G.N. Balasubramaniam (GNB)

Carnatic composers (other than performing vidwans)
Post Reply
venkatakailasam
Posts: 4170
Joined: 07 Feb 2010, 19:16

Re: G.N. Balasubramaniam (GNB)

Post by venkatakailasam »


venkatakailasam
Posts: 4170
Joined: 07 Feb 2010, 19:16

Re: G.N. Balasubramaniam (GNB)

Post by venkatakailasam »

p-RTP 095-E Swara-008-GNB-RTP-Tharaka Brahma-Kalyani

http://mfi.re/listen/2zlr83oah20zbw9/p- ... i_xvid.mp3

sivachinta1965
Posts: 189
Joined: 13 Dec 2007, 11:32

Re: G.N. Balasubramaniam (GNB)

Post by sivachinta1965 »

Dear Rasikas

GNB's 50th Punyathidthi ( 50th death anniversary) is coming on 1st May 2015. Is there any programme connected with this at Chennai? Shamukhanada is organising one at Mumbai.

Sivaprasad

Pasupathy
Posts: 7868
Joined: 26 Jan 2013, 19:01

Re: G.N. Balasubramaniam (GNB)

Post by Pasupathy »

An imaginary meeting between GNB and MMI ( a Tamil article in Ananda Vikatan )

http://s-pasupathy.blogspot.com/2015/04/52.html

SrinathK
Posts: 2477
Joined: 13 Jan 2013, 16:10

Re: G.N. Balasubramaniam (GNB)

Post by SrinathK »

On GNB Day (6th Jan), here's an article by Sri. G.N.Balakrishnan on his FB page :

