Details of the Taalim:

Firstly, I received Taalim for about five years from Gaan- Tapaswini Smt. Mogubai Kurdikar, doyen of Jaipur Atrauli Gharana.  She taught me as her pet son and gave valuable training in voice culture which became extremely helpful in my subsequent Taalim with Ustaad Khadim Hussain Khan. Both my gurus were recipients of the Padmabushan. The Ustad would also laud the Taalim given to me by Smt. Mogubai Kurdikar in voice-culture and would frankly admit that he had hardly come across such a flawless application of voice.

The Taalim I received from the Ustad, the doyen of the Agra-Atrauli Gharana, was substantially long for twenty years (1959 to 1975 continuously and then up to 1985 intermittently) Before this I was witness to the Taalim received by my elder brother Madhukar Haldankar, from such stalwarts as Ustad Azmat Hussain Khan, Bashir Ahmed Khan and Anwar Hussain Khan.  Moreover, Ustad Vilayat Hussain Khan was an affectionate friend of my father. He used to visit us frequently and give us valuable information on the music of his times. He also gave us several concerts in our house and held a memorable concert of his Guru Ustad Karamat Khan in 1942, at his age of 116 years.

Thus, I was already initiated into Agra Gharana long before I started from the Ustad.  He, therefore, had not to take much pains in teaching me various Ragas – even rare Ragas. He also treated me as his pet son and gave away his Vidya unstintingly.  Apart from mastering the important features of Agra Gharana like the purity of Ragas, mastering the Layakari and other regions of Bol, precision in presentation with  Aamad, etc., the most important aspect of Agra Gayaki he taught me was the Badhat of the Ragas (expansion and development) and the teaching of the 18 Angs that are essential to depict a Raga as per its emotive character.

Khan Sahib’s method of introducing a new Raga to a disciple was unique. He would instantly unfold the Raga by taking the essential phrases so that the disciple would grasp the structure of the Raga in question. Further, his delineation of differences between closely associated Ragas was also Unique, e.g. Barwa, Sidhura, Yaman-Khem Kalyan, Basant Paraj, etc., and not a trace of doubt was left in his mind.

In presentation he would always hold Majesty in high esteem. For this, he would insist on the cultivation of Kharaj, long breath, and giving proper justice to Laya of Tala.  His teachings have immensely helped me in maintaining a high level in my performance. The elderly listeners have held my performances as reminiscent of the Ustad’s past generation, the credit for which undoubtedly goes to his teachings.

His Teachings gave me insight into the depth of music, which prompted me to write a book on aesthetics of Agra Gharana and Jaipur Gharanas (in Marathi) which has been widely acclaimed. Its English edition is being published by Popular Prakashan:

Other Achievements:

1. As a Director, Faculty of Indian Music,
   Kala Academy, Goa.. Worked for 8 years (1985 to 1993)

   Got 54 ragas standardized on All India basis, by holding 3 seminars. A brochure on 20 ragas standardized in the first seminar was brought out by Kala Academy in 1992 under the caption “Ragon Ka Pramanikaran”. The next volume on the remaining 34 ragas is going to be published soon. This is the work, first of its kind, in the history of music.

   I also trained quite a few students, some of whom are now ‘A’ grade artists of AIR.

2. I have composed more than 200 attractive Bandishes under the pen-name “Rasapiya”. Many of these were highly appreciated by my ustad, to my gratification. These have been adopted and sung in Mehfils by artists of no less stature than Pt. Jitendra Abhisheki and Smt. Shobha Mudgal.  My book on some selected Bandishes is soon to be published along with the cassette.

3. My book in Marathi “Julu Pahanare don Tambore” on the Aesthetics of Jaipur and Agra Gharana was published by Rajhans Prakashan of Pune in 1993. Not only was it widely acclaimed by both the learned and the beginner but even public debates have been held four times on this nook, the last debate being held under the aegis of Pune University. The book also received the State Government Award of Rs. 10,000/- in 1997 for the best literature on Music. This was unique achievement since no other book in Marathi written on the subject had received this award. The first edition was out of print within five years of its publication. Now the Hindi and the English editions are on way to publication.

4. Sangeet Research Academy of Calcutta has made recordings of bandishes given by me extending to 50 hours for their archives.
5. I have been invited to several seminars to participate. Some of the papers contributed  have been published in journals and special issues of IMS.
6. HMV has brought out my cassettes on classical music in 1998. My performance therein has been highly appreciated by the knowledgeable listeners and reviews have been published in Marathi periodicals.
7. I have trained a number of disciples who have carved out their names as artists of repute, some of them being of national level. Some have national programmes and cassettes to their credit. A few names may be mentioned: Dr. Arun Kashalkar, Smt. Shubhada Paradkar, Smt. Devki Pandit, Manjiri Algaokar, Vrinda Mundkar, Samidha yardi, Dr. Ram Deshpande.
8. I am an A grade artist of AIR having performed for National Programme (live).

Performances:

I have given concerts in all major cities of north and central India like Delhi, Ahmedabad, Calcutta, Nagpur, Gwalior, Bhopal, Pune and Mumbai and also participated in some conferences including the prestigious Tansen Samaroh.

I have visited U.S.A. twice and given at least 20 concerts, some of which have been memorable.

Other Qualifications:

I am a technology graduate, holding a B.SC. (Tech.) degree and have served the chemical Industry for 25 years in various capacities.

Hobbies and Interests:

Apart from music I have great interest in literature on Philosophy and Psychology.