Pandit Gopal Krishan (July 26, 1926 - March 5, 2004) was an exponent of vichitra veena, an ancient Indian instrument. His father Nand Kishore, himself a noted surbahar player and a vocalist (student of Pt. Vishnu Digambar Paluskar), was his first teacher. After his father's death, he continued his training in music under the able guidance of Pt. Khubchand Bramchari of the gwalior school of music. Gopal Krishan was a versatile musician. His musical expertise was not restricted to the vichitra vee...
Leer más
Pandit Gopal Krishan (July 26, 1926 - March 5, 2004) was an exponent of vichitra veena, an ancient Indian instrument. His father Nand Kishore, himself a noted surbahar player and a vocalist (student of Pt. Vishnu Digambar Paluskar), was his first teacher. After his father's death, he continued his training in music under the able guidance of Pt. Khubchand Bramchari of the gwalior school of music. Gopal Krishan was a versatile musician. His musical expertise was not restricted to the vichitra veena. He was also a good vocalist and played several other instruments such as taltarang, tabla, guitar and a folk instrument called iktara. Iktara is a one stringed instrument used for devotional music for keeping the musician attuned to the pitch. Gopal Krishan used two strings on his instrument and played it in the classical style of vichitra veena. He joined All India Radio (AIR) in the year 1949. He participated in several prestigious national programmes and music conferences organised by AIR and Doordarshan (Television). He has enthralled millions of audience by his performances in many prestigious music festivals and conferences world over. His music has crossed the barriers of his country and the magic of his Veena has reached several other countries such as Nepal, Pakistan and Afghanistan in Asia, England, France, Italy, the Netherlands, and Germany in Europe, Mauritius, Reunion Islands besides America and Canada. His music has been received with great acclamation and enthusiasm wherever he performed. His programmes have been covered by the press extensively in India and abroad. A deep understanding of the raga and depth presentation by weaving of various intricate musical patterns and their rhythmic synchronisation was his speciality. Keeping the traditional innovations in the Vichitra Veena, he gave new dimensions to this otherwise technically limited instrument. He specialised in a technique called "Jhala" (very difficult to play on this instrument), which gives a climactic effect to the performance for the grand finale.
