G.N.Balasubramaniam (Jan. 6th, 1910 - May 1st, 1965)

Positions Held and Awards

Versatile Producer, AIR

In 1955, GNB was appointed Producer of Carnatic Music in the AU-India Radio, Madras. He continued his close associa- tion with the AIR for a decade. That this was a 'Golden period' for the AIR would be clear from the many new programmes he introduced and the seminars and conferences he arranged on subjects of interest to music and aUied arts. It was during this period that GNB wrote many of his famous articles and essays on music and musicians. (A few reproduced in this volume). Again, it was during this period that his creative talent began to exert itself more forcefully. His music had gained greater depth and refinement. He started giving shape to some of the ' musical phrases ' that dawned on his mind which he calls ' Isaikanavu '. The result was the birth of so many new kirtanams in chaste Sanskrit, Telugu and Tamil, mostly in praise of his ' Ishta Devatha ' Sri Rajarajeswari. GNB didn't worry about the fate of his com- positions after he had created them. But he allowed his disciples to learn and popularise them in their own concerts. He would not sing any of his own kritis in his concerts despite special requests from his admirers. A further evidence of his modesty was that he did not insert any special ' Mudra' in his eompositions. He preferred to remam anonymous, though the practice of all composers, new and old, is to put ' Mudra' to identify authorship. Evidently, he was of the conviction that if his creations had any merit, his name would automatically be linked with them.

HONOUBED BY MUSIC ACADEMY

In 1958 the Music Academy honoured him by inviting him to preside over their 32nd Conference and the deliberations of their Experts' Committee and conferred on him the much coveted title of  ' Sangeetha Kalanidhi '. In the inaugural address itself, Mr. Bishnuram Mehdi, the then Governor of Madras, paid glorious tributes to GNB. The relevant portion is reproduced below: " You have in your President of the Conference a distinguished musician who has secured a high status in an assembly of artists and who has dedicated his services for the advancement of music in this part of the country. In Sri Balasubramaniam, one finds a master in the traditional style of Carnatic Music as well as one with a high degree of scholarship in modern science and art of music. You have been fortunate in securing his services to preside over the deliberations of your Conference and Iam sure that his contribution in guiding the discussions of this year's Conference will play a vital role and an effective part. Iam glad to hear that Sri Balasubramaniam is a 180 a composer and a Producer of Carnatic Music. With such an expert as the President of your deliberations, taking active interest both in the theoretical and practical aspects of the problems, I may say that the future of music and ether fine arts is in safe hands in our State. "

Felicitations

Sangeetha Kalanidhi Maharajapuram Viswanatha Iyer said that Sri Balasubramaniam had risen to great heights in the music world, and he felt that this was due to the blessings of his father. Sri G. V. Narayanaswamy Iyer, who had helped many musicians in his days.

Sangeetha Kalanidhi Dwaram Venkataswamy Naidu said Sri Balasubramaniam had not only attained proficiency in singing, composing and production of music, but above all, had become greatly popular and had established a 'school of his own' in singing.

Sangeetha Kalanidhi Mudikondan Venkatarama Iyer described Sri Balasubramaniam as a gifted musician.Prof. P. Sambamurthy said Sangeetha Kalanidhi Balasubramaniam belonged to the gallery of men like A.M.Chinnaswamy Mudaliar, Seshagiri Shastri and ' B.A. ' Varadachariar, graduates of Madras University, who had attained eminence in the field of music.

GNB's thought provoking Presidential Address which was in English is appended to this volume for the benefit of music lovers. As B.V.K.Sastri, the eminent music critic and writer put it pithily, " GNB instead of offering the usual shop-soiled cliches dealt with music in its widest parlance and gave far-reaching recommendations for improving the quality of both the Hindustani and Carnatic branches of Indian music ".

It is interesting to note that GNB was acclaimed as Music Academy's own Vidwan. As a boy, he had received the Academy Gold Medal in 1928 and thirty years later, he was called upon to preside over its annual conference. It was both a unique honour and an interesting coincidence.

