GNB: A Karnataka singer who thought before time

A hall with Shraddha in resonance, the rare echo of the Karnataka music echoed from the era of music. In the presence of Nalli Kuppuswamy Chetty, at the Narada Gana Sabha, veteran Carnatic singer Trichur vs Ramachandran paid a heartfelt tribute to his guru, on the 60th Memorial Day of Mestro, the Inmable Guin Balasubramamania (GNB). The event was anchored by a lecture-demonstration, a deep immersive tribute, part historical resurrection, part emotional memory, archival recording and individual anecdotes.

Significantly, it was the first time rare recording of GNB, manifestly revived, was presented in a public setting. These were not just performances; She was windows in the soul of an artist who revolutionized Karnataka music.

Trichur V Ramachandran opened the evening with an intensive declaration: “For me, GNB was Christian DevamA music deity. ,

Ramachandran said, “There were many great scholars in the last century, but GNB came like lightning.” ‘As Semangudi once commented, he came like a tsunami.’ This dramatic arrival shook the conferences of Carnat music by illuminating the tradition, rather illuminating it with unique clarity, voice and vision.

His Sararam (Voice), his Swajanam ,

A story stood as a shiny will for GNB’s talent. After listening to the raga Gowda Malhar’s Arhanam and Avarohanam composed by Muttiah Bhagwatar, GNB came with such a stimulating raga expansion that the musician, who had taken it to hear, was transferred for tears and gifted GNB to a tampura and tried to teach to the University of Annamali.

This was the transformational quality of GNB music. It did not just follow the scriptures; This expanded their expression capacity. Ramachandran said, “Our music is a music music.” “GNB was perfect for its origin, increasing its limits.”

Identification of GNB’s Bani

The GNB stood at a rare confluence of tradition and innovation. Their crystal-clier brigus, distributed at lightning speed, combined with a cool and stable middle black pacing, became a defined identity of ‘GNB Bani’. Their voice can navigate three octas with accuracy, combining technical deepening with emotional depth. He was not just a singer. He was a musician, thinker and teacher who attracted Hindustani ragas into Karnataka Guna with elegance. His ragamalik bounced with these effects, creating a sound texture that was once stunning and satisfactory.

Speaking at Trichur Ramachandran GNB Memorial Day, Narada Gana Sabha was organized by him in the Mini Hall photo credit: R. Ragu

Even in his compositions, he entered into unexplained ragas. GNB composed Varnaam and Critis rare raga such as Andolica, Udairavi Chandrika, Narayani, Malawi, and more.

For GNB, Alpana was architecture, not abstract. His approach flowed through four stages: an early sweep of the raga, a steepwaiz development that led to the last comeback to the major notes and gamkus, the upper registers and the final comeback to the emotional center of the raga. He once said to Ramachandran, “When I sing, I see the God of Swara. Swaras emerge naturally for me.” His Manodarma was an intuitive knowledge, yet on the ground.

The recording played during the evening was drawn from Mysore, Pudukkottai and Kolkata, some dating back in the 1940s. The event was opened with the dynamic ‘Jaya Jaya Janaki Kantha’ at Raga Natai, in which a royal tone was installed with Chaudiah on Violin. This was followed by an Alpana in ‘Samajvargaman’ by Alpana in Hindolam, which had an extraordinary 40 avataranam Kalpannavara, who discovered every aspect of the raga.

A fascinating Shankara Bharanam noticed, a masterclass worthy of notice. The 1964 Shanmukhpriya recording from Pudukotai was another gem, showing the application of GNB’s Dasavidha Gamkas with mastery.

GNB’s Tanam bored his infallible stamp – sharp, clear, rhythmic and marked by Lionana and Swarsuddam. His gift was not only in execution but in revelation.

In the evening, a Bhairavi arrived at a crasendo with RTP, where GNB discovered the Melkala Brigus and formed his improvisation like a sculptor. