Limayebuwa expired in 1995. I had the privilege of his company many a times during 1985 to 1995. He was a great exponent of Jaipur Gharana. I have recordings of many 'Unwat' ragas sung by him. I would like to share them with all interested 'Rasiks'!!!
On Friday, December 17, 1993 8:20:03 AM UTC+5:30, Murali Sharma wrote:
A while ago, a friend of mine sent me a recording of a house concert
held in Pune in Jan 91, featuring a Anandrao Limaye, who I had never
heard of. Even more surprisingly, my friend mentioned that he was a
senior performer of the Jaipur gharana (there are relatively few male vocalists of this style, although like others I have heard rumours
that the best students of Alladiya Khan actually were wealthy males
who didn't perform much in public).
The recording was beautiful- I could hear bird chirping in the background- conveying strongly the atmosphere of a small baithak. But the singing itself sounded very different to me from say Mallikarjun Mansur, although it clearly was that of a master. One clear signature of the heritage from the legendary 'Avghadh Das' was the fact that I had not
previously heard any of the ragas presented: Gaudi Lalat (NOT Gowri Lalat), Khamaji Bhatiyar,Khat Todi, Laccha Sakh, Sukhiya Bhatiyar, and Savani Bhatiyar.
This made it even harder to appreciate, though with repeated listening I actually became extremely fond of a couple of the pieces.
I was pleasantly surprised therefore to find out that one of our rmic readers, Vishwas Shirgaonkar, is actually a student of his. Upon my expressing my curiosity about his guru, he kindly wrote me a very inspiring sketch of his guru's life. He also generously agreed to let me include in the performers section of the FAQ, and to post it here. The following is his
account, and I am very grateful to him for sharing this in this forum:
-----------------
Pt. Anandrao Limaye (or Limayebua) is a true Jaipur gharana
singer (Alladiya Khan gayaki) having received training from Govindbua Shaligram (Padmavati Shaligram's uncle). Govindbua Shaligram was one of Alladiya Khan's direct disciples, lesser known since he prematurely
lost the quality of his voice due to ill health. Limayebua, now
approaching 70, has lived in Kolhapur all his life. In the early
sixties, being fully "taiyyar" and 30 years younger, he used to be
invited to sing in musical conferences around the country.
An accidental head injury during his teens had left him with a stammer
and some eyesight problems, which, initially, did not interfere with
his singing capabilities. Later, unfortunately, in his thirties, these problems somehow flared up and his eyesight, and general health deteriorated to such an extent as to leave him handicapped.
Having decided to remain unmarried to live to the ideal of
making music his true "first love", bereft of a supporting family, and unwilling to burden anyone else with helping him on his musical tours,
he stopped accepting invitations to sing which involved travel. This obviously affected his musical career, eventually leading to a 20 year period of "adnyatvas". During this period he taught, sang locally, and, researched bandishes, rare ragaas, and essentially did a lot of
analysis and thinking on music. This period, in his own words, helped
him mature his music tremendously. In my view, this saved him from the temptation to dilute his music to pander to mass appeal. This has
preserved the "old world" lustre that is evident in his gayaki.
Meanwhile, although largely unknown to musical audiences in
India, Limayebua was sought out by prevailing musicians and
musicologists for his knowledge of rare compositions. Gajananbua Joshi,
who had heard about Limayebua but had never heard his music, once
requested a concert specifically for him, for which he made a special
trip to Kolhapur. Gajanbua Joshi was so impressed that he invited him
to come to Bombay to sing. This, effectively, pulled Limayebua back
into the musical mainstream after a period of 20 years. Fortunately,
since the last 15 years, he has slowly regained some of his eyesight
(after a couple of operations), and aided by his devoted shishyas,
begun travelling again.
Lately, despite his advancing age, Limayebua has been touring
all over the country to sing. He has been recorded by the National
Center for the Performing Arts (NCPA) national archives, and about 4
years ago was interviewed on Doordarshan as one of the few male singers left in the Jaipur tradition. He has been felicitated by various organizations, and was recently invited by the the Sangeet Research
Academy in Calcutta to record some of his rare "bandishes".
-------------------------------------------
MuraliOn Friday, December 17, 1993 8:20:03 AM UTC+5:30, Murali Sharma wrote:
A while ago, a friend of mine sent me a recording of a house concert
held in Pune in Jan 91, featuring a Anandrao Limaye, who I had never
heard of. Even more surprisingly, my friend mentioned that he was a
senior performer of the Jaipur gharana (there are relatively few male vocalists of this style, although like others I have heard rumours
that the best students of Alladiya Khan actually were wealthy males
who didn't perform much in public).
The recording was beautiful- I could hear bird chirping in the background- conveying strongly the atmosphere of a small baithak. But the singing itself sounded very different to me from say Mallikarjun Mansur, although it clearly was that of a master. One clear signature of the heritage from the legendary 'Avghadh Das' was the fact that I had not
previously heard any of the ragas presented: Gaudi Lalat (NOT Gowri Lalat), Khamaji Bhatiyar,Khat Todi, Laccha Sakh, Sukhiya Bhatiyar, and Savani Bhatiyar.
This made it even harder to appreciate, though with repeated listening I actually became extremely fond of a couple of the pieces.
I was pleasantly surprised therefore to find out that one of our rmic readers, Vishwas Shirgaonkar, is actually a student of his. Upon my expressing my curiosity about his guru, he kindly wrote me a very inspiring sketch of his guru's life. He also generously agreed to let me include in the performers section of the FAQ, and to post it here. The following is his
account, and I am very grateful to him for sharing this in this forum:
-----------------
Pt. Anandrao Limaye (or Limayebua) is a true Jaipur gharana
singer (Alladiya Khan gayaki) having received training from Govindbua Shaligram (Padmavati Shaligram's uncle). Govindbua Shaligram was one of Alladiya Khan's direct disciples, lesser known since he prematurely
lost the quality of his voice due to ill health. Limayebua, now
approaching 70, has lived in Kolhapur all his life. In the early
sixties, being fully "taiyyar" and 30 years younger, he used to be
invited to sing in musical conferences around the country.
An accidental head injury during his teens had left him with a stammer
and some eyesight problems, which, initially, did not interfere with
his singing capabilities. Later, unfortunately, in his thirties, these problems somehow flared up and his eyesight, and general health deteriorated to such an extent as to leave him handicapped.
Having decided to remain unmarried to live to the ideal of
making music his true "first love", bereft of a supporting family, and unwilling to burden anyone else with helping him on his musical tours,
he stopped accepting invitations to sing which involved travel. This obviously affected his musical career, eventually leading to a 20 year period of "adnyatvas". During this period he taught, sang locally, and, researched bandishes, rare ragaas, and essentially did a lot of
analysis and thinking on music. This period, in his own words, helped
him mature his music tremendously. In my view, this saved him from the temptation to dilute his music to pander to mass appeal. This has
preserved the "old world" lustre that is evident in his gayaki.
Meanwhile, although largely unknown to musical audiences in
India, Limayebua was sought out by prevailing musicians and
musicologists for his knowledge of rare compositions. Gajananbua Joshi,
who had heard about Limayebua but had never heard his music, once
requested a concert specifically for him, for which he made a special
trip to Kolhapur. Gajanbua Joshi was so impressed that he invited him
to come to Bombay to sing. This, effectively, pulled Limayebua back
into the musical mainstream after a period of 20 years. Fortunately,
since the last 15 years, he has slowly regained some of his eyesight
(after a couple of operations), and aided by his devoted shishyas,
begun travelling again.
Lately, despite his advancing age, Limayebua has been touring
all over the country to sing. He has been recorded by the National
Center for the Performing Arts (NCPA) national archives, and about 4
years ago was interviewed on Doordarshan as one of the few male singers left in the Jaipur tradition. He has been felicitated by various organizations, and was recently invited by the the Sangeet Research
Academy in Calcutta to record some of his rare "bandishes".
-------------------------------------------
Murali
On Wednesday, 25 September 2013 at 15:12:47 UTC+5:30, apr...@yahoo.com wrote:There are a few recordings on Ocean of Ragas and archive.org, if you want for easy access to listen to on your phone anywhere without using data.
Limayebuwa expired in 1995. I had the privilege of his company many a times during 1985 to 1995. He was a great exponent of Jaipur Gharana. I have recordings of many 'Unwat' ragas sung by him. I would like to share them with all interested 'Rasiks'!!!
On Friday, December 17, 1993 8:20:03 AM UTC+5:30, Murali Sharma wrote:
A while ago, a friend of mine sent me a recording of a house concert
held in Pune in Jan 91, featuring a Anandrao Limaye, who I had never heard of. Even more surprisingly, my friend mentioned that he was a senior performer of the Jaipur gharana (there are relatively few male vocalists of this style, although like others I have heard rumours
that the best students of Alladiya Khan actually were wealthy males
who didn't perform much in public).
The recording was beautiful- I could hear bird chirping in the background-
conveying strongly the atmosphere of a small baithak. But the singing itself sounded very different to me from say Mallikarjun Mansur, although it clearly was that of a master. One clear signature of the heritage from the legendary 'Avghadh Das' was the fact that I had not
previously heard any of the ragas presented: Gaudi Lalat (NOT Gowri Lalat),
Khamaji Bhatiyar,Khat Todi, Laccha Sakh, Sukhiya Bhatiyar, and Savani Bhatiyar.
This made it even harder to appreciate, though with repeated listening I actually became extremely fond of a couple of the pieces.
I was pleasantly surprised therefore to find out that one of our rmic readers, Vishwas Shirgaonkar, is actually a student of his. Upon my expressing my curiosity about his guru, he kindly wrote me a very inspiring
sketch of his guru's life. He also generously agreed to let me include in the performers section of the FAQ, and to post it here. The following is his
account, and I am very grateful to him for sharing this in this forum:
-----------------
Pt. Anandrao Limaye (or Limayebua) is a true Jaipur gharana
singer (Alladiya Khan gayaki) having received training from Govindbua Shaligram (Padmavati Shaligram's uncle). Govindbua Shaligram was one of Alladiya Khan's direct disciples, lesser known since he prematurely
lost the quality of his voice due to ill health. Limayebua, now approaching 70, has lived in Kolhapur all his life. In the early
sixties, being fully "taiyyar" and 30 years younger, he used to be invited to sing in musical conferences around the country.
An accidental head injury during his teens had left him with a stammer and some eyesight problems, which, initially, did not interfere with
his singing capabilities. Later, unfortunately, in his thirties, these problems somehow flared up and his eyesight, and general health deteriorated to such an extent as to leave him handicapped.
Having decided to remain unmarried to live to the ideal of
making music his true "first love", bereft of a supporting family, and unwilling to burden anyone else with helping him on his musical tours,
he stopped accepting invitations to sing which involved travel. This obviously affected his musical career, eventually leading to a 20 year period of "adnyatvas". During this period he taught, sang locally, and, researched bandishes, rare ragaas, and essentially did a lot of
analysis and thinking on music. This period, in his own words, helped
him mature his music tremendously. In my view, this saved him from the temptation to dilute his music to pander to mass appeal. This has preserved the "old world" lustre that is evident in his gayaki.
Meanwhile, although largely unknown to musical audiences in
India, Limayebua was sought out by prevailing musicians and
musicologists for his knowledge of rare compositions. Gajananbua Joshi, who had heard about Limayebua but had never heard his music, once requested a concert specifically for him, for which he made a special trip to Kolhapur. Gajanbua Joshi was so impressed that he invited him
to come to Bombay to sing. This, effectively, pulled Limayebua back
into the musical mainstream after a period of 20 years. Fortunately, since the last 15 years, he has slowly regained some of his eyesight (after a couple of operations), and aided by his devoted shishyas,
begun travelling again.
Lately, despite his advancing age, Limayebua has been touring
all over the country to sing. He has been recorded by the National
Center for the Performing Arts (NCPA) national archives, and about 4 years ago was interviewed on Doordarshan as one of the few male singers left in the Jaipur tradition. He has been felicitated by various organizations, and was recently invited by the the Sangeet Research Academy in Calcutta to record some of his rare "bandishes".
