Pt. Dinakarrao Elkunchwar

(Image 1- Dinubhau performing in one of his concerts at Mehekar)

Pandit Dinkarrao Balirampant Elkunchwar, fondly remembered as Dinubhau, was a classical vocalist who devoted his life to music while rooted in the soil of Vidarbha. Born on the day of Vasubaras (first day of the Hindu festival Diwali), that is, on 14 October 1925, in the small village of Parwa, Washim district. He grew up in a family that nurtured a love for the arts. His father, the late Balirampant Elkunchwar, served as manager to Babasaheb Parwekar, and along with his wife Saraswatibai, shared a deep fondness for music. Being the eldest brother of renowned playwright Mahesh Elkunchwar and Forest Officer Satish Elkunchwar, he was the anchor of the family.

From early childhood, Dinubhau had the privilege of listening to great maestros, which sowed the seeds of musical sensibility within him. After completing his schooling in Yavatmal, he pursued college studies in Nagpur, where he also excelled as a cricketer while working towards his Bachelor's degree in science. However, circumstances drew him back to Shirpur, a small village in Washim district, where he took up farming as his livelihood. Life as a farmer gave his journey a different course, but the artist within him longed for expression.

( Image 2- Dinubhau in his youth)

With no formal avenues for music education in his village, Dinubhau sought guidance from his close friend, Pandit Manoharrao Kaslikar of Amravati, who himself was a disciple of Ustad Bade Ghulam Ali Khan of the Patiala gharana. Dinubhau also pursued rigorous self-study, drawing upon the vast collection of music treatises and texts preserved by the late Tryambak Keshav Ghatekar of Shirpur.

Dinubhau’s voice was naturally gifted- resonant, melodious, and commanding, yet filled with sweetness and emotion. It carried the striking brilliance of jawari and flowed effortlessly across all three octaves, from the deep kharaj to the soaring upper shadja. So powerful was his projection that even without a microphone, his low notes could be heard from afar.

                                                         (Image 3- Shirpur's wada)

Each morning, Dinubhau devoted himself unfailingly to riyaz. His alap was marked by deep imagination and a meditative unfolding of the raga, reflecting his love for swaras. While his music carried the stamp of great masters like Pandit Bhimsen Joshi and Ustad Salamat–Nazakat Ali Khan, his style remained deeply personal. Gorakh Kalyan, Darbari, Malkauns, Gavti, and Adana were among his cherished ragas. In khayal singing, he found his truest joy in the expansive, contemplative alapi.

Here's a beautiful recording of his Gorakh Kalyan. Bada Khayal ‘Dhan Dhan Bhag’ followed by a beautiful Chota Khayal ‘Ali Tum Ayo Piya Nahi Mera’ in drut teentaal.

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Tarana was another form close to his heart. He composed many of his own and performed them in concerts to great acclaim. He also set devotional abhangas to tune, presenting them with heartfelt devotion. His concerts won him the lasting affection of audiences all across Maharashtra- Washim, Mehkar, Akola, Pune, Chhatrapati Sambhajinagar, Mangrulpir, and Malegaon. One of the most memorable events was his all-night jugalbandi with the renowned Pandit Nathrao Neralkar in Washim, which became the stuff of local legend.

Dinubhau was supported by a circle of devoted accompanists like Purushottam (Balusaheb Raje) and H.B.P. Umesh Dalvibuwa on the tabla, and Rambhau Satpute on harmonium. He was also a generous guru, training disciples such as Babulal Joshi, Dr Suresh Raje, Purnaji Khanole, and Baliram Chauhan in vocal music, while also teaching tabla to students like Umesh Girde, Nitin Dhole, and Ashok Daule. He often emphasized that good accompaniment was as vital to a performance as the main artist.

(Image 4- Dinkarrao Elkunchwar and Sunanda Elkunchwar)

In his recording of the chhota khayal “Balama mora ghara nahi aye” in Raag Rageshri, set to addha teental, Dinubhau’s voice blooms with remarkable sweetness and depth. The subtle gamaks, the gentle meend weaving through each phrase, and the finely balanced laya-kari give the rendition a rare elegance, making it a fine example of lyrical beauty in Hindustani Khayal singing. His voice, with its rich timbre and effortless projection, brings out the tender poignancy of the bandish while sustaining the raga’s romantic essence with dignity and depth.

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A versatile musician, Dinubhau also played the violin with skill. At home, his practice sessions became a family gathering where his son Umesh and daughter Aruna would sing along on the tanpura, while his elder son Shekhar provided powerful tabla accompaniment. His wife, the late Sunandatai, herself possessed a bright and melodious voice. Despite the responsibilities of a large joint family and the hardships of village life, she remained a keen listener, always seated before him in appreciation. Though not formally trained, she had a keen ear and could instantly identify ragas.

( Image 5- from right, Sandhya Elkunchwar Deshmukh, Sandeep Deshmukh, Saurabh Deshmukh, Dinubhau, Harish Deshmukh)

Music became the inheritance of the Elkunchwar family. His eldest daughter, Sandhya Elkunchwar Deshmukh, and grandson, Pandit Sandeep Harish Deshmukh, are both graded artists of All India Radio. Sandeep, who began his training at his grandfather’s feet, grew up with a deep passion for music, grounded in the strong foundation laid by Dinubhau’s guidance. He was awarded the Sangeet Natak Akademi Yuva Puraskar in 2007 and continues to follow his grandfather’s legacy.

 (Image 6- Dinubhau teaching his grandson Sandeep, along with his son-in-law,      accompanying on tabla)

Though Pandit Dinkarrao Elkunchwar may not have sought wide acclaim as a vocalist, his legacy remains alive through his family. He did not chase renown, nor did he need to. His music burned quietly, like a flame- steady, luminous, and unforgettable to those who gathered around it.