Pandit Shrikrishna (Babanrao) Haldankar
Son of internationally known artist S.L. Haldankar, who is rated as one of the three best water-colour painters in the world.
A multifaceted personality
An ace-performer whose concerts are invariably attended by musicians themselves. A competent Guru from whom are learning many well-known artists; a thought provoking writer who has written three valuable books on music, the fourth one being on way to publication; a creative composer, whose catchy Bandishes (compositions) have been adopted by many senior musicians.. Also, a thought-provoking musicologist � whose lecture-demonstrations are highly appreciated. Finally a researcher in music who has evolved basic principles governing the emotive contents of Ragas, revolutionised the method of teaching music as per Guru-Shishya Parampara evolved his own time theory of Ragas. Conducted extensive research in the Shruti values of some 40 Ragas and assigned frequencies of sensitive (not normal) notes of these Ragas.
His Standing as Musician:
Rated as one of the few musicians who remind of the high values cherished by the Ustads of the past generations; yet innovative and imaginative enough to make concerts lively and set ideal before the young generation. His concerts are invariably attended by renowned musicians. He has performed in numerous conferences in India and abroad.
Performed in the major cities of India and USA. Participated in music conferences including the prestigious Tansen Samaroha (1993) An �A� grade artist of �All India Radio�. He has National Programmes to his credit. He has many cassettes and CDs to his credit.
As a Guru:
Regarded as the most respected Guru in Maharashtra. Many well-known musicians previously trained by other Gurus are learning from him, to name a few: Dr. Arun Kashalkar, Dr. Ram Deshpande, Mrs. Devki Pandit, Mrs. Vrinda Mundkur, Mrs. Shubhada Paradkar, Mrs. Meenakshi Mukherjee, Dr.Sandhya Kathavate, Mrs. Swarada Sathe,� Gautam Veereshwar and from Pune Dr. Poornima Dhumale, Shri Chandrashekhar Mahajan, Mrs. Kavita Kharvandikar, Mrs. Vidya Gokhale, Pt. Ratnakar Gokhale(Violinist), Dr. Ashwini Chandekar.
As a Composer:
Has composed more than 250 catchy Bandishes (compositions) in Khayal, Dhamar and Thumari, under the pen-name �Rasapiya�. Many of his compositions have been adopted by well-known musicians like Smt. Ashwini Bhide, Pt. Rajan Sajan Mishra and Padmashree Jitendra Abhisheki and many others. His book �Rasapiya Bandishes� was released in 2001 by Gaan Saraswati Smt. Kishori Amonkar. It is supported by MP3 CD.
His Other Achivements:
1. As the Director, (Faculty of Indian Music), Kala Academy, Goa (1985 to 1993). Apart from training a number of students there, he planned and implemented the unique project of �Standardisation of Ragas� on All-India basis, and got 54 Ragas standardized in 3 seminars. Most of the well known representatives of prominent gharanas had participated in these seminars. This was a unique achievement in the history of Hindustani Music.
2. His lecture-demonstration series �Ragabheda Aur Bhavadarshan� was broadcasted by AIR Panji (1986). In this he elucidated the differences between similarly structured ragas like Yaman‑Kalyan, Khem Kalyan and more important, disclosed the differences in the emotive content (Raga-bhava) of those. While doing this exercise, he evolved some basic principles that govern the emotive contents. This also was a unique achievement in the history of Music.
3. He conducted 8 workshops on �Sangeet Sadhana� in 2000, under the aegis of Sharda-Sangeet Vidyalaya.
4. Conducted extensive research on Shrutis with the help of the Computer and discovered 11 more Shrutis apart from the existing 22 Shrutis, which are in practical use. This also is a unique achievement in the history of music.
5. SRA of Kolkatta has recorded 100 hours of his music for their archives.
His Present Holding:
He is an Adjunct Professor of Indian Music at the University of Mumbai (Bombay). His service is engaged by the University of Mumbai to plan and execute projects that would elevate the standing of the University both at the academic as well as performance level.
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