GNB DAY: I felt that on this memorable day, I should pay my tributes to regale the rasikas , by narrating certain anecdotes relating to him, as my incompetence prevents me writing on his music . This was originally written at the request of a music magazine being being published in Karnataka, but due to constraints of space, they could publish only a portion of it
MUSICAL CAREER OF GNB- WAS IT AN UNFINISHED
AGENDA.
By G.N. Balakrishnan.
More than enough material is already available in the public domain right from 1928 till dare date, regarding the extraordinary music career of my illustrious brother Sri GNB, and it will be carrying coal to NEWCASTLE for me to add anything refreshingly new or original, either to interest or entertain the Rasikas. And yet I venture to present a few illustrative anecdotal references in his career not too well publicized, and coming as it does from one, who was virtually been his shadow for well over three decades, whenever he was in City , I anticipate at least a mute acceptance, if not a hearty welcome from his rasikas. Suffice it to say that my trespass into territories where Angels fear to tread has limitations, imposed by my ignorance of the subtler nuances of the most sacred and divine FOUR DIMENSIONAL ART, as GNB has himself described MUSIC, in one of his well known articles.
There is a tide in the affairs of men, when taken at the floods will take one on to fortune, is not just a truism of SHAKESPEARE, but exemplified by several living examples of which the life of my brother GNB is one such.
When the soil is as fertile as the Gangetic plains, well inundated and richly fortified with precious minerals, is it a wonder for the rarest saplings sprouting of their own accord and yield their prized delicacies even when they are not fully grown ? I have heard it said that at the tender age of 7, he could articulate his musical musings in delightfully refreshing patterns of a raga or Swara phrases.
Father Narayanaswamy Iyer, Head master of Hindu High School Triplicane, and one of the Founder members and Secretary for several years of the oldest Sri Parthasarathy Swamy Sabha, little visualized in his eldest son, the rising Pole star in the musical horizon, but was instrumental in nurturing his talent, in the saturated environment in which he grew, soaked in music, day in and day out, with legends like T.S. Sabesa Uyer, Palladam Sanjeeva Rao, Karur Chinnaswamy Iyer, Budalur Krushna Murthy Sastrifal, Madurai Subramania Iyer etc etc, being either his co-tenants or neighbours
The AIRY NOTHINGS of musical notations, when aesthetically structured, pleasing to the ears and at the same time, give palatable and palpable pleasure to the intellectual appetite of the cognoscenti of music, is hailed as MANODHARMA SANGEETHAM, which is beyond the scope of rhythmic repetition of compositions, however beautiful and Invocative they are. This is not to detract the eminent place, these CREATIONS deserve, as they are the womb, to nourish the intellectual feast of MANODHARMA sangeetham. THE compositions of the Trinity and others are the soulful outpourings of the dedicated BHAKTHA to their ISHTA DEIVATHA and can verily be compared to the VEDAS themselves, and , MANODHARMA is just an extension or authentic reinterpretation of that perennial and inexhaustible source, of which GNB was hailed as one of the pioneers of this phase.
Improvisations within the structured format of the Krithi to,make the Kutcheri more appealing was resorted to around the time GNB started his career at the grave risk of disapproval of the purists, who looked down upon any type of tinkering with the ORIGINAL, forgetting the evolutionary nature of any ART to survive. One is prohibited from delving deep into both the RISHIMOOLAM and NADHIMOOLAM .
Though the musical atmosphere under which he was nourished was instrumental in his taking up MUSIC as a profession, he underwent formal training under Madurai, Sri Subramania Iyer, a direct descendant from of Saint Thyagaraja lineage and also joined the first batch of Diploma in Music introduced in the UNIVERSITY OF MADRAS, with Tiger Sri Varadchariar in the CHAIR, after finishing his B.A. (Hons) course in English literature from Christian College, Madras. My father Narayanaswamy was also one of the Faculty Members of Music, of the University and also a member in the EXPERTS COMMITTEE of MUSIC ACADEMY.
1. Dr T. V. SUBBA Rao, of Music Academy used to describe his music as SOPANA PADDATHI or step by step, spiral like delineation of ragas in three or four phases. Imbibing greatly from those whom he admired most, like ARIYAKUDI , his mentor , for his concert tradition, whom he adopted as his Manasika Guru, MAHARAJAPURAM for his vivacity, TNR , for his virtuosity and imagination , and he established a distinct style of his own, named after him as GNB BANI, which is said to be an amalgam of all these great stalwarts, as also the music of MAHA VAIDYANATHAN IYER and PUSHPAVANAM, whom my father considered as the ULTIMATE IN MUSIC.
He came into the lime light with his acting as NARADA in two films, SATHI ANUSUYA and BHAMA VIJAYAM, in each of which he has sung more than 10/12 songs. In one of these films, M.R. Krishnamurthy, the brother of MAHARAJAPURAM acted as KRISHNA. He was the most sought after musician thereafter and was greatly instrumental in enhancing the remuneration of musicians , being the highest paid musician, and with more than 20/25 concerts in a month, right from 1940 to 1953, after which, he reduced the number of concerts to not more than 15 to 20, due to his health. He also made it a point to sing in Temples, almost 3 to 5 concerts in a month through out South India, gratis, to satisfy those, not able to afford to attend Sabha concerts. In late 1930s, he acted with MS, as Dushyantha in SAKUNTHALAI. it was during 1949s, when MKT was arrested and incarcerated in a famous murder case, forcing the producers of UDAYANAN VASAVADATTA, where MKT was acting, to replace him with GNB and it is said that Vasundhara Devi, the heart throb of the Film world of those days, thought it a God sent opportunity to act with a great star from the concert platform. His career on the celluloid world concluded with his RUKMANGADA, which flopped as did the previous one. The producers agreed to remunerate him equal to the highest paid superstar MKT. It will be surprising to know that in that period, he paid the highest Incometax of Rs one lakh in one year, amongst the practising musicians.
2. I have personally been witness on several occasions, when, after finishing a concert in a Sabha or marriage, he used to rush to either CENTRAL or EGMORE Railway stations, where, the just departing trains were stopped by the guard on seeing him rushing to the platform, to catch the train. On one occasion, while he was singing in a Kumbhabhisheham Concert in our Kula Deivam Temple of Anandha Thandavapuram Koil near Mayuram , the train was stopped for more than an hour, by the Station Master, an admirer of his music, to facilitate his boarding the train after the concert.
3. His respect for his parents is worthy of emulation, especially in present context. Our father died, immediately after retirement in May, 1941, by which time GNB had already become a celebrity. He scrupulously noted his THITHI, and will not accept any engagement on that date, as it may come in the way of his performing the Sradha. In 1965, he was admitted in Trivandrum Hospital in I/Ii week of April & my fathers's THITHI fell on 28th April. When his request for temporary discharge for one day to perform THITHI was rejected by the doctors, he took special permission to be at home to hand over symbolically the Darbha to me for doing the Sradha on his behalf and got himself re-admitted in the evening. He breathed his last on 1st, May, 1965. I have never seen him leaving for a concert or for the railway station for a professional tour, without taking the blessings from our mother, till the end.
4. He used to shift houses quite frequently, whether own or rented and this led to a lively first of a series of articles in Ananda Vikatan titled IVARGAL SANTHITHAL, (IF THEY MET) , an imaginary meeting and conversation of GNB and Madurai Mani Iyer, where, MMI asks him, in which address he can see him next, Another incident, relates to his selling his big bungalow in Abhiramapuram to a serving Judge, promising to vacate it before a particular day on the next month. He could neither buy a new house or locate a suitable rented house and had to leave for North India tour and advised his eldest son Doeaiswamy and myself, to ensure shifting to a new house, before his return, leaving us hardly 3/4 days.time. Of course, we shifted as per his instructions, but the judge on hearing of this, reprimanded him saying, he could have taken another week or two, with such a big family and their belongings to be moved at such short notice. I have never seen him, not fulfilling his promise to any one.
5. When the MUSIC ACADEMY built their own premises in 1960 or 1961, they invited the PM NEHRU to declare it open and decided to fix MS to give her concert to IMPROVE GATE COLLECTION and it was objected by almost every senior musician, stung by the alleged disrespect to all the other Senior Vidwans. GNB took upon the task of convincing all the stalwarts, by candidly telling them, that based on merit, it may look like an affront, but, he argued that whether anyone amongst the senior KALANIDHIS including himself, could ensure a higher gate collection than MS. They had to concede to the proposal. On the day of the concert, after the performance, all the top ranking musicians were introduced to Nehru, except GNB, as he had quietly left unobserved for his residence. He was very severely reprimanded by his chum & closest colleague and also Secretary of MUSIC ACADEMY Sri C.V. VENKATANARASIMHAN. . He was totally averse to publicity and was never status conscious. Interestingly, subsequently, when GNB visited NEW DELHI for a Sabha Concert, it is learnt that, on the PM Nehrus's request, a private concert was held for him to listen to his music.
6. He never spared anyone talking disparagingly of other musicians, just to please his ego, especially ARIYAKYDI., Once when someone criticised ARIYAKUDI, he took great pains to imitate ARIYAKUDI and sang a brisk Raga Alapana just like his manasika guru, and informed him, that he may not be aware of the trouble he took to sing just like him to portray the pith and essence of the raga in all its richness in such a short delineation. He thus virtually acted as a bridge connecting the bold and enterprising with the traditional and puristic approach to Carnatic Music.
7. When the well known music critic NEELAM, while reviewing one of his concerts, unwarily treaded on his toes of personal life, commenting that he was generous to a fault in helping those in need, but was not worldly enough to attend to his own financial matters, GNB wrote a strong but polite personal letter, advising him to restrict and confine his criticism of his music alone, which he can take in his own stride, and had no right to intrude in his personal life. Realising his mistake, NELLAM wrote back apologizing for the intrusion, and later became very close friends.
8. SEMMANGUDI is reported to have remarked derisively, that Jasmine flowers would not be available in the Flower market, on days when GNB had a concert in a Sabha or Marriage function in Madras, as all the ladies will throng the concert hall, fully dressed and bedecked with jasmine on their head.
9. Once, in RR SABHA in Mylapore, when the Secretary informed him that more than 4 or 5 ladies, claiming to be his sisters were admitted, though the HOUSE FULL BOARD was on display, he admonished him saying, that none of the family members would dare to attend the concert without his approval. He also jocularly remarked that he was grateful, that none sought admission, pretending to be his wife. As a matter of fact, his wife attended only one of his concerts in her life time, in Rashtrapathi Bhavan , after being conferred the PRESIDENTS AWARD.
10. His catholicity of outlook was proverbial, appreciating Western and North Indian Music alike. When serving AIR as Dy Chief Producer of Carnatic Music, he demonstrated to an amazed visiting Russian Delegation the close connection between the music of the West and Carnatic Music. Pandit Ravi Shankar was one of his admirers and never missed an opportunity to call on him, whenever he visited Madras. It was due to GNB's efforts that Artistes like Roshnara Begum and Bade Ghulam Ali Khan were introduced to Madras and South Indian audience. His touching the feet of Bade Ghulam, in one of his concerts, was taken as an attempt to malign his name and create a flutter among the traditionalists, finding a CASTE BRAHMIN, touching the feet of a Muslim. But as ill luck would have it, there was overwhelming support from the public, of an artist paying tributes to a Muslim, by the fraternity of music lovers. It was quite another matter, that GNB was only reciprocating Bade Ghulam's gesture, in one of his own concerts.
11. In late 1940 or early 1950, when TAMIL ISAI SANGAM insisted on all the musicians participating in December series of concerts , to sing ONLY TAMIL SONGS, the entire fraternity of the doyens of music boycotted the Sabha, with the exception of GNB, who succeeded in his attempt to convince the Sabha authorities to sing MOSTLY Tamil songs, with a couple of songs of the TRINITY. Needless to say that the rest followed suit in the succeeding years. GNB's argument was that MUSIC is beyond language, as it only satisfies the aesthetic pleasures of the listeners and also countered his opponents, saying, that when Krithies are rendered on an instrument like Nadaswaram, Flute or Veena, can any linguistic fanatics claim that the artist was rendering a Krithi in a particular language.
12. He used to reiterate to all his disciples that they should make it a point to listen to all the stalwarts of music and imbibe what is best in each one of them. A Bani is nothing but a synthesis of the prevalent different cultures and traditions in any Art.
His exhortation to his disciples was to selectively handle APOORVA RAGAS, and not indulge only on it, as he used to say, a richly laid fare of dinner can afford to have only a couple of rare delicacies like Badam Halwa etc, as too many of this genre will have the opposite effect of creating a distaste for it.
13. A very staunch devotee of SRI VIDHYA UPASANA, into which he was initiated by no less a person than the famous THETHIYUR SUBRAMANUA SASTRIGAL, he did not think twice to resign his Asthana Vidwanship of Travancore, as it came in the way of his performing NAVA VARNA POOJA both in the morning and evening, during Dussera. His Royal Highness was immensely pleased and lauded him for his devotion to RAJARAJESWARI, when he explained the reason for his resignation. His compositions, running to about 200 Krithies in Telugu, Sanskrit and Tamil were mostly devoted to AMBAL and in the process, he composed quite a few of them in newly created ragas like SARANGATHARANGINI, SIVA SAKTHI, CHAYA RANJANI etc. etc.
14. It was customary of him to introduce two or three new songs every year to be presented exclusively at both MUSIC ACADEMY during December season and at Trivandrum Palace during Navarathri, for which he will set to tune these songs, three or four months prior to the concert and practise it rigorously with his disciples every day.
He has the unique distinction of being the first GOLD MEDALLIST in the music competition held by MUSIC. ACADEMY in the year 1928 ,when he was just 18, to be conferred the prestigious SANGEETHA KALANIDHI award 30 years later in 1958-59. He never accepted any remuneration for any of his concert there and used to donate it back to the Institution. The prestigious PRESIDENT's AWARD followed a year or two thereafter and was conferred on him by Dr Radhakrishnan, and the Hon'ble President remarked to him, it is learnt , that the AWARD.actually was for his father, and, a good friend of his, Mr Narayanaswamy iyer.
15. I have personally known several instances of marriage dates being re-fixed to suit his convenience. There are also several instances of his coming forward to sing in marriages or Sabhas at a very much reduced remuneration or even without any remuneration, if they could ill afford to pay his normal remuneration. There is yet another instance of his waiting in a railway station to board a train to Madras, when a local Zamindar rushed to the platform and earnestly requesting him to sing in his daughter's wedding the next day in a nearby place. Feeling tired, he tried to dissuade him, but the Zamindar persisted with his request. Thinking that by quoting a VERY HIGH FEE, he could make him relent and leave, he informed that if he was paid Rs 5000 for himself ( he normally charged Rs 1000 for himself in those days in mid 1940s, when the price of GOLD was around Rs 50 per sovereign) he will accept to sing. To his dismay, the Zamindar readily agreed and he had to necessarily oblige him .
16. It was rather strange that while the father was totally against Sruthi Bedha and had written an article criticizing it in the journal (he was in the experts Committee of Music Academy), GNB created a flutter in indulging in it not too infrequently in his concerts , forcing the Academy to discuss this issue threadbare under the chairmanship of Dr T.V. SUBBA Rao. After a detailed discussion, the final verdict of Dr SUBBA Rao was that, there was nothing wrong in indulging in it, as THYAGARAJA himself has made use of it, in BAGGAYANAYYA Krithi, but one has to be extremely careful in the most slippery grounds of Sruthi Bedham. Not all could successfully venture into it.
17. He was an adept in singing songs to suit a particular event or occasion and to illustrate this , can be mentioned two instances, namely 1. Just having finished a song, on seeing the Revered DAYANANDHA SARASWATHI entering the Concert Hall, he bowed his head in humility and immediately started singing the song DANDANITTEN ENRU SOLLADI SWAMIKU NAN in Thodi, with the entire assemblage going into a thunderous applause. 2. On another occasion, while in the middle of a concert, he saw a lady, leaving the concert hall, he sang NALLA SAGUNAM NOAKI CHELLADI in Shanmugapriya.
18. He was scheduled to give a concert in SriLanka in 1954, during Queen Elizabeth 's visit to the island and the passports were arranged for my brother, his disciple T.R. Balasubramaniam, Rajamanickam Pillai and Palghat Mani Iyer. Due to some political problems in the Island State, the Concert was called off.
19. He was one of the great devotees of PARAMACHARYA, who used to COMMAND him to come and sing for him for a couple of hours, whenever, GNB was near the place where the LIVING GOD was camping. Whether one can call what follows as a MIRACLE or HIS DIVINE BLESSINGS is a great puzzle for our family members. ..When PARAMACHARYA was in San Thome for a PADA PUJA, coming to know that GNB was living nearby, immediately after the POOJA, PARAMACHARYA thought it fit to bless him, by condescending to visit our house personally in San Thome, taking all us in the most blissful and unannounced ecstatic pleasure and surprise. We consider this in our family as the greatest honour, more than either the PRESIDENTS AWARD or the award of SANGEETHA KALANIDHI.
20. There is a prevalent misconception, that he
never sang Raga Karaharapriya in his concerts. To set right the record, it has to be said that he rendered KARAHARAPRIYA as the main raga (RTP) in both PERAMBUR SANGEETHA SABHA, as well as in KRISHNA GANA SABHA, in T. Nagar. . Lalgudi Jayaraman who accompanied him in both these concerts has testified to the above.
21. Almost on his death bed in mid April, 1965, he was supposed to have told his last disciple Trichur Ramachandran and a couple of his colleagues in the Music College, Trivandrum , that , after so many years as a practising musician, he was able to comprehend the real essence and import of MUSIC ONLY NOW , but was too frail to give shape to it and offer it for the benefit of his Rasikas . Perhaps, he was very well aware subconsciously that he was leaving behind him a vast LEGACY OF UNFINISHED AGENDA in Music, for his disciples and future generation of musicians to explore the vast horizon of MANODHARMA SANGEETHAM .
I thought it wise to conclude the article with a quotation from one of the Music Critics, SIVAN, in DINA MANI KADIR , where he concluded an article on GNB by observing " I should admit I did a mistake in listening to the music of GNB & TNR. After listening to them singing or playing (on nadaswaram), the music of others seem to fall on deaf years. Their passing away is a very great loss for our Carnatic Music." ## GM PR ( for publication in SAMAGHANAA)

