I do not remember much of my father as he was seldom in town, since it was the busiest time in his career. Naturally, we his children hardly saw much of him. And when he was in town and at home, he always had visitors calling on him and spending hours with him. We, the children, didn't have a chance !

I can recall only a few instances when all of us have been together as a family. On several days, when he was in the City, he had concert engagements and we were asked not to disturb him and to stay away from the house till evening. Sometimes, we would be sent away to a cinema or a friend's house.

When he had a visitor he used to call me up and introduce me. Often he was not sure what class I was studying in. His hectic career, left him so few opportunities to mix with his children. I suppose that must be the lot of the children of other busy musicians also.

For several years after his death, I could not help feeling that he was just on one of his usual trips! So used were we to his absence.

He was firm on one thing, that none of us should take to music as career. He used to describe the music world as a jungle and that one in the family was enough ! My sisters did learn music more to acquire a marriage qualification than for art's sake. That too only when he was away and when the teacher was free. one Sri Chinnaswamy, a Nadaswara Vidwan, used to teach everyone as they grew up. He has played at my father's wedding and is still alive.

At one stage, I became an ardent worshipper of Sri Palghat Mani lyer and wanted to learn Mridangam. Father, in a moment of weakness agreed and a mridangam was obtained. One day, I made the mistake of practicing on the mridangam, forgetting that father was taking rest in the afternoon. out went the mridangam for good from the house!  Mani Iyer just smiled when he heard the episode.

I cannot truthfully say that none of us cannot sing, since most of us learnt several songs as he was teaching his sishyas. Once or twice, he used to chide them and say, ' See he is able to sing just by hearing, why can't you?'  We were all ' bathroom singers' and that too when father was away.

He used to expect absolute silence while he was at home and had a calling bell by his side to ring when any noise was heard. I can never recall his ever coming down and pIaying with the children. After the 7th child was born, sometimes mother or sister will take the ' Child upstairs and he would play with it.

One feature that stands out most in my mind was the attitude of my father on the day of concert, be it a free or paid one. From the morning, his mood will be rather serious and he would not talk much to people and giving an impression of being tense. He would have a very simple meal and would include bitter gourd as a dish in one form or the other for lunch. He would like a small quantity of rice uppuma at 4-60 p.m. and munch a handful of roasted almonds. Even when he went out on tour, he used to take this in a sealed bottle.

He normally chewed pan often, but on the concert day, after lunch, he would stop till the concert was over. He would be humming various tunes and being very curious to know what he was going to sing that day, we used to eavesdrop to hear that raga it was. He would think of Kalyani as the main raga at, one time, Thodi while going in the car and would eventually sing Shanmugapriya or Kambodhi in the end! Many admirers used, to ask us before the concert what he was going to sing - as if we knew - and our forecasts have never been right!

Another very important aspect is that he was never late to a concert. Invariably, he would always be there well in time and. sometimes accompanists will arrive only later.

It is equally strange that he never liked to listen to recordings of his own music, I remember when HMV made some records in 1946, they had sent sample of these so that father could listen and decide what was to be finally selected. All of us very eagerly gathered to listen but within a minute of starting, he asked the machine be shut off and the record was sent to his very close friend, Sri C.K.Venkatanarasimhan's house so that he would decide what was best? He was equally against any one recording his music, as he felt very conscious of the instrument in front and did not feel at home. Most of the recordings we have now were either taken without his knowledge or from someone whom he would have found it very difficult to refuse.

Particularly, during the Music Academy's season he used to get phone calls from his admirers every minute requesting him to sing this song or that song or that raga or the other. I do not think he ever knew what he was going to sing till he actually sat on the platform. People used to joke and say that printing of a programme sheet for him was a waste.

As I grew up and came in contact with. other musicians, I noticed that this reverence to the court and the tension gripped even great masters like Ariyakkudi, Pandit Ravi Shanker and a few others. Their humility. and respect for the listening public was a Common factor.

It may sound strange these days when I say that my mother had never been to any of father's concerts! Only once when we were living in Pelathope and there was a function in the residence of Sri K.V.Krishnaswamy Iyer. We compelled her to come. She came very reluctantly and sat in a corner where father could not see her. As ill luck would have it, on the same evening my grandmother's brother's wife, who had undergone a very simple operation that afternoon died by about 7 p.m. We had to call mother back home.

When father got the President's Award, she came with us to Delhi and was present when he received the award from the Vice President of India, Dr. S. Radhakrishnan.

One other aspect of father was his great reverence for his mother at all times. He would seek her blessings every time he went out on tour and even for concerts in the city.

The disciples had full control of father's finance. All of us had to take money only from them for our needs.

