Balamurali A Lifetime of music

Music pervades universe; it is there in every moment of human life and the nature. In fact, life itself is music; show me where there is no music, asked legendary musician Mangalampalli Balamurali Krishna during an interview with The Hans India. As a tribute to Late Mangalamalli we reproduce the interview that dwells on his musical journey since as a child prodigy.

When did your musical journey begin?
It began at the age of seven. During the very first concert, I performed a kacheri for an hour and a half. In fact, I was only allotted 20 minutes. However, seeing my talent and people’s response they allowed me for whatever time I could last on stage.

Impressed by my performance, the then most famous Harikatha Bhagavathar Musunuri Suryanarayana Murthy refrained from presenting his show on the day, saying none would be interested in his discourse after my concert. He also added Bala before Muralikrishna in my name; thus I came to be known as Balamurali Krishna.

Tell us about your education and music initiation
I have not learnt anything in school. I attended classes barely for three months, and in the quarterly tests I drew a blank, getting zeroes in all subjects. I did not specifically seek music; rather it sought me out. I believe I am only an instrument of it.

My mother was a veena exponent and father, a great flautist. I inherited music; it has been in my bloodline and is hereditary. I began my journey under the tutelage of Parupalli Ramakrushnaiah Pantulu, who was the fourth generation of Thyagayya disciples (that makes me the fifth generation of Vaggeyakars in the tradition set by Sage Thyagayya). I have not yet come across such an erudite scholar of music. His warmth and fondness for his disciples is unparalleled and his voice was mellifluous and extraordinary.

What is greatness of Indian music?
Every music is great. Indian music attaches utmost significance to melodic pattern of words suffused with rich meaning; gaathra dharmam (vocalisation) and ragas are very important to it. In the Western music, laya (pleasing succession of sounds) is primary. They have no ragas (combination of swaras), but only tunes. Our ragas are in a given order, enabling anyone to sing extemporaneously.

When did you become a vaaggeyakara (music composer)?
I never thought of writing keertanas (singing in praise of god). It was only due to the influence and prodding of Kurtalam Peetadhipati Sri Vimalananda Bharati that I even turned a ‘Vaaggeyakara’ (music composer). He used to live in the opposite house to where I lived in Chennai for some time.

I would go to him every day and perform before him. He used to like my music a lot. He once told me that Thyagayya became so great a musician because he composed musical keertanas that led to creation of ragas. He advised me that to become extraordinary one had to do extraordinary things.

Those words appealed to me and I had my heart set on penning new keertanas. In the years that followed, I wrote keertanas for 72 melakartas (collection of musical scales or ragas). I also gave them raga swarupa. As they began to get me distinction, I came to be known as a vaaggeyakara.

How come you are so energetic even in eighties?
I never think that I am a great person or that I have learnt a great deal of music. I always feel that I am the senior most student. Anyone who is always in pursuit of knowledge stays youthful.

You created several ragas. Tell us your experiences
I am not the first to create new ragas and experiment various ragas. Vaaggeyakaras like Thyagayya have already done it.

But I tried new ways, too. Mainly, a raga consists of five swaras. There are only two exceptions that have four swaras. Once, I had come out with 4-swara raga. Traditionalists and scholars resented it. Notwithstanding their criticism I produced even 3-swara ragas. One should not limit oneself in music.

You penned many a songs and keertanas in Kalyani Raga. Nevertheless, the song ‘Sogasu nee sommu’ has a special attraction. It has a unique nadam!
(Mangalampalli recited the keertana captivatingly and then explained its importance) Once I was performing a kacheri in Kerala.

There were over 2,000 people. It was a packed house. From amidst them raised a 16-year-old girl and came up to me in a charming way, and sat beside me. Words would not suffice to explain her beauty.

Looking enchanted at her, I sang extempore: ‘Sogasu nee sommu in Kalyani ragam.’ After I finished the keertana, I looked to her side. She was not to be seen anywhere. It later occurred to me that it was none other than Kalyani Raga. That is why there is so much divinity in that keertana.

What about Annamayya Narayana Theertha tarangas?
I am the first one to produce the musical notes of the great saint-composer Annamacharya. My first swara rachana (music composition) was for ‘Andariki Abhayammu Yichu Cheyyi.’ Later, Rallapalli Anantakrishna Sarma and others followed.

It was Veturi Prabhakara Sastry who first showed me the literary works of Annamayya. I composed music for 10 keertanas initially. I was the only to have provided musical notes to tarangas as well. However, as everyone started composing music of their own, instead of following one fixed pattern, keertanas could not become popular. It’s already late, now.

How do we preserve music and cultural heritage for future generations?
Music needs none to preserve it; it sustains on its own. It can protect itself. At present, the young generation is increasingly getting inclined to learn music.

From The Hans India archives