Pasupathy
Posts: 7868
Joined: 26 Jan 2013, 19:01

Re: G.N. Balasubramaniam (GNB)

Post by Pasupathy »

Musical Tidbits -66
My Guru by M.L.V. ( 1965 Article)

சங்கீத சங்கதிகள் - 66
என் குருநாதர்
எம்.எல்.வசந்தகுமாரி

ஜனவரி 6. ஜி.என்.பாலசுப்பிரமணியம் அவர்களின் பிறந்த நாள்.

http://s-pasupathy.blogspot.com/2016/01/67.html

sivachinta1965
Posts: 189
Joined: 13 Dec 2007, 11:32

Re: G.N. Balasubramaniam (GNB)

Post by sivachinta1965 »

1949 Udayanan and Vasavadatta??

Is there any recordings in L P?

Sivaprasad

Ramasubramanian M.K
Posts: 1226
Joined: 05 May 2009, 08:33

Re: G.N. Balasubramaniam (GNB)

Post by Ramasubramanian M.K »

Dear GNB (Jr) Sir! Just saw your wonderful post!!! It is amazing how each of the great traits of GNSir that you have illustrated with anecdotes can be corroborated with similar anecdotes by myself and elder members of our family.

Lalgudi Sir used to say "GNSIR BROUGHT A FLAIR AND STYLE TO OUR MUSIC" LGJ used to pronounce the word Style as IShtyle in colloquial Tamil!!!

Regarding Sivachinta's query I have tried without success to get some of the songs in that movie(the movie was before Sakunthalai--late Thirties I think) that are etched in my memories--the Panthuvarali song--Sendhiru Vanaiyal Vasavadattai and the Kiranavali song Anandham En Solven . These are classic pieces noted for their brevity and beauty.

GNB Jr Sir--Is there anything in the family archives that are retrievable?

thanjavooran
Posts: 2972
Joined: 03 Feb 2010, 04:44

Re: G.N. Balasubramaniam (GNB)

Post by thanjavooran »

A share
Sent by GNB's brother

Recently, in the last week of Feb, 2016, I was invited to a small gathering of about 30/35 persons, mostly consisting of senior citizens who have personally attended the concerts of my brother GNB, to share their experiences with the select gathering. One of the most discriminating admirers of Carnatic music, and Senior Lawyer of Madras High Court, Sri S. Vijayaraghavan , quoted the following instance, of which, none of our own family members were aware.

Rajaji was the Chief Minister of Madras Presidency in 1940, when a special Music Concert was arranged in aid of the War Fund. As one of the top performers, GNB was chosen to give the concert and the Chief Minister Rajaji presided over the concert. After the concert, Rajai addressed the gathering , and turning to GNB on the stage, he spoke as follows, as quoted by Vijayaraghavan .

" Shriman GN. Balasubramaniam Is an acknowledged genius in the field of Carnatic music. We were all privy to celestial music as if from a Ghandarva. It goes without saying , that the the tribute to his stature and popularity is evidenced by the massive gate collection for the war front. In fact, we had to send away many eager listeners, willing to pay any amount, because, the stage could not accommodate more. However, I would like to offer a small suggestion to him. The concert throughout was of a very high order and refined quality.

However, when he came to the TUKKADAS at the end of the concert, the enthusiasm of the audience knew no bounds. In fact, there were calls for " ONCE MORE " from a large section of the audience. In the light of this, I would request Shriman G,N. Balasubramaniam, to advance , rather singing of the THUKKADAS to an earlier part of the concert .