I have never heard him speak disparagingly or ill of any fellow artist nor would he allow anyone to do so in his presence. When he heard a good song on the Radio that caught his fancy, he used to ask the singer to come home and learnt the song from him.

He got the Government appointment in the All India Radio when normally people retire from service but he was acutely conscious of his responsibilities and took his job very seriously.

It amazes me that there are still countless admirers of his music who can recall vividly even the songs in his concerts and who go into ecstasies in their nostalgic memories. The younger generation to-day are taking very keen interest in his music and style of singing and want to know, more about him.

A Profile

GNB - the first and arguably the most famous acronym in Carnatic music. The name somehow still retains freshness even now, many decades after his passing away. A reflection of his style perhaps. This possibly explains why, as we are aware, youngsters born after he passed on have drawn inspiration from his tapes to take to music as a way of life and a means of livelihood. They couldn't have been swayed by his striking personality.

G N Balasubramaniam was the son of Shri G V Narayanaswamy Iyer, who was himself a keen student of music with an almost professional thoroughness. GNB, a musical prodigy grew up under his father's guidance.

He could produce super fast gamakam laden sangathis with strength and weight and with great imagination. But in such a voice of his, running at so fast a speed the effects of Brighas, twists and turns would come in quick succession that he became an instant hit with both the lay audience as well as those initiated to the mathematics and science of carnatic music!

His style of Raga elaboration, rendering of standard kritis in the classic traditions and apt swaraprasthana endeared him to the average music hall audience as well as to the knowledgeable musically trained critical audience of his time

He had taught and groomed a number of his disciples during his active years. Many had reached the top grade even during his time, chiefly among them are M. L. Vasanthakumari, Radha Jayalakshmi, S.Kalyanaraman, Trichur V. Ramachandran.

"Mani", as he was affectionately called (G.N Sir, to many!) had acted in 5 films, (or, is it only 4?) - including the one with the celebrated musician M. S. Subbulakshmi in "Sakunthala" as Dushyantha.

Apart from being a great vocalist, GNB also composed several krithis. Unfortunately his life was cut short and he pass away in the prime of his musicianship at the age of just 55.

It was festival in the Kapaleeswarar temple, Mylapore, Madras. The top artiste to give the concert of the day did not turn up and the temple authorities were in a quandary. They decided upon the substitute and proceeded to meet G.V.Narayanaswamy Iyer, Head Master, Hindu High School, Triplicane to depute his young son, Balasubramaniam to take the concert. Narayanaswamy Iyer could not comprehend the request and was as confounded as Dasaratha was when sage Viswamitra wanted him to depute his son Rama. The authorities pointed out that Ariyakudi Ramanuja Iyengar shot into fame only in similar circumstances by ascending the dais when the senior Vidwan Madurai Pushpavanam failed to turn up and had never an occasion to look back.

The parallel thrilled the ear of the father. He acceded and the son gave the concert, a memorable debut in which his guru Madurai Subramaniam and Pudukottai Vakil K.Rajamani accompanied on violin and mridangam. Fame and glory crowned G.N.Balasubramaniam quite soon even as the eastern sun in summer shoots into the sky and spreads its floodlight with dynamic speed and no twilight. Balasubramaniam was born on June 6, 1910 at Gudalur in Mayiladuthurai taluk. He studied in the Wesley College while learning music under his father, a disciple of Karur Chinnaswamy Iyer and under Madurai Subramania Iyer. He obtained his B.A. (Hons.) in 1929.

GNB, as he was popularly known, was a top vocalist of repute in a period which had seen fairly a large number of top-ranking musicians. His bracing, resonant and impressive voice and his special style rich with brisk brikas and pleasing delivery of kritis was a satisfying and thrilling experience to the vast concourse of admirers. His unique style, regulated tempo and masterly delivery were the delights of the audience. His mellifluous voice would traverse the three octaves and the three 'kalas' with ease. His brikas were infectious and he kept his ears and mind open to receive what was best in other musicians. He had high respect for Ariyakudi Ramanuja Iyengar, the senior artiste of eminence. He had a partiality for Thodi, Kalyani and Kamboji and for Andolika, Nalinakanti, Vasantabairavi, Jothiswarupini, etc. His disciple, Trichur V.Ramachandran states that his master's style was essentially of a madhyamakala which sustained the interest of the audience. His command of ragalakshanas was amazing revealing the quintessence of the ragas at the very outset. His singing was crisp and 'sangathis' measured.

GNB was one of the prominent composers of recent decades. Out of his 250 compositions in sanskrit, Telugu and Tamil in traditional and his own invented ragas like Chandrahasita, Sivasakti, Amrita Behag, etc., sixty had been published. A gentleman with humility as he was, he would not sing his own compositions in concerts. His respect for values was prodigious. He would return the nominal honoraria he got from the Music Academy as donation. A further feature of his concerts was that he would review the performances of his accompanists and his own. His joy would be immense at the excellence of others. He had a soft heart for rising artistes. His anxiety to satisfy the susceptibilities of the audience was immense.

