concert singing.