GNB evinced considerable interest in the day-to-day proceedings of the Conference, presided over the Expert Committee deliberations and summed up the proceedings of the day in a fitting manner. He also attended all the music performances in the evening and particularly encQuraged the younger artistes. His own performance that year in the Music Academy was breezy, refined and sublime. The title of ' Sangeetha Kalanidhi ' was conferred on GNB at the' Sadhas' held on 1st January, 1959 under the Presidentship of Dr.B.Ramakrishna Rao, Governor of Kerala. Sri S.Venkateswaran, I.C.S.one of the Vice-Presidents of the Academy, read the citation which is reproduced below:

Citation

" Born on 6-1-1910 of Sri G.V.Narayanaswamy Iyer, well known educationist, connoisseur of music and member of the Academy's Experts' Committee; passed his B.A.(Hons.) in English Literature in 1931 from the Madras Christian College; learnt his first lessons in music under his father, and later had training under Vidwans Madurai Subramania Iyer and Sangeetha Kalanidhi Tiger Varadachariar; decided to take music as profession in 1931; had his debut in the Music Academy, and became one of the top ranking vocalists in a very short time; was appointed as Producer of Carnatic Music in All India Radio, Madras in 1955; is also an original composer; with a unique style of his own and a speedy virtuosity of school of followers and pupils ".

The President of the Sadhas, while conferring the title on GNB, said: " G.N.Balasubramaniam has combined in himself not only Sangita but also Sahitya. Sangita and Sahitya are inseparable and if a talented musician combined in himself not only the art of celestial singing but also that of composition, then that musician deserves the highest honour that could be conferred ".

Sangita Kalanidhi T. Chowdiah, Vidwan Madurai Mani Iyer, Vidwan Palani Subramania PiIIai and others felicitated GNB and spoke highly of his substantial and noteworthy contribution to every aspect of Karnatak Music.

It is pertinent to note that GNB had his debut in the Academy in its 1937 session straightaway as a senior artist and was given the honour of performing in the evening session. He had the longest continuous spell of singing at the annual sessions of the Music Academy in the succeeding years. He became the President of the Conference in his 22nd appearance. His concerts in the Academy had all along attracted the maximum number of music lovers and aspiring musicians. Everyone of his concerts in the Academy sessions was notable for the introduction of some new and fascinating classical kriti. Music lovers as well as the musicians in the making used to conduct ' research sessions' on each of his concerts and profited as much from such investigations as from his splendid singing.

PRESIDENT'S AWARD

Early in 1959, GNB received the other equally coveted President's Award. It was a happy coincidence that Rajamanickkam Pillai had accompanied GNB faithfully and with great enthusiasm for over two decades was the other recipient of the Award for Instrumental Music. From the North also, there were illustrious musicians Photo taken on the occasion reproduced herein.

The acknowledged great Masters of art present received their awards from another great man of our times, the illustrious Vice-President of India, Dr.S. Radhakrishnan. The Vice-President with great " vatsalyam " told GNB  " I am honouring. you as a musician but I am particularly happy because you happen to be the son of my good friend. "

Illness

Soon after the receipt of this great honour, GNB fell ill. It was a very disquieting ailment. Admirers and lovers of music from all over India were grief-stricken when they heard that their idol, the prince charming of Karnatak music who had feasted their minds and ears with some of the greatest music of modern times, was hors d'combat. They could only pray with all their hearts for his speedy recovery. Innumerable were the calIers at his house in Madras. His disciples were all the time with him, attending to his needs with all care and affection. For more than a year, that golden voice which enthralled thousands of music lovers was sorely missed.

For the first time, GNB missed the Music Academy session in 1959. He could not even be present at the Inaugural session over which his associate and good friend, Madurai Mani Iyer, was to preside. It was a heartrending experience to GNB himself. For a performing artiste of his calibre, the enforced absent from the platform was a great ordeal. He couldn't help it. For the major part of 1959 and 1960, he was mostly confined to bed. It was on the Vinayaka Chathurthi Day in 1960 that he sang for a short spell over the radio. Music lovers all over the country were mightly glad to hear once again the sweet voice of their hero.

