|| Prabha Atre || Her Interview || Article on Her ||
|| Publication & Books || Mile Stones || Her Voice || Reach Her ||

This article has been taken from Mohan Nadkarni's book `Great Musicians'.

I first heard Prabha Atre on the concert platform in 1950, when she was a rickety, shy teenager who had been chosen by her distinguished mentor, the great Hirabai Badodekar, to provide her vocal sangat. Even at that time, what struck me was the way the young protege supplemented and complemented the singing of her mentor. Indeed, it then seemed to me that her contribution was too good for her age---I felt that here was a young vocalist to watch out for.

I had to wait for several years before I had a chance to hear her solo performance. I have been an ardent listener of her music ever since. Over the last two decades, I have also come to know her rather well. Yet, I have always found something elusive, even strange and mysterious, about her personality---both on-stage, and off-stage.

Although Prabha Atre is undoubtedly one of top-ranking vocalists of the Hindustani classical tradition, she is possibly the least recorded artiste in the commercial circuit. She is also known to be one our avant-garde vocalists. But what sets her apart from some of her contemporaries, notably the late Kumar Gandharva and Kishori Amonkar, is that her approach does now show a willy-nilly rejection of the age-old gharana ideology. She is deeply indebted to her first mentor, Sureshbabu Mane and his illustrious younger sister, Hirabai Badodekar, both of whom were titans of the Kirana gharana in their own right.

At the same time, she acknowledges the influence of two other greats, Amir Khan and Bade Ghulam Ali Khan, on her gayaki. In this sense, she can be called an eclectic artiste. Paradoxically, even while doing so, she has boldly attempted to bypass, so to speak, the tradition of khayal singing, though not to the extent witnessed in the case of Kumar Gandharva and Kishori Amonkar. Mark, for instance, the way she rather casually dispenses with the antara phase in her exploration of vilambit khayal. This has generated extreme reactions among many of our concert-goers.

One has, however, to concede the fact that even while doing so, she shows her ingenuity and craftsmanship in giving her raga unfolding a perfect sense of design and proportion. On the other hand, the pre-eminence she accords to sargams in the scheme of raga depiction often sounds rather out of place. She has argued, through her writings and lecture-demonstrations, that such elements in her approach are neither off-beat, nor do they mean deviations from pure classicism.

There was a time when performing musicians were seldom known to `speak', much less `think', knowledgeably on their art. That is not quite the case any longer. Thre are performing artistes in our time who show their ability to think and speak on a wide variety of topics concerning music. But these aspects of their personality are mostly noticed when they are featured in programmes like lecture-cum-demonstrations or question-and-answer sessions on the public platform. Many of them also find place in cold print in the form of press interviews.

But very few of these artistes have condescended to communicate their thoughts, views and opinions through independent writings, and Prabha Atre is one of them. Take the case of one her two definitive books. The book, titled Swaramayee, is written in Marathi. Although it embodies a collection of her articles and poems, all published earlier in leading newspapers and magazines, she has brought to her literary effort a considerable knowledge and experience. One may or may not agree with many of her assumptions and opinions but one cannot but admire the finesse and incisiveness with which she puts across whatever she has to say to her reader. This is equally true of her lecture-cum-demonstrations or the papers she presents at seminars and symposia.

As a performing artiste, Prabha Atre is always a big draw. But here again, and rather strangely, her public performances have been rather few and far between. Her well-cultivated voice is indeed her fortune, and rigours of teaching have not taken a toll on its expressive power. Added to this is her uncanny ability to make her voice express her musical ideas and intuitions in an eloquent manner---be it khayal or thumri. The sound-picture that emerges is always one of sculptural beauty.

Father: Dattatraya (Abhasaheb) Atre,  Mother: Indira Atre

Born in 1932, Prabha Atre comes from a middle-class family, where both her parents Abhasaheb Atre, Indira Atre were teachers. They were culture-loving people and ardent votaries of classical music. As children, Prabha and her sister, Usha, were greatly interested in musical plays, music festivals and such other activities. But as a child, she had no plans to be a musician. Reminiscing about her school days, she has said that in a class-room essay on what she wanted to be when she grew up, nowhere did she indicate her intention to be a musician. According to her, her involvement in music was accidental. As it happened, her mother was keeping indifferent health for a long time, and she had become weak and dispirited. A family friend suggested to her to take lessons on the harmonium as he felt this diversion would bring about a speedy recovery. Prabha was only seven or eight when the music teacher began to teach her mother. As she says, she would sit beside her mother during the tuition. Not long after, her mother felt tired of learning music while the youngster began taking lessons from the teacher.