GNB who was obviously been complimented profusely by the great Rajaji, nevertheless, reddened in his face, but did not say anything in reply.

Coming home, he wrote a letter the gist of which was that it would be advisable for politicians, to keep out of matters musical, which were best left to the experts in the classical field to decide upon.

This was at the time,when Rajaji was described as CHAKRAVATHI THIRUMAFAN , by fawning hypocrites in the music field, seeking to cull favour from him. This was a shining example " according to Vijayaraghavan, " of the integrity of the man and his conviction in his classical ideas.

The intention of GNB , was not to snub Rajaji in public. That is the reason he did not respond in public. Equally, GNB did not want, to give up the right of the classical school of musicians and their primacy in deciding such matters. Rajaj, the true democrat, and truth seeker that he was, did not take this amiss; on the contrary, this only enhanced his respect and admiration of GNB. .

I think, this is a noble event, which can be a source of inspiration to both politicians and classical musicians. ".

Pasupathy
Posts: 7868
Joined: 26 Jan 2013, 19:01

Re: G.N. Balasubramaniam (GNB)

Post by Pasupathy »

In 'olden' days, most Tamil songs were sung only as part of thukkadas. Nowadays many of them seem to have moved upstream !

sivachinta1965
Posts: 189
Joined: 13 Dec 2007, 11:32

Re: G.N. Balasubramaniam (GNB)

Post by sivachinta1965 »

Dear Ramasubramaniamji

Is there any article by/on GNB in Bhavans Jounal?

Sivaprasad

Ramasubramanian M.K
Posts: 1226
Joined: 05 May 2009, 08:33

Re: G.N. Balasubramaniam (GNB)

Post by Ramasubramanian M.K »

Dear Sivaprasad: I do not know if the Bhavan ever published article on GNB. One book I would highly recommend is by Lalita Ram(he is one of the contributors to our forum) the title(Tamil) --Prince of Music--GNB. It is a very compact boo laden with quotes and anecdotes--it is by the VIKATAN PRESS. It was published in 2006 and I am sure is still in print.
The NB family--his brother G.N.Balakrishnan--one of the contributors to our forum may be alb to guide you.

sivachinta1965
Posts: 189
Joined: 13 Dec 2007, 11:32

Re: G.N. Balasubramaniam (GNB)

Post by sivachinta1965 »

Dear Ramasubramaniamji

The numerous marriage occasions in which GNB sir had sung might have been captured by the eyes of cameras , some times even the moving ones. Any chance to take prints of these from marriage albums???
Sivaprasad

gb_rajasekar
Posts: 42
Joined: 22 Mar 2005, 07:11

Re: G.N. Balasubramaniam (GNB)

Post by gb_rajasekar »

There was an article published if i remember correctly late sixties written by Shri TV Ramanujam President of Shanmukhananda in Bhavans Journal.
Will check if i have a pdf. Will try and post if possible.

During the marriage of both children of Shri Vasan of Gemini studios there were concerts of Shri GNB and both were captured on single fixed 8mm reel camera,
and we saw clips from it in Gemini studios. Studio had a fire accident and we are told it got burned down in the process.

Rgds\Rajasekar

sivachinta1965
Posts: 189
Joined: 13 Dec 2007, 11:32

Re: G.N. Balasubramaniam (GNB)

Post by sivachinta1965 »

Dear Rajasekarji

That was in Rups's documentary?

Sundara Rajan
Posts: 1081
Joined: 08 Apr 2007, 08:19

Re: G.N. Balasubramaniam (GNB)

Post by Sundara Rajan »

If I my memory is correct (?), there was an article about GNB and TNR in Bhavan's Journal in 1990. Some one else can verify.

gb_rajasekar
Posts: 42
Joined: 22 Mar 2005, 07:11

Re: G.N. Balasubramaniam (GNB)

Post by gb_rajasekar »

I dont think Rupa's film clip is from Vasan house marriage recording, it is another wedding.

sivachinta1965
Posts: 189
Joined: 13 Dec 2007, 11:32

Re: G.N. Balasubramaniam (GNB)

Post by sivachinta1965 »

Dear Rajasekarji

Two clippings. One TNR garlanding GNB , another seems to be singing of Marukelara....very short. Or Vijayalakshmi...

SIVAPRASAD

sivachinta1965
Posts: 189
Joined: 13 Dec 2007, 11:32

Re: G.N. Balasubramaniam (GNB)

Post by sivachinta1965 »

Dear Rajasekarji

Two clippings. One TNR garlanding GNB , another seems to be singing of Marukelara....very short. Or Vinayaka....

SIVAPRASAD

Hindolajog05
Posts: 3
Joined: 19 Oct 2016, 17:48

Re: G.N. Balasubramaniam (GNB)

Post by Hindolajog05 »

Sadaapalaya sarasaakshi notation please ... any one here kindly share on musiquelover05@gmail.com

With regards,
Hindolamlover

sivachinta1965
Posts: 189
Joined: 13 Dec 2007, 11:32

Re: G.N. Balasubramaniam (GNB)

Post by sivachinta1965 »

http://i65.tinypic.com/2r3kxex.jpg[/img] [/img]

GNB as Narada in Sathi Anasooya 1939 Tamil Movie

Sivaprasad

sivachinta1965
Posts: 189
Joined: 13 Dec 2007, 11:32

Re: G.N. Balasubramaniam (GNB)

Post by sivachinta1965 »

Dear skrisji

why the photo is not appearing? though the link has been pasted

Sivaprasad

K Nagarajan
Posts: 138
Joined: 09 Jul 2015, 22:19

Re: G.N. Balasubramaniam (GNB)

Post by K Nagarajan »

Vintage music from
GNB-LGJ-PSP-S Kalyanaraman (vocal support)


https://www.youtube.com/watch?v=cRVMIa-T6wc

Pratyaksham Bala
Posts: 4164
Joined: 21 May 2010, 16:57

Re: G.N. Balasubramaniam (GNB)

Post by Pratyaksham Bala »

Image given by 'sivachinta1965' in Post #471 :-

Image

sivachinta1965
Posts: 189
Joined: 13 Dec 2007, 11:32

Re: G.N. Balasubramaniam (GNB)

Post by sivachinta1965 »

Dear Balaji

Thanks. How did you make the 'Grand Noble Bani' visible?

Please mention the process.

Sivaprasad

Pratyaksham Bala
Posts: 4164
Joined: 21 May 2010, 16:57

Re: G.N. Balasubramaniam (GNB)

Post by Pratyaksham Bala »

The link given in #471 opens the tinypic site; but it takes time to show the image.

The image is not visible in rasikas.org site as it is 1600 pixels wide. The limitation is 1440 pixels.

So, the tinypic image was copied, taken to photoshop, and the size was reduced. The revised smaller size image was taken again to tinypics, and the resultant link was posted in #474.