1>Even as a boy, he had taken part in musical and dramatic activities in the Hindu High School which he joined in the sixth standard. Later he took the lead role of Dushyant in the famous Tamil film 'Sakuntala' in which another great musician, M.S.Subbulakshmi was the heroine. He had played the role of 'Narada' in the films Bhama Vijayam and Sathi Anasuya. Udayanan, Vasavadatha is another film in which he had acted. He was also pleased with the rendition of Ustad Bade Ghulam Ali Khan that he became an ardent devotee of Khan.

GNB, the good friend

GNB - THESE three letters weave a web of magic in the minds of Carnatic music lovers. As long as he lived - he passed away on May 1, 1965 - he was the uncrowned Prince of Carnatic Music. His style, his knowledge of music and his brighas have made him a legend.

My father, Sri Devakottai Narayanaswamy Iyer, was a close friend of GNB. How this friendship blossomed makes an interesting story. One day, sometime in the 1930s, my father's friend (Karaikudi Muthu Iyer, the mridangam vidwan, if memory serves right) visited him. Sri Muthu Iyer mentioned about Mani, an honors graduate in literature, son of the headmaster of the Hindu High School. He went into raptures about Mani's voice. He wanted my father to meet him and listen to him and it was decided to implement it the same evening. GNB at that time lived in a house on Singarachari Street, Triplicane. Accompanied by another friend, Babu (C. K. Venkatanarasimhan) Sri Muthu Iyer and my father made the visit. Asked to sing a song, GNB sang a piece in Kalyani and according to my father, who himself was the first disciple of Sri Ariyakkudi was mesmerised by that rendition. Thus started a friendship among the three that continued till GNB breathed his last.

GNB, in his concerts, tried several permutations and combinations and would indulge in Sruti Bedha extempore. This was a gift, which came naturally to him. His brighas were electrifying, to say the least. Once in the hall of hundred pillars in Srirangam, he kept an enlightened audience like Chembai and others spellbound with his masterly alapana of Jaganmohini. When the kirthana, "Sobillu" was finished, Chembai is said to have exclaimed "Oh, Indha Pillayandan kshemama irukkanum" (``Long live this young man"). Such was the greatness of GNB that till his death musicians and music lovers used to flock to his performance. He was also a great teacher and his disciples included the great MLV, Radha Jayalakshmi, T. R. Balu, T.S.Balu, Thanjavur Kalyanaraman and Ragini.

The friendship flourished. In fact, whenever he saw something good and worth being possessed, GNB would buy it and present it to my father and Sri Babu. He had once gone to Calcutta for a concert. After the concert was over, the Bengali gentleman who arranged the concert was so happy he presented GNB with a huge tin of Badam Halwa.

GNB brought it straight to Madurai (since he had a concert at the Madurai Music Academy a couple of days later) and gave it to me saying that I would like it. After the shooting of the film, "Udayanan Vasavadatta" was over, in which GNB acted as Udayanan opposite Vasundara Devi, he presented the veena which he played in the film to my father. Incidentally, my mother was an excellent veena player and he thought she could use it. It is being preserved as one would cherish an heirloom. Another such treasure is a wall-clock which reminds us of GNB when it chimes.

GNB had the courage and humility to prostrate before Ustad Bade Ghulam Ali Khan in the Music Academy in the true traditions of Thyagabrahmam who sang "Entaro Mahanubhavulu, Antariki Vandanamulu". If Shakespeare had been alive today, he would say, "Nature might stand up and say to all the world `Here was a musician when comes such another'"?

N. SUBRAHMANYAN

GNB & SST Music College: The True Story

I happened to read G.N.B., The Man, His  Music and (Now) Memories. This interview with G.B. Bhuvaneswaran,  a retired employee of the State Bank of Travancore and one of the sons of the late Carnatic music maestro G.N. Balasubramaniam, in which he has given a vivid picture of  his father's musical career.

Speaking about his father's  last days, Bhuvaneswaran has mentioned that GNB accepted the post of Principal of Sri Swati Tirunal Music College, Trivandrum, after getting a telephone call from the then Chief Minister of Kerala through an intermediary, Papa Iyengar of Alleppey. Bhuvaneswaran says his father never consulted anybody, but straightaway accepted the job. This is at variance with what I know really happened.

Here is the true story.