The child began to wield the instrument well enough to elicit admiration and praise from those who heard her play. And it was at their insistence that she switched over to training in vocal music from Vijay Karandikar, a well-known local teacher. He groomed her for five years, giving her a sound foundation for her advanced training.

Later, sensing the girl's conspicuous talent, Vamanrao Deshpande, a friend of her father, suggested that she should be sent to Sureshbabu Mane. Her father hesitated because he thought he would not be able to afford the veteran's fees. Deshpande, however, assured him that if Sureshbabu liked her voice, the fees would not matter. The Kirana stalwart liked her `trial' performance, which comprised a raga rendition and a thumri, and agreed to teach her. Prabha Atre was only fourteen then.

Prabha Atre has nostalgic memories about her studentship with Sureshbabu Mane. Although it lasted for five years, coming to an abrupt end with his sudden death in 1952, she remains indebted to him for his painstaking guidance. `I give him all the credit for nurturing my attachment to classical singing'.

After the death of Sureshbabu, Hirabai Badodekar took Prabha under her wing. Hirabai was in her performing prime and she had to undertake hectic concert tours in fulfilment of her commitments. Prabha often accompanied her mentor on all her tours. This exposure to audiences sood her in good stead, in that she was able to pick up the subtleties of presenting her own music on the concert stage in the later years.

Meanwhile, she also did her B.Sc., followed by a law degree. She was even planning to start practice, but gave up the idea when she realized that `making money on disputes and my artistic temperament were poles apart'. In another fortuitous happening, she got a Central Government scholarship for specialization in music. As she puts it: `I was doubly thrilled, because I was the first woman in Maharashtra to get this scholarship. It had a two-year tenure and I put my heart and sould into my riyaz'.

A little-known fact is her short stint as a singing stage-actress. Although, as she says, she played a minor role, the play was the trend-setting Sharada, based ont he theme of child marriage, a controversial issue in the earlier decades of this century. The play was staged in All India Radio's national programme series in the presence of an invited audience, which included Jawaharlal Nehru. Her maiden role was a tremendous success, as could be seen from the surfeit of offers she had for acting in musical dramas. She played her roles in a line-up of Marathi theatre classics, which included socials and mythologicals like Samshay-Kallol, Manaapamaan, Saubhadra and Vidyaharan. She was the only amateur artiste in the troupe while the remaining cast was made up of professionals. After three years, however, she forsook the glamour of foot-lights, make-up, tours and travels.

The restless artiste in her, always on the lookout for a creative pursuit, took Prabha Atre to All India Radio on a full-time appointment as music producer. Since the job was transferable, her first posting was to far-away Ranchi. This was the first time she had to stay away from home. Within two months, the authorities transferred her to Nagpur in response to her request. Although the place was also quite far-off from Bombay, Nagpur brought her close to her sister, who was studying medicine there. She continued to give concerts during her employment with All India Radio. She claims that her ten-year association with All India Radio was fruitful, as it helped her to keep in touch and be exposed to visiting musicians. It also greatly helped her singing career.

It was during her service with All India Radio, Bombay, from where she resigned in 1970, that Prabha Atre worked on a research thesis which brought her a doctorate from the Gandharva Mahavidyalaya. Her involvement in this new field convinced her that academic study should be deemed as an integral part of any course in music. That led her to join the music department of the SNDT Women's University in Bombay. As head of the department, she undertook programmes relating to theory and research in music and introduced new courses to give a student a comprehensive view of world music.

During her tenure at the SNDT University, from where she retired on superannuation in 1992, she introduced the subject of world music for post-graduates. She has explained her stand-point on this issue thus: `Music is a multi-limbed tree---to bring out the best in you. You have to turn your mind into a fine sensor that is able to absorb the psychology of the audience you are performing for, the sociological and cultural aspects of the genre you are presenting---be it khayal, thumri or ghazal---learn to grapple with acoustics and use them to maximum advantage and so on ...'.

Prabha Atre gives all credit to Sureshbabu Mane for shaping her musical personality. He was progressive in his outlook and had an eye for beauty, which she points out, is an important asset one can imbibe into one's music. She claims that the impact of her mentor's grooming has been so lasting that she does not shun film music or ghazal or folk tunes, unlike many classicists. To quote her: `If you can locate and appreciate beauty in every activity, then life becomes a rich, wondrous experience. I can enjoy a good book or a beautifully done-up room with as much pleasure as I get from a throughtfully prepared and artistically served meal'.

