The only time one heard Dr M. BalaÂmuralikrisÂhna struggle to produce a note or two was when he deliberately imitaÂted certain constricted throat modulations prevalent in Carnatic vocals. Such rasping passages, the master would observe in his talks on voice culture, had found a tacit resÂpectability in the south Indian classical system over the decades. Bending that note furtÂher into humour, a music buff could wonder if the contorted faces typical of some bhagavatars on stage had anything to do with strained nerves aroÂund their neck. Or indeed, vice versa. Either way, Balamurali did not figure in that pool even in his very last phase.
It isn바카라™t commonplace, anywhere in the world, to see an artiste바카라™s performance quality stay on an even graph for eight decades. This is much more than of academic interest바카라”no stories of a shrinking larynx, leave alone fading memory, preceded Balamurali바카라™s end at age 86. An intact voice box is particularly meritorious in an idiom like Carnatic, where vocalists often become victims of a tendency to show off microtone oscillations purely as a professional asset, rather than as a genre highlight or a musical need. The prime, thus, rarely stays very long.
Balamurali did employ that Dravidian gamaka to profound effect and wide appeal, but in measures he thought were optimal. That is no explanation, though, to his retaining a robust voice all his life. A silken touch across his full range바카라”from a grainy baritone to a nasal, near-falsetto, almost like a female voice, on the higher octaves바카라”apparently owed to an underlying principle only the extremely gifted can afford to practise: don바카라™t use your full tonal volume. Alongside a scratch-free resonance, Balamurali laid stress on diction. Carnatic music has a literary deposit as fertile as the Cauvery delta that groomed its aesthetics, experts keep pointing out, yet it바카라™s not always that we hear lyrics enounced to the pleasure of purists. The man from coastal Andhra was among the few who gave them exceptional solace, even if the words were in a language other than his native Telugu.
Balamurali바카라™s guru traced a lineage to Tyagaraja, whose two-century-old compositions retain their charm across the Deccan and beyond. Yet Parupalli Ramakrishnayya Pantulu (1882-1951) is largely known for being Balamurali바카라™s guru. The disciple바카라™s dynamism marked a crossroads on the relay track. It바카라™s not that his music was heavily individualistic right from his initial days. In the early 1960s, he sang in a way that rightly slotted him above-par, but not as radical as it eventually turned out to be. In all the variety of schools Carnatic music featured, none sounded so stunningly way off what could be termed mainstream. Yes, all around individual styles fascinatingly branched out from a body that kept evolving with an assumed centrality, but in appÂroach and execution BalamuÂrali virtually grew a parallel trunk altogether바카라”a one-man genre. And that바카라™s after and amid nonconformist titans such as G.N. Balasubramaniam, Musiri SubÂramania Iyer, Madurai Mani Iyer, Brinda-Muktha and M.D. Ramanathan.
If many found Balamurali바카라™s music particularly romantic, it may partly stem from a lightness of aspect: he was not burdened by the old Indian idea that classical music is 바카라˜divine바카라™. Far from staying on the spiritual plane바카라”unless you mean it as an allusion to his rumoured fondness for a quick one backstage during those 10-minute intervÂals바카라”he took up the art as an endless exploration. PracticÂalÂity decided much of his philosophy. Some ragas he devised gained traction when sung in his style. That바카라™s why you hear his famed Lavangi, with just four notes, gaining a Balamurali touch even when the alapana is by new-generation vocalist T.M. Krishna, whose overall sense of beauty is unrelated to the wizard바카라™s.
Semmangudi Srinivasa Iyer (1908-2003), who taught Krishna, had his share of fights with Balamurali over reasons thoroughly Carnatic. They least agreed on new ragas being a sign of creativity, but that didn바카라™t stop Balamurali from assisting Semmangudi occasionally on the viola. His expertise on the mridangam and kanjira were an extension of his flair for rhythmic improvisation that manifested beyond the classical, in fusion and allied endeavours. His occasional trysts with cinema revealed a singing genius바카라™s pastime바카라”rather than an inclination or capacity for good acting.
His famed jugalbandis with Hindustani stalwarts gained him admirers upcountry. But for all his hearty disposition, his counter to forays from a Bhimsen, Kishori or Chaurasia fell short of the expected sophistication, betraying a competitive spirit. ContrÂastingly, in Carnatic kacheris, Balamurali never insisted on accompaniment by top-graders. He enjoyed playing a benign, playful czar to up-and-coming violinists and percussionists.
The lighter tillana was a strong area of Balamurali바카라™s Carnatic compositions, a favourite of his disciples and fans. Any effort to straightaway imitate him, though, ends in disaster. For one, it바카라™s tough. More vitally, mimicking a distinctive style evokes only laughter in the human mind.