Gift of Voice

A musical prodigy was born with all the blessings of God in an environment and facility for a musical prodigy to grow up under his father G.V.Narayanaswamy Iyer, who was a teacher in Hindu High School, a keen student of music with an almost professional thoroughness. The other inmates of the house being Shri. Guruswamy Bhagavather, a favored disciple of Patnam Subramania Iyer, Madurai Subramania Iyer, a good violinist who had completed his studentship with Karur Chinnaswamy Iyer (one of the four great violinists of the day) and frequent visits of many musicians who came to see Mr. G. V. Narayanaswamy Iyer, who was then the secretary of Parthasarathy Swamy Sabha. (This house in Sivaraman street in Triplicane was the meeting place of established vidwans, who were in Madras or came to Madras).

One of the earliest prestigious music sabhas Sri. Parthasarathy Swamy Sabha had the distinction of being run by some of the real music lovers, scholars, pandits, vidwans, patrons and rising artists. Monthly concerts were arranged in the 1st floor of a building, where G.N. Balasubramaniam had every opportunity of hearing good music.

The gift of voice is an asset to any musician and should be grateful for, but then there is a practical problem involved, which a moment’s calm analysis will show. In such a voice running at so fast a speed the effects of Brighas, twists and turns, come in quick succession that most of the audience, the lay audiences fail to appreciate and feel restless. Those with a musical ear, sure knows some of the nuances but this is loss to the lay audience, of course, and also a loss to the musician that his great achievements pass unnoticed. This was what I had to impress on Mani (G. N. Balasubramaniam) in those days. The cascade of notes were so overwhelming that our intimate friends failed to grasp the subtleties as confessed by them. In this attempt, another close friend and well-wisher was a trained mridangam expert K. Rajamani, B.A.B.L. (one year my junior in Presidency College, Madras) trained by Sri. Krishna Pillai of Pudukkottai, another disciple of Manmudia Pillai. The residence at No. 73, Big Street, Triplicane, Madras was where we three met. Mani got to practice to the accompaniment of mridangam. This helped him a lot and taught him many useful bits about mridangam technique which he could make use of in his concert. Some of the earlier appearances of Mani were with Rajamani on mridangam. Very many of the earlier performances of the few early years were at some friends’ house parties, college functions etc.

A performance was arranged by one of his admirers a well-wisher in Theosophical Society, Adyar under the world famous Banyan Tree (which has been there for centuries and ever green) Srimathi Rukmani Devi Arundale was the patroness of the occasion. Her appreciation and applause were noticed by the press representatives present on the occasion and they gave a glowing report of the concert in the next day dailies and that meant Mr. G. N. Balasubramaniam ( still my Mani) had arrived and the road to name, fame and fortune were open to him. Tributes paid to G. N. B. by the press did start the period when he received invitation from many of the music sabhas in Madras and some important mofussil towns where they had established Music Sabhas. Nothing succeeds like success and within a few years, he was among the most sought after male vocal musicians. His style of Raga elaboration, rendering of standard kritis in the classic traditions and apt swaraprasthana endeared him to the average music hall audience as well as to the knowledgeable musically trained critical audience of this time. He had restricted the speed, ideally suited to his voice at the same time easily followed by the audience. He had gained by attending the vocal recitals of the all time great Ariyakudi Ramanuja Iyengar the Kalpana Sangeetham of Maharajapuram Viswanatha Iyer and achieved a synthesis of the two models, most attractive and technically perfect.

No wonder, he was at the top of the profession and he had gathered around him a large number of admirers, and ardent audience. His fan mail grew fast.

This was not an unalloyed good. The inevitable frequency of kutcheries, the frequent travel by air, and surface route, the irregular hours of food and rest began to tell on his health. When remonstrated with his undertaking 18 engagements a month often in places distant from each other, he had only one thing to say - I must meet my needs. They are great - my family is big, frequent marriages do and cost quite a bit and I cannot spoon pick and choose and not undertake so many engagements. This he again said when he came to Bombay for a concert and stayed in Wadala with his kinsman. The next evening he called on me at my house in Chembur, stayed for a few hours - would not eat - could not eat - just a mouthful of payasam and left early to take rest. This incident depressed me and all members of my family to see him in poor health.

He had taught and groomed during his active years number of his disciples to reach the top grade among professional musicians of the day - Radha Jayalakshmi, M. L. Vasanthakumari, Trichur V. Ramachandran, S. Kalyanaraman - to name a few - and they in their turn had trained musicians fast approaching the top. G.N.B. had the honor and pleasure of seeing his second generation shisyas numbering among the top of the profession. He had won all the top honors and distinctions in the field of music. He was made the state vidwan of Travancore, a Sangeetha Kalanidhi of Madras Music Academy etc. He developed and perfected a new style of vocal music rich-classical and very effective, appealing to the people as well as the pandits