Reception at Shanmukhananda Sabha, Bombay

Soon after, a big reception was arranged by the Shanmukhanada Fine Arts & Sangeetha Sabha, Bombay, to honour GNB. Music lovers in their thousands flocked to the hall where the reception was held. The felicitation by the President, Prof. T.V.Ramanujam was as memorable as it was well couched:

" We are all thankful to Lord Venkateswara for restoring GNB to normal health and we are extremely fortunate to hold this appropriate function and concert. We do hope and trust that by God's grace he win have undiminished health, increasing prosperity and long years of service to the cause of music. Sangeetha Ka]anidhi G.N.Balasubramaniam has carved for himself a permanent place in the gallery of the most talented musicians of his age. Let me, therefore, can gratulate you, Sangeetha Kalanidhi G.N.Balasubramaniam, on the great distinction you have obtained and hope that this is only the beginning of any number of honours that you deserve and that may be coming in your way.

A specially remarkable feature of GNB, as he is affectionately called, is that there is nothing that he touched which he does not beautify. Everything about him is beautiful. Even the way he keeps time with his hand is so beautiful and is of a peculiarly GNB style. GNB absorb the best in the styles of Ariyakkudi, Maharajapuram and T.N.Rajaratnam Pillai, allowed them to pass through the crocible of his own imagination, creativity and insight, and developed a special style which is GNB's own and which style has become one of the most charming and gripping banis.

 

That is why throughout the length and breadth of this country, lovers of music who were extremely sorry when GNB was ill, are now happy to-day that this great musician has, by God's grace, been restored to good health. We lift up our hands in gratitude to the Lord and pray with all our hearts that GNB should live for many years as he is still young and because he has striking originality and imagination to add to his repertoire. Among the practishng musicians, there are not many who are also composers. Here is a musician who has been giving endless number of concerts and is also one of the finest composers today. He has also developed an array of promising disciples. Some of his disciples are in the forefront today. He is a lakshana vidwan as also lakshya vidwan. He is the least commercial aIlfong musicians.

 

Let me, therefore, on my behalf and on behalf of everyone of you offer our sincere felicitations to him again and give him our floral tribute. I shan also request GNB to say a few words as I know he is not only a great thinker and scholar but also a fine speaker ".

GNB's reply to the felicitation is typical of his humility and respect for the accompanists and the audience. Salient parts of his speech are reproduced below:

" I don't know whether I really deserve the kind words and praise my esteemed friend Sri Ramanujam, has showered on me. I have always felt that anybody is a student tiII the end of his life. " Any honour that has been given to me, I think, is due to two factors; " one, my humble claim to musical ability which is the least part; and two, which is the major part, is the encouragement given to me by well-organised and well-conducted Sabhas like this, without which no musician can really give of his best. I also owe a special debt of grati- tude to my accompanist friends who also had worked hard and had given of their best in my performance, without which I cannot be what I am to-day. Finally, I think that the greatest tribute you have paid me is the " rapt attention with which you all have been listening to my concerts. I thank you again heartily for all the honour you have done to me and I shall strive my best to live up to your expectations ". "

Concerts resumed

GNB had a new lease of life and gave a number of concerts during the period 1960-65. His impaired health naturally set some constraints on regaining fully his old form and metier. Only on occasions could he execute the thrilling flashes which had made his listeners rave over his style earlier. His forays in the ' thara sthayi ' had to be carefully husbanded. However, in the middle register, his voice continued to have the depth, refinement and weight resulting from immense sadhaka, experience and maturity. Many of the recorded tapes available with his innumerable admirers belong to this period.

The concert he gave in 1960 at the Shanmukhananda Sabha, Bombay itself was a feast to his listeners. Starting with varnam in Mohanam, he sang a lively Yadukulakamboji and the kriti ' Ethavuna '. This was followed by a breezy Thodi alapana and the kriti ' Arakimbhave'. After that was a highly imaginative alapana of 'Kapinarayani' and short delineation of the famous kriti 'Sarasasamadhana'. The RTP was in "Kalyani. GNB introduced a few new swara combinations which were highly pleasing. As Goethe said of " Sakuntalam ", ripeness was all, in this concert.