Prabha Atre has been a visiting professor at several universities in the West, like those at Calgary, Alberta; Los Angeles, California and the Rotterdam Cosnervatory (Netherlands). Speaking of her experiences in the West, she says that unlike foreign musicians, who have equally well-developed skills in theory and performance, musicians in India tend to remain passive, even scornful, towards theory as they think it has no practical value. `Blind submission to the guru's authority, as ordained by the old concept of the guru-shishya parampara, is behind the outlook of most musicians here. Moreover, the Indian musician is uncommunicative and also lacks objectivity, logic and analytical approach… Music must strive to go beyond technique, which is only a means to an end'.

What does she have to say about present-day students learning music? In her view, since music has become a saleable product, the old guru-shishya relationship has become out-dated. `And in this age of speed and hurry, students want instant music education, even through cassette-recorded capsule lessons, so that they can gain quick returns by performing on radio, television and for commercial cassettes. They are often found to mention the names only of eminent artistes as their mentors---from whom they might have learnt one or two compositions and promote themselves. This is no studentship at all'.

What should be done to make classical music popular among the masses in general? One potent way, according to her, to inculcate the habit of listening to classical music, is by starting compulsory cultural training programmes in schools and colleges. It is necessary also to exploit light classical forms to propagate classical music. The duration of concerts should not go beyond two hours and he performers should make their presentations brief and compact.

How does she view the present-day audience of classical music? The audiences, she says, should be less demanding and more patient, disciplined and sincere. Their tastes have become more varied than before. As a result, the performing artiste is expected to be well-versed in classical, light classical and devotional music to be able to hold the interest of mixed audience.

Prabha Atre is forthright on the content and quality of press criticism on music in India. She points out that newspaper criticism today has become a potent medium of publicity and promotion. As a result, the critic has come to play a vital role in shaping public criticism about an artiste and his art. `It is high time to realize that music criticism is a discipline that calls for specialized training. It is the duty of the editors of newspapers to ensure that only academically qualified writers are enlisted for the purpose of doing concert reviews'. 

What do the artistes look for in the critic? she asks and then proceeds to say, by way of reply, that the critic should show authority, sincerity, credibility, a sense of responsibility, awareness of changing times, practical experience and objectivity. She is rather sad that the editors still do not realize and appreciate the importance of serious, informed criticism. In this, she perceives a real danger for future scholars of music, who might well look upon such reviews as source materials for their research work.

Prabha Atre has been recipient of many official and non-official awards and accolades, which include the Padma Shri in 1990 and Sangeet Natak Akademi Award in 1991. She also won the Maharashtra State Government award for her book Swaramayee, in 1989. Earlier, in 1975 she had won the coveted Acharya Atre award for music. Her writings which are mostly in Marathi speak of her individual approach and independent thinking apart from her erudition and scholarship.

Several young students have benefited from her guidance. Most of them are housewives, pursuing music as a serious vocation rather than as a joyous hobby. While some have made it to the performing platform, others have taken to teaching side by side with performing. Among the shagirds, whom I have heard though their broadcasts and telecasts, as also on the public platform, are Asha Parasnis-Joshi, who holds a doctorate in music and also conducts a school, besides giving regular recitals; Sarala Desai, who is now based in Bangalore; and perhaps the youngest of them all, Padmini Rao, also based in Bangalore. They have matured as concert performers over the years and hopefully, they should forge ahead in the field, given favourable conditions.

Even after retirement, Prabha Atre finds herself ceaselessly busy giving concerts, writing articles, participating in musical conclaves, besides doing research and teaching students. In 1991, she started holding annual sangeet sammelans in commemoration of her illustrious mentors, Sureshbabu Mane and Hirabai Badodekar. In point of concept and approach, one is reminded of the mammoth annual soiree held in Pune in memory of Sawai Gandharva, another luminary of the Kirana gharana. If Bhimsen Joshi has been the moving spirit behind the Pune event, it is Prabha Atre behind the Bombay show. It speaks of her goodwill and friendship with the fraternity that some of the leading lights from Hindustani and Carnatic music gladly perform for her, year after year. Not surprisingly, therefore, the seven-year-old sammelan bids fair to grow more and more popular with each passing year.

How does she define her ideals? Pat comes her terse reply: `To inspire continuously, to touch the soul of my music in a manner that gives my spirit the fullest satisfaction… Recognition, fame and money can wait'.