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Introduction
Gudallur Narayanaswamy Balasubramaniam, as the acronym goes, is a person who brought the first idea of neo-classical Carnatic music on the concert stage, reviving the performing genre of a bygone era with a modern appeal. In the performing era of this art form, he was the first vocalist to approach Carnatic music with an intellectual bend of mind and that too successfully on the concert circuit. He revived the shruthi-bedam (calculated tonal shift of one raga to another in a composition, a sophisticated science in Carnatic music) technique from obscurity (in ancient times, it was reportedly used by music bards of of Sangam music to showcase their deep knowledge of raga science). He proved that the madhayama kala (middle tempo) is the ideal singing tempo that appeals to the lay and connoisseur alike and likewise, all his concerts drew packed audiences even in his final years. Among his iconic colleagues, he had the fortune of training some of the most brilliant musicians of his time and trained 2 of the greatest amongst them (a record yet to be broken by any performing music guru); Tanjore S. Kalyanaraman (a genius star disciple) & M. L, Vasanthakumari (former film actress & a musical genius matched). Both SKR and MLV stood head and shoulders with GNB and by the time of their passing, they both had already trained a legion of disciples of the GNB school. GNB was unusually blessed with a rare blend photogenic looks and a divine voice so versatile and flexible that captivated one and all. Scholars have gone so far to declare that a voice of such calibre was not heard of in known Indian history. Nevertheless, the daunting question arises; who is G.N.B, the man who single-handedly transformed the Carnatic music scene? Is he the genius of extraordinary musical gifts or a staunch hedonist of surprising humility?
The Musician
Much about his life, achievements and contributions in the field of Indian music (Carnatic & in a certain way Hindustani music) have been discussed in numerous books, lecture demonstrations and websites. But to define G.N.B as a musician, one has to understand or at least look at the human being who lived a personality comparable to a fictional superhero. That's how I saw a person who overwhelmed me more than his music, a person called G.N.B. Since young, he had a penchant for music and challenged even the great Ariyakudi Ramanuja Iyengar at the age of 12 that he can sing Hamsadhwani raga at the hesitation of his father in a musical discussion. Upon hearing the boy's music, the great legend was speechless, the copious swaras, and the boundless creativity that the young lad unleashed, prompted the legend that a new age is dawning in Carnatic music. He grew up listening to great stalwarts especially Nadeswaram artistes, who created matchless elaborations of raga alapanas that are so exquisite that vocalists are never said or heard to have emulated. GNB thought otherwise and attempted to vocalize the grandeur of this instrumental genre. Realizing the wide-reaching appeal of this instrument among the masses, it is only sensible, how aptly he used his gifted voice to maximum effect by incorporating the instrument's vibrant brigha (rapid crescendo) techniques.
His musical sensitivity was remarkably unusual and he had the rare ability to grasp swaras (musical notes) from even common speech by his friends and anybody, all of which accelerated his musical acumen very quickly. Despite his unparalleled musical gifts, pride never cast its shadow on this teenager who finished his B.A. (Hons) in English Literature. One may say that an educated upbringing will add arrogance, ego and pride in one's achievements. But to this great young man, the world stood still as he made his debut concert in 1928 in the auspices of the Kapaleshwar Temple in Mylapore during the Spring Festival as a replacement for Musiri Subramaniyar Iyer another great legend who was ill and was unable to make it for the occasion.
It was there that the first rains of musical bliss poured and a thousand suns of joy and wonder lit the sky, ushering in an era so bright, that the music world was never the same again. His brilliantly fast but controlled music, copious brighas, dynamic appeal and rhythmic adherence stunned audiences all times. He criss-crossed the nation's length and breath, with concert bookings up to 2 years in advance. As he grew at a meteoric speed, he stood head and shoulders with the giants. Now as a young man, informed of his music and those of his seniors, he personally venerated Ariyakudi Ramanuja Iyengar as his idol and inspiration even defending criticisms against the master. T. N. Rajarathnam Pillai, the Nadeswara Chakravarthy became his most prominent muse. T. N. Rajarathnam Pillai, who once said, that no one can sing with the effect of his Nadeswaram, was taken back after hearing a concert of G.N.B and personally felicitated him on stage. Their friendship remained very intimate till the passing of the former. As fame grew, humility is supposed to fade, but in this divine star, it grew larger and more visible than most other famous colleagues of his profession. Even at the height of his stardom, a tambura accompaniment to Maharajapuram Vaidyanatha Iyer or an obedient fan sharing a listening ear on the dias as Ariyakudi Ramanuja Iyengar gave a vocal recital were moments that made his humility stand out.
