Strains of a love affair
K. SRIMALI
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The Carnatic vidwan goes up and down the memory lane.
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I do not know how many contemporaries of Saint Tyagaraja might have sung his compositions. But I’m fortunate to see so many vocalists singing my compositions.
— Photo: Ch. Vijaya Bhaskar
Musical notes Mangalampalli Balamuralikrishna speaks straight from the heart.
Humility can sometimes be overpowering, especially when it is demonstrated by doyens who have made their own mark in their chosen field. Asking Carnatic music maestro Mangalampalli Balamuralikrishna a question about his accomplishment as a vocalist f
or almost 70 years elicits a modest answer. “I have not had a good education and it is a coincidence that I could learn music somewhat better. That’s how I have just become popular,” he just shrugs off.
In a tête-À-tête during his recent visit to Vijayawada, which is practically his native place as it was here that he had spent his formative years of career, he said, “I do not know how many contemporaries of Saint Tyagaraja might have sung his compositions. But I’m fortunate to see so many vocalists singing my compositions. What more do I need?”
Balamuralikrishna, who turned 77 recently, has no complaints about the patronage to classical music now. “My definition of classical music is simple. Anything that lives forever is classical. Tell me how many film songs are remembered for long?” he asks rhetorically. When you tell him that some film songs of yesteryears are remembered and sung even today only because they are pure melody, the veteran is quick to qualify his statement: “Well, that means even such songs are classical music. In fact, I would say if you don’t remember a composition of Tyagaraja now, that’s not classical music at all.”
The maestro feels technology has enabled popularisation of classical music, which is a good sign. “An American recently approached me and said he is my great fan. When I wondered whether he ever listened to my music, he took out from his pocket an iPod and told me that he has 900 hours of my music in it. Technology has also bridged the distance, taking Indian classical music to distant places. I have been invited to New York to participate in the diamond jubilee celebrations of Indian Independence, something that I wouldn’t have been able to imagine in the past.”
Balamuralikrishna also frankly admits his inability to do much about his pet theme ‘music therapy’ that he nursed for long. “I have just talked about it but haven’t been able to do much. But after I have started talking about it, several other musicians, sadhus and sants have also started claiming ownership on it. So, I’ve left it,” he points out.
Lastly, about his love and hate relationship with the Andhra Pradesh Government and his reluctance to settle down in his home state rather than Chennai, the maestro says matter-of-factly: “I love Chennai for its vibrant music culture, which is something that city has possessed since the days of the British.” He makes light of the shifting nature of his relationship with Andhra Pradesh Government, which is evident from the vow he took during NTR Government never to visit the State but his subsequent acceptance of the post of adviser to the government. “Where there is love, there will always be some strain,” the vocalist says.
Balamuralikrishna points out that despite his interest to do something to further the interest in classical music amongst children and youngsters as an adviser to the government, the stint proved too short. “I was in the post for just about six months, and there was nothing much I could do.” But does he want to leave any institution behind as a mark of his legacy? “I don’t think it is required. There are many who can perpetuate it,” he signs off.
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