(May be, there is a simpler way out!)

sivachinta1965
Posts: 189
Joined: 13 Dec 2007, 11:32

Re: G.N. Balasubramaniam (GNB)

Post by sivachinta1965 »

Dear Balaji
Thanks a lot.
Sivaprasad

sivachinta1965
Posts: 189
Joined: 13 Dec 2007, 11:32

Re: G.N. Balasubramaniam (GNB)

Post by sivachinta1965 »

Dear Rasikas

GNB as Narada in Sati Anasooya 1940 Tamil Movie

Image

Sivaprasad

CRama
Posts: 2939
Joined: 18 Nov 2009, 16:58

Re: G.N. Balasubramaniam (GNB)

Post by CRama »

Sivaprasad, Thanks for digging this old posture and bringing to us.

sivachinta1965
Posts: 189
Joined: 13 Dec 2007, 11:32

Re: G.N. Balasubramaniam (GNB)

Post by sivachinta1965 »

Dear CRamji

Can somebody get some information on the music photographer who took the photo of GNB taking a pinch of Snuff which appeared in Indian Express in 1994-95. His name is Mr... Rao

Thanks

Sivaprasad

Pasupathy
Posts: 7868
Joined: 26 Jan 2013, 19:01

Re: G.N. Balasubramaniam (GNB)

Post by Pasupathy »

A review (in Tamil ) of GNB's first Radio Concert!
சங்கீத சங்கதிகள் - 105
ஜி.என்.பியின் முதல் ரேடியோக் கச்சேரி!
“ நீலம் “
http://s-pasupathy.blogspot.com/2017/01/105.html

Pasupathy
Posts: 7868
Joined: 26 Jan 2013, 19:01

Re: G.N. Balasubramaniam (GNB)

Post by Pasupathy »

Musical Tidbits - 127
A Tamil Article by GNB ( 1946)

768. சங்கீத சங்கதிகள் - 127
ரசிகரின் மனோபாவம்
ஜி.என்.பி.

http://s-pasupathy.blogspot.com/2017/07/768-127.html

parivadini
Posts: 1190
Joined: 22 Oct 2013, 22:44

Re: G.N. Balasubramaniam (GNB)

Post by parivadini »

Pasupathy wrote: 13 Jul 2017, 17:43 Musical Tidbits - 127
A Tamil Article by GNB ( 1946)

768. சங்கீத சங்கதிகள் - 127
ரசிகரின் மனோபாவம்
ஜி.என்.பி.

http://s-pasupathy.blogspot.com/2017/07/768-127.html
HOW DO YOU MANAGE TO UNEARTH SUCH TREASURES SIR!

Pasupathy
Posts: 7868
Joined: 26 Jan 2013, 19:01

Re: G.N. Balasubramaniam (GNB)

Post by Pasupathy »

>>HOW DO YOU MANAGE TO UNEARTH SUCH TREASURES SIR! >>

:-)

SrinathK
Posts: 2477
Joined: 13 Jan 2013, 16:10

Re: G.N. Balasubramaniam (GNB)

Post by SrinathK »

A case study in evolution :

First up, a sAvEri from the 1930s : https://www.youtube.com/watch?v=DYK7IORQNow

My thoughts -- Talk about raw mangoes. GNB's early voice reveals the quite an influence of Tiger Varadachariar and it's super-manueverability is ridiculous. There's a distinctive ring to his voice and it sometimes crosses over to a bit of nasality. Now, I really wonder if this was actually the way CM was sung on stage in the early 20th century for mike-less concerts or was this just a gamaka stripped, sped up technique vocalists used to fit their rendition into 3 min and 15 sec of plate run time.

Because if you listen to the Vasudevayani track from 1940, already you hear a Kalyani which is far closer to it's mature form. Again a 11 or 12 min recording is probably not representative of a more elaborate live concert exposition. By this point GNB's voice timbre and phrases are now truly his own, though he still has the ring in his voice (but no more the nasality).

Then, another sAvEri, 30 years later, from the early 60s : https://www.youtube.com/watch?v=kt4TORt8iHM&t=27s - a more introspective and moving version. Look at the depth of phrasing and the gamakas on this one and the depth in the lower octave.

At this point, the recording tech had caught up to fully capture a 60 min RTP at the very least, and this comes from a live concert.

By the 1950s I notice that the old ring disappeared over time from GNB's voice and it became deeper and heavier. In the 60s, despite ill health, the phrasing in the ragas continued to mature and get ever more intricate.

This is typically the way the male voice evolves after the voice breaking agonies of one's teenage years.

These features are not unique to him. By the 1950s and 1960s, virtually all Carnatic recordings of all artistes show that the music settled into a gamaka maximal form. And consider this, the playing techniques of violinists also changed with the arrival of the then next gen prodigies in the 1950s and 60s. There's even a theory that the violin in turn influenced vocalists gamakas' more than expected.

Therefore the big question is -- was the gayaki style really that minimalist a hundred years ago? Did the G2 of Thodi get to it's present shape only in the last 50 years or so? (Yeah, I know CM is still evolving even now, but I'm stopping at GNB's times).

I'd advise rasikas to buy the millenial collection of GNB and any albums released of his available concerts -- it's almost like a snapshot of an artiste's evolution across time (and the evolution of music recordings or CM itself). The tragedy is the wealth of musicality in a GNB concert was never captured adequately owing to a sheer paucity of recordings. When I hear about Palghat Raghu and LGJ having accompanied GNB in almost 2000 concerts, I can scarcely imagine just what I missed.

SrinathK
Posts: 2477
Joined: 13 Jan 2013, 16:10

Re: G.N. Balasubramaniam (GNB)

Post by SrinathK »

Here's a rare recording of GNB singing a scintillating shloka in kharaharapriya, rishabhapriya, ranjani and sindhubhairavi. The brighas are electrifying and beautifully structured with stupendous replies from Lalgudi Jayaraman on the violin. It vanished off the tube sometime back, but it's back.

This is only the second of 2 recordings of GNB's kharaharapriya and the only one out there featuring rishabhapriya and ranjani.

It's followed by smaravAram. The concert from which this was extracted is labelled 1964, but it's probably likely to be earlier. This concert is one of GNB's best on tape - featuring AndOlika, subramanyaya namastE, and an RTP in Shanmukhapriya where GNB has explored all 3 octaves. LGJ's accompaniment is the special highlight.

https://soundcloud.com/user461654480/g- ... maravaaram

narayan
Posts: 383
Joined: 05 Oct 2008, 07:43

Re: G.N. Balasubramaniam (GNB)

Post by narayan »

SrinathK wrote: 03 Sep 2017, 21:08 Here's a rare recording of GNB singing a scintillating shloka in kharaharapriya, rishabhapriya, ranjani and sindhubhairavi. The brighas are electrifying and beautifully structured with stupendous replies from Lalgudi Jayaraman on the violin.
...
https://soundcloud.com/user461654480/g- ... maravaaram
Thanks much for this. One should use certain adjectives sparingly. Scintillating and stupendous seem just right to me, here.

SrinathK
Posts: 2477
Joined: 13 Jan 2013, 16:10

Re: G.N. Balasubramaniam (GNB)

Post by SrinathK »

Here's a rasika sharing his memories :-
G.N.B. - My Idol

Some Personal Glimpses and a Humble Encomium

Dr. P. Rajagopalan

(Dedicated with respect and admiration to the memory of the Genius)

Much has been said and written about the legend that was G.N.B., his life, his personality, his music, his versatility and his achievements in the short span of his life. So the reader may wonder why I am carrying coal to New Castle by writing another article on this extraordinary musician who strode like a colossus among the greatest musicians of his time. It is because, as an ardent devotee of his music for over seven decades, I never had a chance to pay my tribute, in any form, to him or to his memory in a public forum.

Thousands of admirers of G.N.B. were and are aware that those letters stood for Gudalur Narayanaswamy Balasubramaniam but to me those represent the Genius Nadhopaasaka Balasubramniam. I firmly believe that geniuses are born and not made and everybody who is familiar with G.N.B.’s music would agree, without any reservation, that he did belong to that exclusive club. I hasten to add that by this remark I mean no disrespect to the famous musicians of his time who were giants of the profession. Since I am neither a musician nor have any expertise in carnatic music, I will restrict this article to my own humble impressions of his magnificent music gleaned from four of the many concerts of his I was fortunate to attend.