-------------------------------------------
MuraliOn Friday, December 17, 1993 8:20:03 AM UTC+5:30, Murali Sharma wrote:
A while ago, a friend of mine sent me a recording of a house concert
held in Pune in Jan 91, featuring a Anandrao Limaye, who I had never heard of. Even more surprisingly, my friend mentioned that he was a senior performer of the Jaipur gharana (there are relatively few male vocalists of this style, although like others I have heard rumours
that the best students of Alladiya Khan actually were wealthy males
who didn't perform much in public).
The recording was beautiful- I could hear bird chirping in the background-
conveying strongly the atmosphere of a small baithak. But the singing itself sounded very different to me from say Mallikarjun Mansur, although it clearly was that of a master. One clear signature of the heritage from the legendary 'Avghadh Das' was the fact that I had not
previously heard any of the ragas presented: Gaudi Lalat (NOT Gowri Lalat),
Khamaji Bhatiyar,Khat Todi, Laccha Sakh, Sukhiya Bhatiyar, and Savani Bhatiyar.
This made it even harder to appreciate, though with repeated listening I actually became extremely fond of a couple of the pieces.
I was pleasantly surprised therefore to find out that one of our rmic readers, Vishwas Shirgaonkar, is actually a student of his. Upon my expressing my curiosity about his guru, he kindly wrote me a very inspiring
sketch of his guru's life. He also generously agreed to let me include in the performers section of the FAQ, and to post it here. The following is his
account, and I am very grateful to him for sharing this in this forum:
-----------------
Pt. Anandrao Limaye (or Limayebua) is a true Jaipur gharana
singer (Alladiya Khan gayaki) having received training from Govindbua Shaligram (Padmavati Shaligram's uncle). Govindbua Shaligram was one of Alladiya Khan's direct disciples, lesser known since he prematurely
lost the quality of his voice due to ill health. Limayebua, now approaching 70, has lived in Kolhapur all his life. In the early
sixties, being fully "taiyyar" and 30 years younger, he used to be invited to sing in musical conferences around the country.
An accidental head injury during his teens had left him with a stammer and some eyesight problems, which, initially, did not interfere with
his singing capabilities. Later, unfortunately, in his thirties, these problems somehow flared up and his eyesight, and general health deteriorated to such an extent as to leave him handicapped.
Having decided to remain unmarried to live to the ideal of
making music his true "first love", bereft of a supporting family, and unwilling to burden anyone else with helping him on his musical tours,
he stopped accepting invitations to sing which involved travel. This obviously affected his musical career, eventually leading to a 20 year period of "adnyatvas". During this period he taught, sang locally, and, researched bandishes, rare ragaas, and essentially did a lot of
analysis and thinking on music. This period, in his own words, helped
him mature his music tremendously. In my view, this saved him from the temptation to dilute his music to pander to mass appeal. This has preserved the "old world" lustre that is evident in his gayaki.
Meanwhile, although largely unknown to musical audiences in
India, Limayebua was sought out by prevailing musicians and
musicologists for his knowledge of rare compositions. Gajananbua Joshi, who had heard about Limayebua but had never heard his music, once requested a concert specifically for him, for which he made a special trip to Kolhapur. Gajanbua Joshi was so impressed that he invited him
to come to Bombay to sing. This, effectively, pulled Limayebua back
into the musical mainstream after a period of 20 years. Fortunately, since the last 15 years, he has slowly regained some of his eyesight (after a couple of operations), and aided by his devoted shishyas,
begun travelling again.
Lately, despite his advancing age, Limayebua has been touring
all over the country to sing. He has been recorded by the National
Center for the Performing Arts (NCPA) national archives, and about 4 years ago was interviewed on Doordarshan as one of the few male singers left in the Jaipur tradition. He has been felicitated by various organizations, and was recently invited by the the Sangeet Research Academy in Calcutta to record some of his rare "bandishes".
-------------------------------------------
Would it be possible to share these recordings of Pt. Limaye Buwa on email or through whatsapp?Murali
On Tuesday, June 21, 2022 at 9:03:45 AM UTC-4, Vasudev Athalye wrote:!!