PRINCIPAL, SWATI TIRUNAL MUSIC ACADEMY

Early in 1964, GNB was appointed Principal of the Swati Thirunal Academy of Music in Trivandrum, which had Gayaka Sikamani Muthiah Bagavathar, the great musician and composer as its founder Principal. It was in the: fitness of things that another great musician and composer held in great esteem and affection by Muthiah Bagavathar should take his chair. The rasikas and admirers Qf GNB arranged for a farewell to him at the Krishna Gana Sabha on the 28th of March, 1964.

It was a memorable function - memorable in every way. Hon'ble Justice K.S.Venkataraman presided and Sangeetha Kalanidhi Semmangudi Srinivasa Iyer was the Chairman of the Felicitation Committee which consisted of all the top musicians and prominent personalities. On the day of the felicitation, the Sabha was overflowing with the rasikas and music lovers. All leading personalities of the city and all top musicians were there to felicitate GNB persGnalIy. Musiri Subramania Iyer, Maharajapuram Viswanatha Iyer, Mudikondan Venkatarama Iyer, Budalur Krishnamurthy Sastrigal, Palaghat Mani Iyer, T.L.Venkatarama Iyer, K. Balasubramania Iyer, N.Somasundaram and others paid rich tributes to GNB. Congratulatory messages were received from all leading personalities including the President of India, Maharaja of Mysore, Governors of Madras, Kerala etc. Their Holinesses Jagadhgurus Sankaracharya of Kamakoti Peetam and Sarada Peetam sent their blessings and shawls to honour GNB.

Felicitations

Sri O.V.Alagesan, Minister of Mines and Fuel, Government of India in his mlfssage said " An artist of GNB's quality and genius is a rare possession for any country. We are really proud of GNB. May he live long and may his music continue to flourish. "

The Maharaja of Mysore Sri Jaya Chamaraja Wodaiyar said " Vidwan Balasubramaniam has won public acclaim and admiration for his characteristic style in rendering raga, keertanas, pallavi and other musical forms. "

Dr. V.K.Narayana Menon said in his message that the Swati Tirunal College of Music could not expect to get a more worthy Principal than GNB.

The message of Sangita Kalanidhi Dwaram Venkataswamy Naidu hit the bull's eye. It read thus: " Please convey to him my respectful regards and prayers for a happy and prosperous career. I know Sri GNB is a musician with an emancipated mind and his services to the cause of Carnatic Music are incalculable. He has the largest following among vocalists both men and women. He has popularised Carnatic Music keeping to the high ideals. I wish the function a fitting success."

The Felicitation Committee also brought out a fine ' Souvenir ' after the function. The souvenir contained messages, articles on the many sided greatness of GNB by connoisseurs like V.N.Rajan ICS, KS.Venkataraman, ICS, B.V.K.Sastry and vidwans like Kumbakonam Rajamanickam Pillai, Embar Vijaya- raghavachariar, Lalgudi Jayaraman and Balamurali Krishna. Along with several photographs of the function the Souvenir is a valuable memento to be preserved.

In 1964, GNB celebrated the wedding of his second daughter in Bombay. The music lovers of Bombay arranged a reception for him.

The students of the Swati Tirunal Academy felt elated at having so illustrious a musician as GNB as their Principal. In spite of his failing health, GNB used to devote 3 hours each day to teaching students and demonstrating to them the finer aspects of raga alapana, kriti singing, swaraprayoga etc. As well as the students, the staff members, too, looked forward to his teaching and demonstration with eagerness and enthusiasm.

Even while work ng there, GNB had the special privilege of accepting many offen for concerts outside. His performance in the Music Academyn December, 1964 which proved to be his last concert in that institution, was a splendid one. It was really a wonder that in spite of his poor health, he was able to render , ' Dharini ' with all the usual intricate sangathis in the ' charanam '. Equally epoch-making was his Kalyani in which he was able to negotiate the upper reaches, same as he used to do decades earlier. His last performance in Delhi in March, 1965 was also equally remarkable for the alapana of Thodi he rendered that day. The famous critic ' Subbudu ' wrote that he sang that Thodi " holding his life virtually in his hand. "