D V Paluskar Songs

From the Mohan Nadkarni archive. His sensibility was refined and his judgment generous. The recording made by me three weeks earlier proved to be his last. Anecdotes of the Accompanists.

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He promised to come immediately after the last engagement and accordingly he came but he was very tired after the exertions of the successful programme. The editing had to be done so perfectly as to defy detection. Jog accompanying on the violin. Usually after a record was issued the original was sent to our factory in Dumdum.

He was afraid that by singing in films he would spoil his style. Professional tours and his own tender age perhaps afforded him no opportunity to groom disciples after him.

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He never spoke ill of anyone, was of a quiet disposition and completely free from any vice. Vishnu Digambar was singing the bhajan Raghupati Raghav Rajaram. The performance was quite up to the standard in other respects.

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He himself chose classical and devotional songs for all his performances. That was the last I saw of him. He was a master at presenting an attractive and comprehensive picture of a raga in a very short duration. The discs used for recording purposes in those days had a serious drawback. Fortunately we needed a hand just then, so I got him the job.

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His style was simple and clear, and there was no elusive element in it. Both Pandit Vinayakrao Patwardhan and Pandit Narayan Vyas probably connived at his spirit of independence because he was the son of their guru. Besides pure classical music, he was also a great bhajan singer. In Bapurao introduced me to a fair and handsome teenage boy who was his close relative and who played well on the violin. There was another advantage in the technique of tape recording.

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Paluskar was very, very modest. At my request he recorded two Marathi songs also but unfortunately they failed to click commercially. Previously all singers from the film companies had to come to our studio to record their film songs again. But with the invention of tape recording, we could transfer the songs to the tape from the soundtrack of the films.

Pt. D. V. Paluskar

This helped him extend his knowledge and constant practice brought polish to his play. Acrobatics and contortions of any kind were conspicuous by their absence in his performances. That was the beginning of his rise to fame. Yet his rendering was spectacular.

Datar, popular all over India for his chaste and entertaining violin recitals. The two great artists matched in every respect and therefore this jugalbandi performance proved to be the most interesting and the highlight of the film. He however, insisted that films should take to classical modes for their musical fare. Thus assured, he sang in the jugalbandi form with Ustad Amir Khan.

Instead he evolved and developed his own style. In our studio, recordings were made in different languages and styles. After the recording I rushed him off to the station in my car and waved him off.

Paluskar Page Extract from G. His father, Digambar Gopal Paluskar, launchpad software was a singer of Kirtan.

He had the unique distinction of participating in the music festivals of the South. The experiment was undoubtedly a very complicated one. Within a short period he assiduously mastered this too. He congratulated me and our recording engineer and expressed his desire that we should record his performance in the same way.

Rarely was there a major music festival in which he did not participate. There was no callousness or pretence about him and he held contemporary musicians in great esteem.

His recordings, for the radio and gramophone, are all that we have to cherish as memories of his greatness as an artiste. It was of the utmost importance that the edited version contained all the ingredients of a skilled and imaginative performance. It was the Dassera day and the news gave the entire music world a stunning shock. However this proposal of mine was rejected by the technical department in our factory on the ground that the recording of Raga Shri was technically faulty.