THIS IS A RARE AND USED ITEM. IT IS NOT MANUFACTURED ANYMORE. NO RETURNS WILL BE ACCEPTED.

A very promising career was cut short suddenly and prematurely when D. V. Paluskar, a celebrated son of a celebrated father, died on 26th October 1955 at the early age of 34 years. And Indian classical music suffered a loss that cannot be made good.

The only son of the illustrious musician Pt. Vishnu Digambar Paluskar, who was known for his virtuosity in the field throughout the length and breadth of the Indian subcontinent, young D. V. Paluskar was deprived of paternal grooming in the art of singing at a very early age on account of his father’s death. His musical heritage however helped him to pursue his art under the tutelage of various well known musicians notably Prof. Narainrao Vyas and Pt. Vinayak Rao Patwardhan, both pupils of his father. Gradually he evolved a style of his own in marked contrast to that of his contemporaries and ultimately attained a place amongst top-ranking musicians of the day. He was a frequent broadcaster from All  India Radio stations and was a prominent member of a cultural delegation that visited China in 1955 at the instance of the Indian Government.

SIDE ONE

This side contains morning to noon melodies. They are featured in the chronological sequence in which they are traditionally sung.

LALAT

This is an early morning raga and it has a mood of intense invocation and entreaty. The 5th note (Pa) is completely omitted in its exposition. The use of flat 2nd note (Re) and both Madhyams (4th note) makes the raga structure highly pleasing. The rhythm cycle in which it is sung has 16 beats and is known as Teental.

BIBHAS

This morning raga is pentatonic in structure. The 4th (Ma) and the 7th (Ni) notes are not permissible. It has a sublime devotional mood. The rhythm used is Teental.

BILASKHANI TODI

This is a sub-melody of Ragini Todi – a morning raga. It has a tinge of pathos in it. The use of flat 7th note (Ni) instead of sharp 7th note (Ni) and the omission of the 4th note (Ma) distinguish it from the main raga ‘Todi’. It is set in Teental.

ASAWARI

This late morning raga has also a sublime appeal and is therefore best suited for compositions of a prayerful character. In the ascent the 3rd note (Ga) and the 7th note (Ni) are omitted but in the descent all the seven notes are employed. The 6th (Dha) and 7th (Ni) notes are both flat. The performance is set in Teental.

GOUD SARANG

This is a noon raga and has a lilting gait. Both forms of the 4th note (Ma) are used in this raga. The rendering is confined to Teental.

SIDE TWO

HAMEER

This is a very popular melody and it has a sprightly character. It is usually rendered in the early hours of the night. Both forms of the 4th note (Ma) are used in this raga. The rhythm employed is Teental consisting of 16 beats.

TILAK KAMOD

This is an immensely popular raga and is expounded during the first part of the night. It has a romantic character and it does not permit the use of 6th note (Dha) in the ascent. The rhythmic cycle employed is Teental.

KEDAR

A raga of the night variety, the 2nd note (Re) and the 3rd note (Ga) are dropped in the ascent and the use of both flat and sharp forms of the 4th note (Ma) sounds exceedingly overpowering. It is set to a rhythm-cycle of 10 beats known in Jhaptal.

MIYAN KA MALHAR

This raga is rendered towards midnight. Its peculiarity resides in the fact that while the 7th note (Ni) is employed in both sharp and flat forms, the 6th note (Dha) is omitted in the descent. The exposition is confined to a rhythm with 12 beats known as Ektal.

MALKAUNS

This raga is also sung late in the night. It is pentatonic because the 2nd note (Re) and the 5th note (Pa) are completely absent in its exposition. It is an immensely popular raga because of its vast appeal. The rhythm is again Teental consisting of 16 beats.

Artists: 

D. V. Paluskar (Vocal)