Music as a Career

Budding talent

Mani used to listen intently to the rich music fare offered at the neighbouring house of Chinnaswami Iyer of Karur. He had the uncanny ability to convert into swaras all the twists, and turns, and even the fast glittering ' birkhas' of any raga. It was his practice to convert whatever he heard into swara matrices in his mind. This capacity enabled him in: later years to indulge in breath-taking sweeps both in raga alapana and niraval, keeping the musicality and precision absolutely intact. His famous flashes were not just a product of dexterity of voice, but exuded rich rasa bhava and tonal clarity. Even the old musicians who used to listen to him as a boy could not help admiring these special characteristics of his birkas. Kumbakonam Rajamanickam Pillai in later years paid rich tributes to the' swara suddham ' in G.N.B.'s " birkas " and said that such clarity could hardly be sustained at such fast speeds except by a very gifted musician like ' GNB '.

G. V. Narayanaswamy Iyer who was happy about his son's musical gifts, was very keen on giving him a good education. Mani was studying at the Hindu High School itself and during his school days, he used to participate in dramas and other activities. As a boy, he was invited to many a function where he was asked to sing. Aware of his son's interest in music, which had by then become an obsession with him, Narayanaswamy Iyer himself began to teach him the basic principles of the art. Almost daily, Mani used to listen to the musical sessions held in the house of Karur Chinnaswamy Iyer, in which veterans Thiruvayyaru SabesaIyer, Budalur Krishnamurthy Sastrigal, Palladam Sanjeeva Rao and others participated. There was singing as weII as discussion at those sessions. Mani used to involve himself, as he himself has said in an essay, " with utmost dedication and concentration ".

Flowering Instincts

During the period, violinist Madurai Subramania lyer, himself a disciple of Karur Chinnaswamy lyeI', was a co-tenant in the house in which Mani and his parents were living. Mani used to take lessons from him as often as possible. He was then singing at a high pitch and his speed was often uncontroIIable. The great vidwans and musicologists visiting his house sometimes asked him to sing. On one such occasion, Ariyakkudi Ramanuja Iyengar dropped in. Narayanaswamy lyer' cautioned Mani to reduce the speed. Seeing this, Ariyakkudi said, " Narayanaswami Iyerval, please do not curb the style and the tempo of his singing. At this young age, this speed is natural. As years go by, the voice will settle down and get meIIowed. If you restrain him now, his voice will start sagging at a later stage. I see a bright future for the boy. Let him sing according to his manodharma and at his own natural speed. "

Narayanaswamy Iyer who was rather concerned about his son taking to music as his career, became greatly reassured that his son's musical ability would develop on the right lines. It was during this time that Mani listened to Ramanuja Iyengar's concert in the Parthasarathy Swami Sabha, Triplicane. The style, depth and virtuosity of the master engaged the careful attention of the musicaIIy alert Mani and he decided there and then on what lines his own style of singing should be fashioned. It was his good fortune too that he could obtain the necessary guidance and encouragement from Ramanuja Iyengar.

General Education

In the meanwhile, his educational career was proceeding unhindered. After passing the Intermediate Examination in his year, he joined the English Literature Honours Course in the Christian CoIIege, Madras. That year the Annamalai University was founded by Raja Sir Annamalai Chettiar at Chidambaram. Sabesa Iyer, a close associate of Narayanaswami Iyer, was appointed Principal of the Music ColIege, in the University. He invited Mani to join the Annamalai University so that lie could complete his Honours Course in English and study music as weII. Mani accepted the offer and joined the University at Chidambaram. Soon he had the opportunity of singing before Raja Sir Annamalai Chettiar who was a great patron of fine arts. The Raja of Chettinad was so pleased with his music that he rewarded Mani with a silver plate on which silver coins were heaped. Mani considered this one of the highlights of his career and a lucky break for him. Unfortunately, he feII ill shortly afterwards and had to return to Madras to continue his studies in his old college.

The chance of a life-time

While in college, Mani had the opportunity of giving his maiden concert in 1928. In his own words,

 " Every year, a music festival used to be organised at the Kapaleeswara Temple, Mylapore during the Vasantha Utsavam. In 1928, Musiri Subramania Iyer who was scheduled to sing at the festival was unable to perform. Sri A.K. Ramachandra lyer, a weII-known patron of arts and culture, caIIed on my father at our house in Triplicane, along with my Guru Madurai Subramania lyer and requested that I may be aIIowed to sing that day. My father was naturally hesitant. Although he knew my ability and my ambition to become a musician, he was not sure if I could fiII the bill successfuIIy, since I had not had much of practical training in concert art.

Impressive Debut

As for me, I was in a sort of fix. Here was a golden opportunity to make good and realise my cherished goal. At the same time, I was not sure I would be able to substitute for Ii. reputed and established vidwan and that, too, in front of a knowledgeable audience. I had, however, no sense of nervousness and had an in-built self-confidence; and this, in turn, encouraged me to set aside my feelings of difference. I also felt this was a golden opportunity to cash in on my aptitude and serious application to music; and if I performed well, my elders would be pleased and bless me and my family would be overjoyed.