On Wednesday, 25 September 2013 at 15:12:47 UTC+5:30, apr...@yahoo.com wrote:
Limayebuwa expired in 1995. I had the privilege of his company many a times during 1985 to 1995. He was a great exponent of Jaipur Gharana. I have recordings of many 'Unwat' ragas sung by him. I would like to share them with all interested 'Rasiks'!
On Friday, December 17, 1993 8:20:03 AM UTC+5:30, Murali Sharma wrote:
A while ago, a friend of mine sent me a recording of a house concert held in Pune in Jan 91, featuring a Anandrao Limaye, who I had never heard of. Even more surprisingly, my friend mentioned that he was a senior performer of the Jaipur gharana (there are relatively few male vocalists of this style, although like others I have heard rumours that the best students of Alladiya Khan actually were wealthy males who didn't perform much in public).
The recording was beautiful- I could hear bird chirping in the background-
conveying strongly the atmosphere of a small baithak. But the singing itself sounded very different to me from say Mallikarjun Mansur, although
it clearly was that of a master. One clear signature of the heritage from
the legendary 'Avghadh Das' was the fact that I had not
previously heard any of the ragas presented: Gaudi Lalat (NOT Gowri Lalat),
Khamaji Bhatiyar,Khat Todi, Laccha Sakh, Sukhiya Bhatiyar, and Savani Bhatiyar.
This made it even harder to appreciate, though with repeated listening I
actually became extremely fond of a couple of the pieces.
I was pleasantly surprised therefore to find out that one of our rmic readers, Vishwas Shirgaonkar, is actually a student of his. Upon my expressing my curiosity about his guru, he kindly wrote me a very inspiring
sketch of his guru's life. He also generously agreed to let me include in
the performers section of the FAQ, and to post it here. The following is his
account, and I am very grateful to him for sharing this in this forum:
-----------------
Pt. Anandrao Limaye (or Limayebua) is a true Jaipur gharana
singer (Alladiya Khan gayaki) having received training from Govindbua Shaligram (Padmavati Shaligram's uncle). Govindbua Shaligram was one of
Alladiya Khan's direct disciples, lesser known since he prematurely lost the quality of his voice due to ill health. Limayebua, now approaching 70, has lived in Kolhapur all his life. In the early sixties, being fully "taiyyar" and 30 years younger, he used to be invited to sing in musical conferences around the country.
An accidental head injury during his teens had left him with a stammer and some eyesight problems, which, initially, did not interfere with his singing capabilities. Later, unfortunately, in his thirties, these problems somehow flared up and his eyesight, and general health deteriorated to such an extent as to leave him handicapped.
Having decided to remain unmarried to live to the ideal of
making music his true "first love", bereft of a supporting family, and unwilling to burden anyone else with helping him on his musical tours, he stopped accepting invitations to sing which involved travel. This obviously affected his musical career, eventually leading to a 20 year period of "adnyatvas". During this period he taught, sang locally, and,
researched bandishes, rare ragaas, and essentially did a lot of analysis and thinking on music. This period, in his own words, helped him mature his music tremendously. In my view, this saved him from the temptation to dilute his music to pander to mass appeal. This has preserved the "old world" lustre that is evident in his gayaki.
Meanwhile, although largely unknown to musical audiences in
India, Limayebua was sought out by prevailing musicians and musicologists for his knowledge of rare compositions. Gajananbua Joshi,
who had heard about Limayebua but had never heard his music, once requested a concert specifically for him, for which he made a special trip to Kolhapur. Gajanbua Joshi was so impressed that he invited him to come to Bombay to sing. This, effectively, pulled Limayebua back into the musical mainstream after a period of 20 years. Fortunately, since the last 15 years, he has slowly regained some of his eyesight (after a couple of operations), and aided by his devoted shishyas, begun travelling again.
Lately, despite his advancing age, Limayebua has been touring
all over the country to sing. He has been recorded by the National Center for the Performing Arts (NCPA) national archives, and about 4 years ago was interviewed on Doordarshan as one of the few male singers
left in the Jaipur tradition. He has been felicitated by various organizations, and was recently invited by the the Sangeet Research Academy in Calcutta to record some of his rare "bandishes".