Always open to musical ideas, he had long discussions with many up-coming musicians of his time including Dr. M. Balamuralikrishna who was then a young artiste (while they were both working in AIR in the 1950s) and with his disciples like M.L.V and most of all with his star and genius disciple, Tanjore S. Kalyanaraman and even called him, a Sangeetha Shastri (a well-versed musical scholar), and that at the height of his fame and amidst people who didn't know much about his upcoming student. At a time when it was taboo for a student to share the stage with a teacher extempore, G.N.B even shared his stage many a times with Kalyanaraman who sprung brilliant musical exchanges on the spot to surprise an audience who came to listen to G.N.B. He declared that his student can stand up to any raga in Indian music despite his vast knowledge in rare ragas. Such was his student's calibre that G.N.B christened him as a "Sangeetha Shastri" coming from a person who does not believe in recommending musicians even his own students for favours in music competitions, concert recommendations and grading assessments. S. Kalyanaraman became a maverick in his own right extending the boundaries of the GNB style to its almost absolute limit and he is emulated by both leading and upcoming musicians in Carnatic music today.
He also had a heart to generously apologize many a times to the surprise of his many young, but brilliant accompanists whenever he had a shortcoming because of an ailing health in his later years or some reason. On a metaphoric note, one may ask who his he apologizing to? He is apologizing to the Nadabrahma that exist in the music of everyone making it. He is rightfully doing his duty as a musician and I think everyone in such a dilemma should do regardless of seniority or experience. He also became the first musician to share his remuneration equally with his accompanists regardless of their seniority and experience and kept it that way even at times when he needed the money in his ailing final years. In my own observation, nobody in a field of envy and pride, was this generous then and now.
A hedonist who spent his money lavishly while giving his generous share to needy musicians, he didn't care how much he made in his coffers, but how many people were made happy and be duly satisfied. Paradoxically, how can a hedonist be generous to others? The equation isn't balanced. Even so, he lived such a short life, but with achievements that require a lifetime to achieve.
There were times when professional rivalry got the better of him, when Semmangudi Srinivasa Iyer, his foremost rival, created the post of Chief Producer Carnatic Music in AIR and gave him the post of a Producer. Semmangudi Iyer also "renovated" the AIR archives which housed many of G.N.B recordings made during his prime years in the 1940s and 1950s while working in AIR for the reason of "space management", and also disputably said to have passed belittling comments to the Travancore Royal family among many others about G.N.B. Another question to ponder here is how can a musician who remained at the top rank for all his life ignore such immoral actions of envy and pride? On my own logical view, its simple, he didn't consider anyone his rival, but looked at them as learning avenues to improve his music. He remained like all the greats, a student of music all his life, learning whatever he can from the masters and even his juniors and never accepted titles like "Great one", "Divine one" and as such.
It is expectant for an ascetic or a saint to live a renounced life. But to see a person, enshrined in fame, unparalleled talent and fortune exuding humility to others, that is even rarer and more holier. It is indeed more difficult to live such a life. An ordinary person cannot live a life like this. It is a divine calling, a calling so rare, that history can never forget. To shun envy, pride and arrogance in the sphere of fame is indeed achieving enlightenment. Feted by the entire nation for all he had achieved, he was an enlightened soul who had accomplished his birth task and left his mortal coil, for the world to tell his story. He died at the age of 55 leaving behind a treasure trove of over 250 compositions and a legacy carried on by his many disciples.
Till the end, he never believed in recommending his students, fans or even his own family members (siblings) for performing opportunities or for any other reason. He believed that the quality of the individual's music alone should recommend the artiste for his own progress. On one such instance, he refused to give the college "donation" money of 2000 Rp, to his brother to get into B.A. (Hons) programme which he did not qualify on his own merit. To the dismay of his brother, he took up the B.A. programme as required. Before he passed on, he made a diktat that none of his family members should take up music as a profession as they would be compared to his legendary music & knowing the growing commercial politics & esotericism in the business of performing music, he feared they would be subjected to immense media scrutiny.
As for his rivals, he became a lesson and a role model to how a musician should live and that humility, he proved, triumphs above envy, pride and arrogance. Semmangudi Srinivasa Iyer, the so-called Pitamaha of modern Carnatic music regretted many a times for having done such unfair things to a musician who stood above him in many aspects of music and character. In fact, Semmangudi Srinivasa Iyer significantly incorporated the G.N.B style in his music that made him popular even in his golden years and glorified G.N.B.'s music and humility in many interviews and concerts. Even to this day, I have not witnessed a single criticism said or discussed about his music and character by anyone. Indeed its a huge challenge for any human being to live such a life. The zenith of his achievement was the division of the performing era of Carnatic music into two parts; the pre-G.N.B era and the post-G.N.B. era, an honour he alone received for his revolutionary services in the field of Indian classical music.
