How Pt Vinayak Torvi created a space for Hindustani music in Bengaluru

While many musicians devote themselves to building their own careers, some choose to invest just as deeply in nurturing the art and shaping the next generation of practitioners. Pt. Vinayak Torvi belongs to the latter category. To celebrate the renowned Hindustani vocalist and guru’s 78th birthday, a music festival aptly titled Dharohar was organised recently in Bengaluru.A disciple of the legendary Pt. Gururao Deshpande and Pt. Bhimsen Joshi, Pt. Torvi blossomed into a consummate vocalist and went on to inspire several youngsters to pursue Hindustani classical music. His gayaki, reflecting a rich confluence of Gwalior, Kirana, Agra and Jaipur influences, is distinguished by its powerful expression, refined layakari and soulful artistry.As a virtuoso performer, Pt. Torvi has performed extensively across India and abroad. Yet, there is another important dimension to his musicianship: with exemplary commitment, he has trained several disciples who have carved a niche for themselves as accomplished vocalists, including Amrita Deshpande, Keerti Kumar Badseshi, Dhananjay Hegde, Dattatreya Velankar and Siddhartha Belmannu.It was truly inspiring to listen to Pt. Torvi recount some of the epiphanic moments in his musical journey. Turning raconteur, he reminisced about the dramatic twists and turns that shaped his life and career.As a young vocalist, he was overwhelmed when a recital in Hubli drew thunderous applause from the audience. What took him completely by surprise, however, was the sight of his guru, Pt. Gururao Deshpande, and the legendary Gangubai Hangal listening with rapt attention from behind the stage, perhaps choosing to remain out of sight so as not to intimidate him. Recalling the occasion, Pt. Torvi said that when Gangubai ji remarked that he was a promising vocalist, her words of appreciation gave his morale an immense boost and strengthened his resolve to pursue music with greater conviction.Talking about his transfer to the Bengaluru branch of Canara Bank several decades ago, Pt. Torvi described himself as a reluctant young musician who felt dejected at the prospect of settling in a city where Carnatic music was more popular.“I pleaded with the then chairman Mr. Eknath Kamath, a great admirer of Pt. Kumar Gandharva, to send me to Pune,” Pt. Torvi recalled. “But Mr. Kamath said, ‘Mr. Torvi, Bengaluru is one of the fastest-growing cities. Don’t you think you can sow the seeds of Hindustani classical music here and build a community of musicians?’ His encouraging words turned out to be prophetic.” Torvi said.Another transcendental moment in his journey was when Pt. Torvi became the first artiste to get rapturous ‘encore ‘ requests from the audience at the historic Sawai Gandharv festival in Pune, a dream destination for every accomplished Hindustani classical musician. Equally unforgettable was the appreciation he received from Pt Bhimsen Joshi.The veteran considers himself fortunate to have had exemplary disciples who pursued music with fervour and remained his students for over three decades. “The challenges and difficulties they faced spurred my creativity and brought out the best in me,” says the affectionate guru. With his guru Pt. Bhimsen Joshi. | Photo Credit: SAMPATH KUMAR GP “In Carnatic music all-night mehfils are unheard of. I wanted to introduce this concept in Bengaluru, but many people were doubtful and pessimistic about the viability of such a music festival. Even the inimitable Pt. Dinkar Kaikini advised me to hold either a morning or an evening session instead. However, I was determined and invited him to perform at our Gururao Deshpande All-Night Sangeet Samaroh.Our perseverance paid off. The festival, held in a house, drew an overwhelming response and the venue was overflowing with people. Pt. Kaikini was surprised and euphoric. He sang for over three hours and later told me that he would gladly take back his earlier words. After that unforgettable night, I never looked back,” says Pt. Torvi, recalling his pioneering initiative.Dharohar, conceptualised by the music organisation Sur Naman: Nada Rupa Saraswathi, paid a fitting tribute to Pt. Torvi by showcasing the family’s distinguished musical lineage. The audience was treated to two engaging Hindustani classical vocal recitals: first by Rishabh Badseshi, Pt. Torvi’s grandson, and then by the maestro himself.The event marked a significant milestone for Sur Naman as it celebrated its 15th anniversary. For its president, Pt. Keerti Kumar Badseshi, it was multiple celebrations. The father and guru of the young debutant, Rishabh Badseshi, he was also honouring his own guru, Pt. Torvi, on the latter's 78th birthday and commemorating 70 years of his musical journey. Rishabh Badseshi handled his maiden concert with remarkable composure and confidence. | Photo Credit: Special Arrangement Rishabh Badseshi handled his maiden concert with remarkable composure and confidence. A mechanical engineer by profession, as a child, whenever he heard his grandfather render Miyan Ki Todi, tears would well up in his eyes. So it wasn’t surprising that Rishabh took to music. In his first public concert Rishabh was accompanied by two brilliant co-artistes, Mihir Kalyanpur on the tabla and Surya Upadhya on the samvadini , both chartered accountants by profession. The proud grandfather Pt Torvi sat in front with B. V. Rajaram, member of the Central Sangeet Natak Academy, tabla exponent Pt. Ravindra Yawagal and samvadini virtuoso Pt. Vyasmurthy Katti.Young Rishabh presented the evening melody raag Bihag in an unhurried manner. He embellished the avartans of the traditional vilambit ektal composition ‘Kaise sukh sove’ with meditative alaap and bol alaap, marked by exuberant taankari in the fast paced drut teen taal composition ‘Balam re more man ki ‘ and a lilting tarana composition of his father Keerti Badseshi in the same raag. For the occasion, Rishab had aptly chosen a bandish ‘Dhan dhan bhag mero shubh din ayo’ in the night melody Rageshree, set to Teen taal. Mihir Kalyanpur‘s rhythmic support on the tabla was matched by the mellifluity of Surya Upadhya’s samvadini. Rishabh’s choice of the immensely popular devaranama in raag Asavari, ‘Indu enage Govinda ninnaya padaravindava toro mukundane’, composed by Sri Raghavendra Swami Asavari.During the most anticipated segment of the evening, Pt. Vinayak Torvi took the stage for his concert. The piercing intensity of the raga Nayaki Kanada was captured in the luminous ‘raagvistar’ of the vilambit Ektaal composition, ‘Banara mora pyara’.Ably supported by three of his disciples, Pt. Torvi presented a series of rare compositions in raag Nayaki Kanada. His voice traversed the three octaves with effortless ease, and remarkable clarity. The drut Teentaal composition, ‘Mope rang dar dar,’ stood out forr rhythmic improvisations centred on the mukhda, showcasing the maestro’s consummate artistry.The concert was further energised by Pt. Ravindra Yavagal’s saath-sangat on the tabla and Vyasmurthy Katti’s nuanced accompaniment on the samvadini. Known for his vast repertoire of Marathi abhangs, Pt. Torvi brought his recital to a close with Sant Tukaram’s ‘Deva mazha mi devacha” in raag Bhairavi. Suffused with devotion, the abhang brought the memorable evening of music to a deeply moving conclusion.