Late Pt. Rajabhau Sontakke - Keeping alive the rich tradition of bhava poorna gayaki

“Few things are impossible to diligence and skill. Great works are performed not by strength, but perseverance,” a saying by Samuel Johnson, rings true of Pt. Rajabhau Sontakke, who is the epitome of dedication and perseverance. A veritable encyclopedia on the Hindustani ragadari system of music,(encompassing its science and history), Pt. Rajabhau is one of the foremost disciples of Pt. Omkarnath Thakur - the legendary doyen of the Gwalior Gharana. Pt. Sontakke is a leading light in the Gwalior gharana, having kept up the rich tradition of bhava-poorna gayaki of his guru and propagating it through his students. A pundit in Hindustani classical vocal music and gifted violin artiste, Pt.Sontakke’s journey of music has been an arduous one ridden with challenges and obstacles (both monetary and otherwise). Hardships began early in life, for this son of KrishnaRao and SharadaDevi Sontakke, having been afflicted by blindness at a tender age. Barely ten then, little Rajabhau had to leave school and take on music to survive. Training under Shri. Shamarao at Nagpur for ten years reinforced the young lad’s knowledge of Khayal gayaki as well as instruments like Tabla, Violin, Dilruba and Sitar. A chance listening of Pt. Omkarnath Thakur’s recording set-off the desire of studentship in young Rajabhau. As Pt. Sontakke recalls, “I was completely possessed by the beauty of Pt. Thakur’s music and had decided that I would learn from him at any cost.” The sheer perseverance, guru-bhakti and hard-work of young Rajabhau had led him to Surat, where he in sang Deskar in front of Pt. Thakur, replicating his master’s voice and technique as was. Pt. Thakur is believed to have advised him to use his keen grasping skills to develop an original style and agreed to teach him right from the start. With neither the local language, nor resources to sustain himself - “It was the kindness of a few families who gave me food and shelter for three years; above all I am grateful to my guru who has given me excellent coaching,” he acknowledges.
During this time, Pt. Sontakke had developed a command over Violin. Recalling an incident when he accompanied Aftab-e-Mausiki Ustad Fayyaz Khan from the Baroda durbar, he says, “Ustad Fayyaz Khan praised me for accurately following his vocals on my violin, at such a young age.” The Ustad is believed to have said, “This Pandat is very gifted - you have done the right thing to learn from such a teacher who is so learned and adept at both shastra and practical singing.”
“Pt. Thakur used to teach according to the student’s level. He insisted on playing the tanpura with one hand and keeping taal (playing on the Dagga), with the other, while singing,” reminisces this award-winning doctor of music. Later Pt. Sontakke followed his guru to Benaras, where the latter was opening a music college. Pt Sontakke was appointed violin-instructor in Pt. Thakur’s music college.

Pt. Sontakke went through 15 years of training at Benaras, says: “My guru was so serious during the class hours that I felt that he was specially training me for it.”

Slowly Pt . Sontakke progressed from instructor to Professor and from financial challenges to comfort. His music tuitions led to his meeting with Mani (Mrs. Sontakke later). He says with a mischievous smile, “She had come to learn from me and adored my singing. I felt the need for a feminine influence in my life - I proposed to her”. He acknowledges how her family supported in the decision to marry, despite his blindness. In a couple of years his son Prakash was born, bringing a light into their life.

Attributing his deep knowledge of the ragadari system – practical concert presentation and musicology, to his guru, he recalls his guru’s last few days at Benaras when he (Pt. Omkarnathji) said, “My son, I have given you all the knowledge that I have, practice it and take it forward. Teach students of music and guide them towards PhD in music.

Speaking about the specialty of Pt. Omkarnathji’s well-researched music (his works Pranav Bharati and Sangeetaanjali series are renowned for their path breaking concepts), he says, “My style is based on gayaki and not gatkari. While doing alaap, one has to use the 10 types of gamak with discretion; additionally, volume, breath control and intonation determine the effect of the alaapi and the rasa. Even taans determine the rasa – for instance Malhar taans are very different from Kanada taans,” explains this guru who has taught several students through the Music College at Benaras, and more recently at his Hindustani Sangeet Vidyapeeth, Bangalore. Among his performing disciples, he enumerates Suresh Prakash Sharma, R.P.Shastry, Ramchandra Bhagwat, Venkatesh Balaji, Ganpat Vashisht, Lalitha Kaikini, Chaitra, Lavanya and heir apparent Prakash Sontakke, who is takes forward his legacy with his mastery over Hawaiian guitar, violin and vocal.
Continuing, he says, “One must appreciate the intricate usage of the 22 shrutis. Many do not even know the same swara’s versions (with different shrutis) can produce a completely different effect. For instance the komal Rishabh (ati komal Re) used in Marwa is completely different from the komalRe used in Purya. Similarly the Malkauns komal Ni and the Bhimpalasi komal Ni are also different. This is based on the samvaad (harmonically in tandem) aspect of two swaras, placed at a distance of 6, 7, 9 or 13 shrutis.”

When asked about his gurubandhus at Benaras, he mentions Shri. Balwant Rai Bhatt, Padmakar Barve, Manohar Barve and KanakRai Trivedi, among the several others. “I am fortunate that I spent the longest time with my guru and was able to gain the most amount of knowledge. I have also got a lot of beating from him too (what with his ringed fingers), but he was very pure-hearted and never bore grudges”, he says on a lighter note.

Speaking about the dominance of shringar rasa in Hindustani music, he says, “Love is the basis of this world – whether it is devotee towards God, mother to her child and lover to his love, it is all important.” “It may manifest in different forms; but there is nothing wrong with it being the basis,” he reflects. Is music our classical music shortlived? “There is music from birth to death in our culture - music will never cease as long the world exists.” “As for Classical music, there be may be minor ups and downs, but it is eternal; the very fact that there are veterans/performing artistes as well as students is itself a positive trend!” beams the maestro, reminding me of Robert Browning’s words, “My sun sets to rise again”.
- Smita Bellur