Conclusion
G.N.B is the rarest talent the music world had ever produced. Musicologists had even gone to the extent to declare that a voice like G.N.B with the ability to create any vocal inflections never existed in the past 1000 years in Indian music as no mention of such a singer was mentioned in the literature of Indian music. Considering the fact that classical Indian music is the oldest classical music in the world, G.N.B is indeed a gift to the world of music. For if he lived for just a couple of decades past his 55th year, he would surely been feted all over the world personally.
G.N.B was not only a gifted singer of extraordinary ability, but a brilliant composer, musicologist, critic and performer rolled into one. He was also a good violinist & learnt how to play the veena. He also had sound knowledge of Western classical music & knew how to write the staff notation with ease. To the many Western music enthusiasts who visited his residence, his high command of the English language & his knowledge of bridging the similarities between Carnatic, Hindustani & Western classical music always held their attention in music discussions. Above all, he was a noble human being worthy of even worship.
To call G.N.B the "Prince of Carnatic Music" is an understatment. He should be duly called Booloka Nadarupa Chakravarthy. (the Earthly Emperor of Music). Some may disagree. But on the basis of his monumental innovations, this title fits the great, the one and only; Sangeetha Kalanidhi Sri. G. N. Balasubramaniam. He is and will be the only "Superstar of Carnatic Music".
G.N.B was not only a gifted singer of extraordinary ability, but a brilliant composer, musicologist, critic and performer rolled into one. He was also a good violinist & learnt how to play the veena. He also had sound knowledge of Western classical music & knew how to write the staff notation with ease. To the many Western music enthusiasts who visited his residence, his high command of the English language & his knowledge of bridging the similarities between Carnatic, Hindustani & Western classical music always held their attention in music discussions. Above all, he was a noble human being worthy of even worship.
To call G.N.B the "Prince of Carnatic Music" is an understatment. He should be duly called Booloka Nadarupa Chakravarthy. (the Earthly Emperor of Music). Some may disagree. But on the basis of his monumental innovations, this title fits the great, the one and only; Sangeetha Kalanidhi Sri. G. N. Balasubramaniam. He is and will be the only "Superstar of Carnatic Music".
Excerpts of his Essays on Music
The rapid advance of democracy which connotes that all citizens shall have equal opportunities to participate in all activities - political, economic, social or cultural - has led to the natural result that no art can be regarded as a privilege of those better placed in life.
- (Mass Appeal in Music)
Our system, the most aesthetic, intricate & exalted in the world, is the noblest heritage of man.
- (Concert Tradition)
The word tradition connotes the sum total of observances & practices as they come down in human history, in the aspect of man's mental & social activities such as literature, art, religion & philosophy.
- (Concert Tradition)
The greatest art is that which is born out of profound & powerful emotional inspiration, controlled selected & chiseled by the exercise of reason & giving us a unified & structural whole & achieving the union of vigour & beauty in the parts & exquisite attractiveness & appeal in the whole.
- (Art: Its Dawn, Perfection & Future Role)
While listening to good music, one moves along its graces & nuances its waves of ascent & descent, its caresses & its kicks & its tears & its smiles.
- (Art: Its Dawn, Perfection & Future Role
In short the end of all art is to unite one with a common feeling.
- (Art: Its Dawn, Perfection & Future Role)
It will be evident that a musical performance those days was considered a really serious affair alike by the musicians & the audience. There was so much of science in it that the appeal was bound to be restricted to a very few.
- (Mass Appeal in Music)
The individual artist loses his personality & he becomes as it were, one of the common herds of sheep whose wool is sheared for producing aesthetic warmth to the otherwise ill-clad, common, lay listener.
- (The Annihilation of Art)
A book which lays down the principles on which music criticism should be written & which will be useful to critics as well as lay listeners is very much needed now.
- (Music Publication Work)
In music, as in other aspects of the culture we have inherited from the past, we have now come to a stage, where I am afraid, blind & unmeaning obedience & adherence to the past will no longer obtain amongst the younger & future generations.
- (Presidential Address Music Academy, 20/12/1958)
Fully agree with your observations regarding late GNB sir.
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