-------------------------------------------
MuraliOn Friday, December 17, 1993 8:20:03 AM UTC+5:30, Murali Sharma wrote:
A while ago, a friend of mine sent me a recording of a house concert held in Pune in Jan 91, featuring a Anandrao Limaye, who I had never heard of. Even more surprisingly, my friend mentioned that he was a senior performer of the Jaipur gharana (there are relatively few male vocalists of this style, although like others I have heard rumours that the best students of Alladiya Khan actually were wealthy males who didn't perform much in public).
The recording was beautiful- I could hear bird chirping in the background-
conveying strongly the atmosphere of a small baithak. But the singing itself sounded very different to me from say Mallikarjun Mansur, although
it clearly was that of a master. One clear signature of the heritage from
the legendary 'Avghadh Das' was the fact that I had not
previously heard any of the ragas presented: Gaudi Lalat (NOT Gowri Lalat),
Khamaji Bhatiyar,Khat Todi, Laccha Sakh, Sukhiya Bhatiyar, and Savani Bhatiyar.
This made it even harder to appreciate, though with repeated listening I
actually became extremely fond of a couple of the pieces.
I was pleasantly surprised therefore to find out that one of our rmic readers, Vishwas Shirgaonkar, is actually a student of his. Upon my expressing my curiosity about his guru, he kindly wrote me a very inspiring
sketch of his guru's life. He also generously agreed to let me include in
the performers section of the FAQ, and to post it here. The following is his
account, and I am very grateful to him for sharing this in this forum:
-----------------
Pt. Anandrao Limaye (or Limayebua) is a true Jaipur gharana
singer (Alladiya Khan gayaki) having received training from Govindbua Shaligram (Padmavati Shaligram's uncle). Govindbua Shaligram was one of
Alladiya Khan's direct disciples, lesser known since he prematurely lost the quality of his voice due to ill health. Limayebua, now approaching 70, has lived in Kolhapur all his life. In the early sixties, being fully "taiyyar" and 30 years younger, he used to be invited to sing in musical conferences around the country.
An accidental head injury during his teens had left him with a stammer and some eyesight problems, which, initially, did not interfere with his singing capabilities. Later, unfortunately, in his thirties, these problems somehow flared up and his eyesight, and general health deteriorated to such an extent as to leave him handicapped.
Having decided to remain unmarried to live to the ideal of
making music his true "first love", bereft of a supporting family, and unwilling to burden anyone else with helping him on his musical tours, he stopped accepting invitations to sing which involved travel. This obviously affected his musical career, eventually leading to a 20 year period of "adnyatvas". During this period he taught, sang locally, and,
researched bandishes, rare ragaas, and essentially did a lot of analysis and thinking on music. This period, in his own words, helped him mature his music tremendously. In my view, this saved him from the temptation to dilute his music to pander to mass appeal. This has preserved the "old world" lustre that is evident in his gayaki.
Meanwhile, although largely unknown to musical audiences in
India, Limayebua was sought out by prevailing musicians and musicologists for his knowledge of rare compositions. Gajananbua Joshi,
who had heard about Limayebua but had never heard his music, once requested a concert specifically for him, for which he made a special trip to Kolhapur. Gajanbua Joshi was so impressed that he invited him to come to Bombay to sing. This, effectively, pulled Limayebua back into the musical mainstream after a period of 20 years. Fortunately, since the last 15 years, he has slowly regained some of his eyesight (after a couple of operations), and aided by his devoted shishyas, begun travelling again.
Lately, despite his advancing age, Limayebua has been touring
all over the country to sing. He has been recorded by the National Center for the Performing Arts (NCPA) national archives, and about 4 years ago was interviewed on Doordarshan as one of the few male singers
left in the Jaipur tradition. He has been felicitated by various organizations, and was recently invited by the the Sangeet Research Academy in Calcutta to record some of his rare "bandishes".
-------------------------------------------
There are a few recordings on Ocean of Ragas and archive.org, if you want for easy access to listen to on your phone anywhere without using data.Would it be possible to share these recordings of Pt. Limaye Buwa on email or through whatsapp?Murali
Would it be possible to share these recordings of Pt. Limaye Buwa on email or through whatsapp?
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