Apoorva Gokhale

Born in the family of traditional legendary musicians, Apoorva Gokhale has carved a niche for herself as one of the sought after well-known vocalists of the younger generation with a firm background of Gwalior Gharana. She has an impressive musical lineage and has proudly and responsibly inherited the musical qualities from her grandfather, the late Gayanacharya Pandit Gajananrao Joshi and her great- grandfather Pandit Antubua Joshi, an eminent court musician in the erstwhile state of Aundh, district Satara.

At a very tender age of five, she initially received a sound grooming from her grandfather Pandit Gajananrao Joshi, who insisted to see in her tonal perfection with just intonation and infused a keen sense of rhythm. Later on she received rigorous training in the form of guru-shishya

parampara under the guidance and supervision of her uncle Pandit Madhukarrao Joshi, an eminent vocalist and violinist.

Simultaneously she also received guidance from her father Shri Manohar Joshi, her aunt Dr. Sucheta Bidkar and renowned vocalist of the same tradition, Padmashri Pt. Ulhas Kashalkar.

Apoorva’s versatile temperament and approach to music does not allow her to rest anywhere for she knows that there is much more far beyond from what knowledge she has acquired and imbibed in musical field and hence she must perforce fathom the oceanic depths of music. As such, she goes on seeking further able guidance from Pandit Shankar Abhyankar, an eminent sitarist and composer, Smt. Manik Bhide, Smt. Ashwini Bhide –Deshpande, Pandit Yeshwant Mahale and Pandit Arun Kashalkar.

Apoorva is influenced by the best of traditional musicians, but her approach towards presentation is all her own and that makes her music unique. She brings to Khyal singing an expression which, both lyrical and evocative at the same time, maintains the seriousness of the form, unimpaired.

Her coherent presentation of khyal is an aesthetic blending of imaginative alaap, an improvisation in a sonorous and scintillating voice, gracefully weaving exquisite patterns of swaras, unfolding the image of the raga with all its beauty and dignity, combined with an innate sense of laya (rhythm). She judiciously gives equal importance to both gayaki (style) and purity of raga rendition.