Also, my Guru Subramania Iyer and other elders present there urged me to grab this opportunity without the least hesitation, saying it was as if Lord Kapaleeswara himself had provided me born in a family dedicated to the worship of Lord Siva - with such an opening. They also went on to describe how Ariyakkudi Ramanuja Iyengar once deputised for the famous Pushpavanam Iyer and made his debut so successful. It was a performance before Lord Subramanya in Thirupparankundram accompanied by Dakshinamoorthy Pillai on the mridangam. When I heard the story, I accepted the engagement without further hesitation.

On going to the Kapaleeswara Temple, I worshipped the deities and after a respectful obeisance to the audience, took my seat on the dais. Indeed I felt a sense of excitement. I closed my eyes for a moment, thought about my parents, teachers and other elders. I also offered my respects to violinist Subramania Iyer. My friend, Rajamani of Pudukkottai, a student of law, played on the mridangam. Before I had completed the varnam, my excitement had died down and I could feel a sense of total involvement with my singing. I sang for three hours. I was happy I was able to conclude the performance on a satisfactory note, by the Grace of God and by properly utilising the gift of my voice. After the performance, the elders assembled there praised and blessed me. My friends and relatives congratulated me. I could feel a sense of will power and strength of mind, having taken command of the situation. I can still recollect, with elation, my happiness that day. "

K.S.Muthuraman, close associate of Mani, recalls this episode vividly:

" I had heard about Mani already. By sheer accident I came to know that he was to sing at the Kapaleeswara Temple. I was all exitement when I hastened to attend the performance. There he was fair in complexion, with sharp and handsome features, wearing glittering diamond ear-rings and a prominent ' Thilakam' on his forehead, reminding me of Maharajapuram Viswanatha Iyer in his younger days. Mani's melodious voice engulfed the large temple courtyard and he treated the large audience to vibrant music, spanning three octaves and kalais effortlessly and reeling off swaras in lilting cascades. He sang ' Vadati ganapathim ' after the Varnam and took Panthuvarali for elaborate treatment. ' Chintayamam' in Bhairavi and ' Nee irangayenil ' in Atana stood out for sheer beauty. The articulation was perfect and the lip movements added charm to his handsome face. I can say that this performance was the foundation stone of the musical edifice built by this great musician."

K. Rajamani, now an advocate at Pudukkottai, who played on the mridangam for. Mani at this concert and subsequently at many other concerts, vividly remembers this occasion :

" One could say that his first appearance in the public proved to be the turning point in his life. The performance was an unqualified success and became the talk of the town. The lay audience was overjoyed and the critics too nodded their heads in approval. Even elder musicians were amazed at his impeccable ' swara gnanam ' and grip over laya and more than all that, the nuances of his voice. "

Meteoric Rise

After this, Mani had a number of offers to sing at marriages and other functions. Santhanamayya (a disciple of Rajamanickkam Pillai) accompanied him on the violin with Rajamani as the percussionist. In 1930, Mani completed his B.A. (Hons.) and his father urged him to take to law as his profession. Mani himself preferred to be a musician. All his friends and admirers, as well as the vidwans close to Narayanaswamy Iyer, insisted that he should take to music as a profession, as they foresaw a bright future for him in that field. Narayanaswamy Iyer was in a fix. It was the Rt. Hon'ble V. S. Srinivasa Sastry who ultimately prevailed upon Narayanaswamy Iyer to allow his son to pursue the career of his choice. Mani, who by then had come to be known as ' G.N.B. ' to his numerous friends and admirers, thus took to music as his profession. The responsibility to support a large family also devolved on him. He had five sisters and a brother. By 1931, he was married to his aunt's daughter and had his first child soon after.

In 1930, GNB studied for a while in the Music Department of the Madras University which had just then been started, with Tiger Varadachariar as its Head. Sometimes Tiger used to ask GNB to take the classes so that he could attend to other work. GNB was thus able to get acquainted with the best aspects of Tiger's music and get them adjusted to suit his own metier in the light of experience. From 1930 onwards, GNB was giving many performances in marriages and sabhas in the company of violinist Varahur Muthuswamy Iyer and Madras Venu Naicker, mridangist.

Dakshinamurthy Pillai's Blessings

In 1933, Rajamani invited GNB to Pudukkottai to give two concerts, at a marriage and a Sabha concert. When the performance at the marriage started, the maestro Dakshinamurthy Pillai came in and sat in the front row. GNB and Rajamani got a bit nervous. Observing this, the veteran in his characteristic manner said " Andavane! (This was how he used to address all) please continue. Everything is as it should be and is quite good. "
At the end of the performance, Dakshinamurthy Pillai came to GNB and with all warmth and affection said: " You will very quickly reach the top in the music world". How prophetic the words! Pillai attended the Sabha concert also and stayed till the end to encourage and bless the promising youngster.

GNB's sister's wedding was celebrated in Kumbakonam in 1933. Maharajapuram Viswanatha Iyer gave a performance at this marriage, T. K. Jayarama Iyer accompanied him on the violin, while the mridangam was played by Rajamani. Maharajapuram was singing 'Kotinadulu' in Thodi with gusto and when he came to the second avarthanam of the Pallavi - it was all in ' brikas ' - he exclaimed " Mani, this is all yours ". Rajamani, who narrated this incident, could never forget the implied compliment to GNB.