Although I always enjoyed carnatic vocal music from my childhood and was familiar with the names of the musical greats of the late thirties through All India Radio, I never had a chance to listen to any of them live until December 1939 when my brother, Sri. Ramabhadran (SAFE), and I chanced to visit the famous Exhibition held every year at the sprawling Congress grounds in Teynampet. I was nine years old then and my knowledge of carnatic music was so rudimentary that I thought, if I could be a trifle facetious, that Kalyani and Vasantha were names given to girls. The truth of the matter is that I could not identify either of those ragas (or any other raga for that matter) whenever and wherever they were elaborated. Anyway, when my brother and I walked through the portals of the exhibition, we were struck by a rich and commanding voice that wafted over the din. Curious to see who it belonged to, we followed the voice to a makeshift theatre that was filled to capacity. From a distance we could discern a group of musicians ensconced on a dais. The vocalist was a strikingly handsome man sitting ram-rod straight, resplendent in pure white clothes with diamond studs sparkling from his ear lobes. What attracted me to him was his uniquely captivating voice the like of which I had never heard before. It was at once sonorous and soothing, dazzling and daring, lilting and sensual, and it wrapped me in a cocoon of absolute bliss from which escape was impossible; verily like the ‘Chakra Vyooham’ into which Abhimanyu was drawn but did not know how to break out. I cannot recall who his accompanists were or what krithis he sang on that occasion but they scarcely matter because I became a slave to his divine music just from that moment. Since then I had the good fortune to have attended many of his concerts and listened to a few over the radio until his shocking and untimely demise in 1965, except for a period of six years from 1955 when I was in the States to get my Doctorate and carry out post-doctoral research. En passant, I have to mention here that one of my greatest regrets is that I missed G.N.B.’s music during that long period when he was at his glorious best! The other one is that I never had a chance to meet and get to know him.

I would like to share with the reader the impact that four concerts of the great genius, that I was fortunate to be present at during various stages of my life, had on me. The first one was in 1945 at Kumbakonam whither my family and I had moved two years earlier during the World War II mass exodus (euphemistically called ‘evacuation’) from Chennai. It was the year of the ‘Mahamakam’ festival which is celebrated once in 12 years on a grand scale at Kumbakonam during which a series of concerts featuring great musicians of the time were held. Two such musicians were G.N.B. and Madurai Mani Iyer whose concerts were arranged on successive days. Just two weeks before the festival, a rumour to the effect that Madurai Mani Iyer had passed away after a brief illness spread around like wild fire casting a pall of gloom over the entire concert series and leaving carnatic music lovers stunned. However, within 24 hours the news that Mani Iyer was alive and recovering from a serious illness was announced over the radio and published in the newspapers. While the good news came as a great relief to the experts and laymen alike, no one was sure whether Mani Iyer would be fit enough to perform on the scheduled day. In the event, he not only fully recovered but went on to give an outstanding concert marked by a terrific aalapana of Kamboji and the fabulous rendition of his favourite krithi ‘Kaana kan kodi vendum with remarkable niraval of ‘Maanikkam vairam muthal’ followed by cascade of lilting swaras. The following day was G.N.B.’s turn. He was 35 then and in fine mettle and I was nearing 15 with a slight improvement in my ability to recognize a few popular ragas. After a breezy varnam, G.N.B. built up a terrific tempo leading to Kamboji which he took on as though it were a challenge to Mani Iyer’s rendition of it the day before. Every appealing facet of this grand raga was unravelled step by step in as much minute and loving detail as a Flemish diamond expert would invoke in cutting and polishing a raw diamond to brilliant perfection. The krithi chosen was ‘Ma Janki’ the pallavi of which starts off on a higher octave than most of the other compositions in that raga. In his typical madhyama kala tempo he rendered the song with his inimitable sangathis leading to an exhaustive niraval at ‘Raja raja vara’ in three octaves followed by a spectacular swaraprasthara which brought the house down. Those two concerts by the stalwarts were the talk of the town for days with the experts not being able to decide which was better! Again, I cannot recall who the accompanists were for either of the artistes.

The next concert was at New Delhi 1949 when I was in my first year of M.Sc. course at the University of Delhi. The maestro’s accompanists were T.N. Krishnan (he was Master Krishnan then) and Palani Subramania Pillai. Early on in the concert he elaborated the raga Andolika. Although I was, by then, familiar with two songs, ‘Raga sudharasa’ and ‘Sevikka vendum ayya’, in that terrific raga, I had never heard an aalapana of it before. In one word, it was stunning! The difficult high notes were reached with gay abandon and at lightning speed bedecked with amazing brigas, leaving the audience spell bound. The coup de grace was delivered with an amazing array of swaras following a beautiful rendering of the krithi. The great and gifted accompanists were scarcely able to keep pace with the torrent but they did manage beautifully! After a couple of whirlwind songs, the genius unleashed a mind-boggling campaign for the conquest of Mount Begada the like of which one comes across but once in his or her life time. Although born of the majestic Sankarabharanam, this precocious offspring is, in my opinion, more captivating than the parent offering enormous scope for manodharma. According to one of the biographies of Maha Vidwan Patnam Subramania Iyer, he once sang Begada for three days without repetition of phrases and that from then on he came to be known as Begada Subramania Iyer! One of his disciples, the famous Vidwan Tiger Varadhachariar was known for his detailed and beautiful rendering of this raga. No wonder then that G.N.B., who had a brief tutelage under Tiger, had imbibed the nuances of Patnam’s Begada through the former. This was quite apparent in G.N.B.’s organized and carefully planned approach to the summit. Unlike the mountaineer who moves fast to establish an advanced camp before his slow ascent to the summit, G.N.B. began the raga in a leisurely tempo in the lowest octave to build a base camp reflecting the raga’s grandeur. The advance camp was set up via medium tempo and middle octave after breath-taking and detailed negotiation of the intricate passages, nuances and subtleties of the raga. By then there was pin-drop silence in the hall. The final blitzkrieg to the summit was brilliantly conceived and consummately executed and G.N.B. took the entire audience with him to the summit for them to enjoy the glorious vista of the indescribable thaanam and pallavi replete with ragamalika swaras that followed. In all, he spent about 75 minutes on that R.T.P. and to this day I am reminded of that incredible Begada whenever I hear it sung!

The third concert was at the new T.T.K auditorium of the Music Academy in December, 1961, with Lalgudi Jayaraman and Palani Subramania Pillai as accompanists. I had just returned from my sojourn in the States to learn that the great man was recovering from a bout of serious illness. G.N.B. did look a little haggard and there was apprehension pervading the atmosphere of the auditorium. However, with the varnam it vanished like the morning dew and the maestro regaled the audience with a scintillating three-minute sarva laghu swara korvai at the end of the Hindolam krithi ‘Manasuloni marmamu’ and an enthralling elaboration of the Kalyani raga as he alone could. The krithi chosen was Saint Thyagaraja’s ‘Nee mahima pokada tharamaa’ which was rendered spiritedly with an amazing niraval at ‘sura sevitha sreenivaasaa’ laced with brigas followed by a spectacular swaraprasthara in which Lalgudi and Palani joined with gusto to a thunderous ovation!

The last one was at Bombay in 1964 when I was a Senior Research Scientist at CIBA Research Centre located in the suburb of Goregaon. The Shanmugananda Sangeetha Sabha which organized it, usually schedules two concerts by a visiting musician on successive days to accommodate its 4000 members. However, because of G.N.B.’s delicate health, Sri. T.V. Ramanujam, the President of the Sabha at that time, decided to hold only one concert instead. Needless to state that the cavernous hall was filled to capacity. The maestro’s accompanists for that concert were Chowdiah, Palghat Mani Iyer and Swaminatha Pillai (son of the legendary Pudukottai Dakshinamurthy Pillai) on the Kanjira. When I saw G.N.B. on the stage he looked frail and my heart was filled with remorse. But the concert turned to be one of his best probably because of the following reasons: First, he was inspired not only by the presence of his old friends Chowdiah and Palghat Mani Iyer but also of Swaminatha Pillai who was playing for him for the first time. Secondly, his good friend and admirer, Sri. Ramanujam, was present to cheer him on. Thirdly, the audience of over 2000 eager fans. So he rose to the occasion. Although his voice did not have the range it used to traverse, it was still robust enough for him to explore the raga Mohanam at length to unfold its beauty. The fetching composition, ‘Sri Rama ramanee manohara’ was rendered lovingly with the niraval at ‘Athulitha divya guna’ and an intricate swara pattern as if to challenge the masters of laya on the stage to which they responded brilliantly and together with Chowdiah made Mohanam a memorable experience! However what made the concert especially memorable, is the krithi, ‘Parama krupa saagari, in Yedukulakambodhi which G.N.B. sang toward the end after an outstanding R.T.P. in Kamboji. It is a great composition in Sanskrit and the way he rendered it was intensely moving, sad and poignant as if he sensed that he did not have long to live. Curious to learn whose creation it was since it did not carry any ‘mudra’ of the composer, I asked somebody in the audience and was pleasantly surprised to learn that it was G.N.B.’s own! Although I was familiar with his compositions in ragas Amritha Behag, Saranga tharangini, Kaanada and Ranjani by then, I had never heard G.N.B. sing any of his own compositions in his concerts. So the Bombay concert is very special to me because I was fortunate to be present at the only concert which gave me an idea how his compositions would sound when he himself rendered it!

