Remembering the versatile legend

Eyes squinted, a half smile adorning his pouted lips, hands thrown up to articulate the pace of the melodious notes that streamed forth effortlessly, the musician facing us in the Thyagaraja temple in Chennai with the idol in the backdrop, held us in total sway as we...sat mesmerised by his ‘ Murali Madhuri’ ( sweet music).

Even before we could get out of our trance-like state and applaud him there was a huge thud... followed.... by another and another as three camera lights burst in quick succession plunging us into total darkness.

“See.... this is what happens when I sing a power packed thillana,” declared the legendary musician whose wit, charm and supreme confidence are an intrinsic part of his charismatic personality. Years later I can still recall the charged atmosphere, where the air crackled with electricity and a small temple became the stage for divine singing, frank conversation and a rare display of violin, viola, kanjeeram and mridangam by the multifaceted genius Dr Mangalampalli Balamuralikrishna.

Having lost his mother days after his birth Dr Balamuralikrishna grew up to be Goddess Saraswathi’s favourite child, declaring this status with pride in one of his compositions where he sings “Amma ninu korina korkelanimma... Nee abhimaana Kumaarudanamma.” (Mother (Saraswati) ...fulfil the desires of your favourite child).

That the goddess favoured him in ample measure is evident from the beautiful body of work that includes over 400 compositions (with varnams, javalis, padams and the popular thillanas) in all southern languages and compositions in the 72 melakartha ragas.

New ragas full of lyrical beauty, a departure from traditions adhered to by purists, a distinctive tonal quality, a powerful stage presence and a magnetic connect with the audience were qualities that defined the musical legend called Balamuralikrishna. Like his “asamaanamaina thillana” (unparalleled thillana) he occupies a unique position in the world of Carnatic music and a special place in the hearts of “rasikas” (listeners) all over the world.

A child prodigy, who first learnt singing from his father and later Parupalli Ramkrishnayya Pantulu, music was something that came naturally to him. He heard his father play the violin and started experimenting in his absence.

When his father heard of this through other family members, he asked him to play a varnam in Kalyani, which he did with perfection. So was the case with other instruments that he played on hearing them just once.

“This is a purvajanmasukrutham (a gift from my previous birth) and has nothing to do with my own effort,” he recalled humbly. Although everyone was impressed by his talent, his father never praised him either in person or in his absence, and this was a major factor in his remaining grounded. “Most parents praise their children to the hilt and many child prodigies burn out before they mature into good singers as adults,” he lamented.

Among the many things we discussed was the beautiful anecdote regarding the creation of the ‘Pratimadhyamavati ragam’.

As a concert was in progress Dr Balamurali discovered that he had got the “Suddha madhyamam” note wrong. He quickly changed all the madhyamam notes to the pratimadhyamam note in which he had made the original mistake and the raga was received well.

A well versed rasika asked him about it and Dr Balamuralikrishna announced on stage that this was the new ‘Pratimadhyamavati ragam’.

Innovation and spontaneity were qualities that came as naturally as his prodigious talent. He also had a unique way of answering questions.

When asked about his favourite raga he replied that he liked all ragas but ‘Sindhubhairavi likes me more’.

Not given to taking care of his throat by staying away from ice creams, cold drinks and spicy food like many musicians he was also not a person, who practised singing for a set number of hours each day. “Sadhana (practise) is of two types ...one that is internalised and the second one that is done outwardly.

Mine is an internalised practise because I would like to sing spontaneously and I do not know how I will sing when I sit on the stage,” he would say. Murali’s music whether it was classical, film songs, tatvams or devotional songs were all characterised by a unique style and freshness perhaps for this very reason.

A recipient of many top national and international honours, Dr Balamuralikrishna, cherished the ‘Padmavibhushan’ and the first doctorate that he received.

The first because it brought him into the rare circle of Carnatic singers winning the award and the second that for a person, who never went to school or had a formal education an honorary doctorate with a ‘ Dr’ before his name was an incredible achievement.

Among the gifts that found a special place, was a gold bracelet presented by NT Rama Rao as Chief Minister of Andhra Pradesh and a golden ‘paandaan (box for betel leaves)’ from the Maharaja of Travancore.

His only role as an actor was as Narada in the film “Bhakta Prahlada”. He desisted from essaying this role again despite many offers coming his way as he felt that a great sage like Narada was wrongly portrayed as a clown and a troublemaker.

Action films inspired him as he loved watching superhuman feats and things that he personally couldn’t do. Music therapy and politics were subjects of interest but the world of music kept him ever engaged despite many claims of retirement.

As we stood by the beach for the conclusion of our interview and huge waves lashed the shore, he sang two lines that spoke of his supremacy in the world of music.

“Eenadu, aenaadu eeredu bhuvanaalu, thenaina Murali gaanamadhuri eelu” (the world will be ruled by the nectar like sweetness emanating from Murali music today and in future).

The din is over and life has ebbed but the voice that enthralled thousands and the legacy he leaves behind will continue to inspire.