Gujarati gazal purushottam upadhyay biography
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ઉપાધ્યાય, પુરુષોત્તમ . . Apart from singing in Gujarati Sugam Sangeet (semi-classical music), he sang ghazals. It has been our philosophy and our aim to provide an opportunity and a platform to the new composers and singers in Gujarati”, Upadhyay had said at the opening of online Swarkar Sammelan during Covid.
Contribution to Music:
Upadhyay’s immense contribution to music is evident in his encouraging, mentoring and creating new composers, new poets and new singers in Gujarati language.
“Almost 90 percent of Gujarati Sugam Sangeet artists have trained under Upadhyay in the beginning of their careers,” Mehta said.
Upadhyay prepared the new generation of Gujarati musicians, Shah said.
He not only recognized another person’s talent, but also spent time on honing it to its best presentable form.
Knowers of music admired Upadhyay’s compositions more than his singing.
Its success had proved the worry about the demise of the language and literature false, according to Mehta.
According to Shah, Swarkar Sammelan has now become a talent spotting for good compositions.
“We see a very healthy and bright future ahead for this festival,” Shah had said earlier.
Upadhyay’s dream will continue to live and serve Gujarati language.
(Used with permission)
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Legendary Gujarati singer Purushottam Upadhyay passes away at 90, PM Narendra Modi expresses condolences .“He gave us many rich songs,” he said.
His impact was seen not just among the amateur artists whom he trained and mentored. He was well known in Gujarati semi-classical music and composed music for over 20 films and 30 plays. His well known Gujarati songs include "He Ranglo Jamyo", "Divaso Judaina Jay Che", "Ae Jaashe Jarur Milan Sudhi", "Have Mandir Na Barana", "Mari Koi Dalkhi Ma" and "Kahu Chu Jawanine".[3]
Upadhyay had two daughters.
A pivotal moment in his career came when he was given the opportunity to sing a song originally performed by Noor Jehan in front of actor Ashraf Khan. Without informing his family, he left his hometown to pursue a career in music in Bombay (now Mumbai) but returned due to lack of opportunities. So we thought about a convention for them. With the recommendation of Ashraf Khan, he secured a singing contract with All India Radio, Bombay.
This marked a turning point, leading to collaborations with renowned artists and securing a contract with All India Radio, Mumbai, as well as managing music events at Bharatiya Vidya Bhavan.
Upadhyay also trained in classical music under Ustad Navrang Nagpurkar and later conducted music classes at Bharatiya Vidya Bhavan in Vyas’s absence.
Under guidance of Vyas, he organized music programs at Bharatiya Vidya Bhavan and also taught at music classes there in Vyas's absence. Upadhyay was part of the young stage and music personalities discussing all things related to drama and music sitting on the steps of Bhavan, Mehta remembered.
Upadhyay’s relationship with Bhavan grew stronger when he revived Bhavan Kala Kendra’s dormant ‘aa maas na geeto’ program bringing it to great success, Mehta said.
With the establishment of Swarkar Sammelan in 1987, first at Chowpatty Bhavan, and then at Andheri Center, Upadhyay became permanently attached to Bhavan.
What is Swarkar Sammelan :
Swarkar Sammelan was an idea very close to Upadhyay’s heart.
Mehta met Upadhyay at Bhavan in 1960 and they developed a friendship which lasted till now, Mehta said.
Bhavan’s Kala Kendra at Chowpatty had at the time become an ‘Adda’ of upcoming drama personalities, including Adi Marzban, and music personality Avinash Vyas and many more. He always experimented with the musical form as can be seen from his composition of poet Umashankar Joshi’s poem ‘ame suta zarna ne jagadyu’ which he composed in the style of a choral harmony.
“His genius lay in his vibrant expression of the poems,” Mehta said.
“No one could present the words, the sentiments, the spirit, the rhythm, and the emotions the way Upadhyay did,” he added.
In ‘Paan Leelu Joyu Ne Tame Yaad Aawya’, Upadhyay imparted a subtlety, tenderness, intensity, intimacy, all with help of his voice, illustrating the closeness of the relationship, Mehta pointed out.
Upadhyay also had the distinct ability to recreate variations in his own singing, coaxing the audience, according to Shah. Beginning to sing at a very young age, Upadhyay could sing till the age of 89.
The Times of India .
He was always self-confident, according to Mehta.