Before closing this article, I would like to share the opinions of two of G.N.B.’s famous disciples, Dr. M.L. Vasanthakumari (M.L.V.) and Sri.Tanjore S. Kalyanaraman, of their illustrious Guru. Both of them had stayed with me and my family in Garden City, NY, for a few days during their concert tours of the States and Canada in 1976 and 1978, respectively, organized by the Carnatic Music Association of North America (CMANA) of which I was the President then. Besides their regularly scheduled concerts, I had arranged chamber concerts consisting entirely of G.N.B. krithis by them at my residence. Remembering the Yedukulakambodhi krithi I had heard sung by her Guru himself, I requested M.L.V. to include it in her concert. The day before the event, M.L.V. wanted to go over the krithi once or twice because she had forgotten a couple of lines of it. My family, myself, her daughter and her accompanists sat around her to listen to her practise the song. She was in a joyous mood and started singing the pallavi of the krithi when she suddenly stopped and began to sob uncontrollably. Tears started flowing freely and we were anxious to know what was bothering her. She took a few minutes to compose herself and then turned to me and said, ‘Mama, I have never wept for anything in my life, but this song reminded how great my guru was in every aspect of his life and so I could not control myself”. She then went on to assure me that she would do justice to this song in the concert but I told her firmly that that was out of the question. Sri. Kalyanaraman and I had long discussions about his Guru, his music and his personality and on one occasion I asked him why he chose G.N.B. to be his mentor. Back came the spontaneous and unhesitating response: “Because he was a genius”. That succinct statement says it all!

Although the Genius is no longer with us, his divine music reflecting his incredible Gnaanam, Nayam and Bhaavam will for ever endure!

rajeshnat
Posts: 9906
Joined: 03 Feb 2010, 08:04

Re: G.N. Balasubramaniam (GNB)

Post by rajeshnat »

Lovely writeup of GNB thank you srinathk . I did not know that MMI rumour in 1945. I have seen Dr Rajagopolan . I have not talked with him at all . I have little relationship with his extraordinary brother Safe Ramabadran who must be the biggest fan of GNB.

It is just not that GNB showed his class as a vidwan or a vaggeyakkara , but he groomed a new generation of rasikas like CMANA Rajagopalan and Safe Ramabadran to setup sabha and propagate the art , but for this extreme passion those who are born after GNB era would not have enjoyed this much music. Among all musicians certainly GNB rasikas rule in the role of carnatic stewardship. I have heard families moving to mayavaram to fear worldwar II bombs, but did not know few of them went 35 kms south to kumbakonam . If they hear in kumbakonam on two consecutive days GNB and MMI , what more they need that too manikkam vairam and mA janaki, even mahamakham is not such a big event in kumbakonam, the lakes in mahamagham must have been purely stormbodhi. Kudos to Rajagopalan sir who wrote interesting abbreviations like Genius Nadhopaasaka Balasubramaniam and Gnaanam Nayam Bhaavam - i was only aware of Great New Baani

vsn69
Posts: 152
Joined: 02 Oct 2017, 17:30

Re: G.N. Balasubramaniam (GNB)

Post by vsn69 »

SrinathK wrote: 06 Jan 2016, 12:36 By G.N. Balakrishnan.
Imbibing greatly from those whom he admired most, like ARIYAKUDI , his mentor , for his concert tradition, whom he adopted as his Manasika Guru, MAHARAJAPURAM for his vivacity, TNR , for his virtuosity and imagination , and he established a distinct style of his own, named after him as GNB BANI, which is said to be an amalgam of all these great stalwarts, as also the music of MAHA VAIDYANATHAN IYER and PUSHPAVANAM, whom my father considered as the ULTIMATE IN MUSIC.
Fate plucked away Sri Pushpavanam's life when he was just 28, yet to read that GNB's father thought Sri Pushpavanam as the ULTIMATE IN MUSIC is amazing.

rajeshnat
Posts: 9906
Joined: 03 Feb 2010, 08:04

Re: G.N. Balasubramaniam (GNB)

Post by rajeshnat »

vsn69 wrote: 10 Oct 2017, 09:42
SrinathK wrote: 06 Jan 2016, 12:36 By G.N. Balakrishnan.
Imbibing greatly from those whom he admired most, like ARIYAKUDI , his mentor , for his concert tradition, whom he adopted as his Manasika Guru, MAHARAJAPURAM for his vivacity, TNR , for his virtuosity and imagination , and he established a distinct style of his own, named after him as GNB BANI, which is said to be an amalgam of all these great stalwarts, as also the music of MAHA VAIDYANATHAN IYER and PUSHPAVANAM, whom my father considered as the ULTIMATE IN MUSIC.
Fate plucked away Sri Pushpavanam's life when he was just 28, yet to read that GNB's father thought Sri Pushpavanam as the ULTIMATE IN MUSIC is amazing.
VSN69,
The author GN Balakrishnan says his father GNB says pushpavanam was ultimate in music . You have mistaken GNB father GV Narayanaswamy Iyer said , he may have said but the author does not say so.

vsn69
Posts: 152
Joined: 02 Oct 2017, 17:30

Re: G.N. Balasubramaniam (GNB)

Post by vsn69 »

rajeshnat wrote: 10 Oct 2017, 13:06
vsn69 wrote: 10 Oct 2017, 09:42
SrinathK wrote: 06 Jan 2016, 12:36 By G.N. Balakrishnan.
Imbibing greatly from those whom he admired most, like ARIYAKUDI , his mentor , for his concert tradition, whom he adopted as his Manasika Guru, MAHARAJAPURAM for his vivacity, TNR , for his virtuosity and imagination , and he established a distinct style of his own, named after him as GNB BANI, which is said to be an amalgam of all these great stalwarts, as also the music of MAHA VAIDYANATHAN IYER and PUSHPAVANAM, whom my father considered as the ULTIMATE IN MUSIC.
Fate plucked away Sri Pushpavanam's life when he was just 28, yet to read that GNB's father thought Sri Pushpavanam as the ULTIMATE IN MUSIC is amazing.
VSN69,
The author GN Balakrishnan says his father GNB says pushpavanam was ultimate in music . You have mistaken GNB father GV Narayanaswamy Iyer said , he may have said but the author does not say so.
Sri GNB would not have heard Sri Pushpavanam as he passed away in 1920. GN Balakrishnan refers to GV Narayanaswamy Iyer.

rajeshnat
Posts: 9906
Joined: 03 Feb 2010, 08:04

Re: G.N. Balasubramaniam (GNB)

Post by rajeshnat »

vsn69 wrote: 10 Oct 2017, 17:05
Sri GNB would not have heard Sri Pushpavanam as he passed away in 1920. GN Balakrishnan refers to GV Narayanaswamy Iyer.
VSN69,
GN Balakrishnan is younger brother of GNB . you are right sir . I just mined our forum to see the GN Balakrishnan id is gienbee and he has made few posts

gb_rajasekar
Posts: 42
Joined: 22 Mar 2005, 07:11

Re: G.N. Balasubramaniam (GNB)

Post by gb_rajasekar »

Dear Rasikas,
thank you for a wonderful rememberences of my father Shri GNB. These statements still bring tears to my eyes. My nephew just posted a Shamugapriya RTP last week in Facebook page. It is of 75 Minutes or so. One of the two available on tapes. We are still searching for the Karaharapriya kirthanai as reminisced by Shri Lalgudi which he had accompanied in Perambur Sangeetha Sabha

Though he was a well known Carnatic musician his knowledge of other music systems was quite astounding. I once heard his colleague Shri HMV Raghu mention that he used to speak often with Shri Handel Manuel producer of western music on various aspects of it. We were very used to have many visitors from overseas coming during season to discuss music with him and he would give a comparative study on the two types of music.

Thanks once again

G.B.Rajasekar

rajeshnat
Posts: 9906
Joined: 03 Feb 2010, 08:04

Re: G.N. Balasubramaniam (GNB)

Post by rajeshnat »

gb_rajasekar wrote: 11 Oct 2017, 13:07 I once heard his colleague Shri HMV Raghu mention that he used to speak often with Shri Handel Manuel producer of western music on various aspects of it.
G.B.Rajasekar
GBR Sir
Just keep talking to HMV Raghu and get any more interesting anecdotes. For all those who donot know Handel Manuel , he is a pianist , collaborator and conductor and has brought western music particularly to chennai . Handel's son is Viji Manuel , the legendary piano artist who has been the one key right hand of isaignani illayaraja .

Lalitharam ramachandran - parivadhini - gamakam,
I am sure you are there , may be you may know the details of the conversation of GNB and Handel as you were also in touch with HMV Raghu.

Ramgopal
Posts: 7
Joined: 07 Dec 2017, 12:11

Re: Sr GN Balasubramaniam's compositions

Post by Ramgopal »

Dear Sri Rajasekar garu
Namaskaaram!
My mother in law Smt NC Rajyalakshmi is doing research in music and was looking for Vidwaan Sri GN Balasubramaniam's compositions. Would it be possible Sir, for you to kindly direct me to any site that might have the lyrics and notations for his compositions? She was specifically looking for Sama Gana Lole.
My humble regards to you.
Ramgopal
gb_rajasekar wrote: 19 Feb 2006, 07:14 Dear Rasikas,
Thanks for all the compliments about my father. We in the family are definitely not sure about Vandanadarini and later on it was confirmed by many people that it was his composition. The first we heard it was by a disciple of Sri S.Kalyanaraman. Then the plausibility improved , and as i had written earlier and quoted by Meena,
my father never kept any record of his compositions. I do have a handwritten manuskript of some compositions in a notebook, where there are notations for some compositions he learnt and also a few he wrote- possibly in his later years.

i will try and post a sample when i return to Bangalore tomorrow, as I am in Mumbai today.

Some of the Rare - ragas or his discovery ( use of the word creation is dubious as I am not sure a raga can be created) - composing and naming.. like the stars in the galaxy.

are

Amrita Behag.
Siva Sakthi ( Indication of the nine swaras as in the nine peedas of the Srichakram and - see the number nine even in the name of the raga and the nine swaras in the avohanam and avarohanam)
Chandrahasitam
chayaranjini
Gavati ( a Hindustani raga- first heard by him sung by Sri Bade Ghulam Ali Khan Saheb-- he first made a signal tune _ filler between programs on the radio- with this raga and then made a varnam- the carnatic version of the same and with vakra prayogas...)

As quoted by Meena, there are no proper records and all pieces -- really as he never wrote it down,, only dictated them to his disciple of the moment with the notations and taught them when his disiciples wanted to hear them.. this also not in his own handwriting as it was very bad similar to a doctors prescription.. my grand father used to joke that if my father wrote a letter to him, he had to come and read it to him himself.

As per TRS, he once changed the wording of one song after hearing TRS suggestion about the propriety of the meaning of a word...

As per TNK, he used to sing and show it to him. I think he used them as a sounding board. I have met a disiciple of Sri Dr. S. Ramanathan in Bangalore , who knew a few of his compositions as Dr S.Ramanathan had taught them to her..

There are three of his published compositions, the latest being the one released on 13th November with a foreword by Dr M. Balamuralikrishna.

More on Vandanadarini-- he used this raga in the ragamalika Sonnathai Seithida -- released when he was quite young.. you also find quite a few rare ragas in his ragamalika slokas like Ahiri etc..

Sri Lalgudi said that he has accompanied my father when he sang an elaborate Karaharapriya... in Perambur sangeetha sabha..

Quite a few collectors maintain that there is another Karahapriya is available with someone,, we are still searching for that rarity.. he never sang the raga as he felt there is nothing left for him after the treatment given to it by Sri Semmangudi.

There are a few lecdems of his compositions and I will try to upload them with the help of Sri Kulkarni, by MLV, TVR and also a joint concert by TVR and SK during the release of the second volume of his compositions in 1971.

I have the copies of all the 3 books and I can give notations of any particular song to those interested. I will also try to upload the notation as written by him.

Rgds
Rajasekar

parivadini
Posts: 1190
Joined: 22 Oct 2013, 22:44

Re: G.N. Balasubramaniam (GNB)

Post by parivadini »

Translation of my book on GNB is out. Interested can order here: http://www.sruti.com/index.php?route=pr ... uct_id=479

VISHNURAMPRASAD
Posts: 149
Joined: 08 Jul 2005, 11:52

Re: G.N. Balasubramaniam (GNB)

Post by VISHNURAMPRASAD »

WELCOME TO A LISTENING SESSION OF THE MUSIC OF GN BALASUBRAMANIAM (1910-1965)
ON 1 MAY 2018 AT 6.30 PM AT RAGASUDHA HALL, LUZ, CHENNAI 4, PRESENTED BY LALITHARAM. ALSO ON SALE, PRINCE OF MUSIC TRANSLATED BY V RAMNARAYAN FROM THE TAMI ORIGINAL BY LALITHARAM


arasi
Posts: 16774
Joined: 22 Jun 2006, 09:30

GNB Remembered Today

Post by arasi »

Thanks to Pasupathy as always :) From his blog, on GNB's remembrance day--a review by 'Kalki' Krishnamurthy on the fourth of August, 1944:

GNB'S VOICE AND STYLE

Even great men are given to changing their opinions, and here I am, changing mine too about music which I held two years ago. I then wrote in a review that with Sri.G.N. Balasubramaniam, one of the four concerts he gives is bound to be good. Now I change my tune to: out of four, three are bound to be a winning affair!

Within the past two years, his abilities have grown threefold, and I am delighted. The reason is, the way in which he sings now--mainly because of the changes which have happened in his voice and musical pANi.

Imitation diamonds shine when they are new. Gradually, they show their true nature--that they are merely copies of a gem. Diamonds on the other hand are found in a dull state. As they are cleaned and faceted, they radiate colors and sparkle. There are vidvans who at first shine, and like artificial diamonds, their voices fade. It's not often that we find voices like true diamonds which as time goes by, get honed.

We should rejoice in the fact that this precious thing has happened with two of our meritorious vidvans. This miracle has happened with Madurai Mani Iyer and GNB. Four years ago we regretted that if only these treasure houses of music also possessed sweet and bhAva-filled voices! Now, to our delight, we find that both their voices are rich with sweetness and bhava and they reach up to even moments of finesse with nary a slip.

GNB's voice wasn't this seasoned in sukha bhava two years ago. You were disappointed when you concluded that in two out of four concerts the voice didn't cooperate, the third didn't make the mark because his style was replete with brighas. One problem about...(continued in the next post)
Last edited by arasi on 01 May 2018, 23:59, edited 1 time in total.

Post Reply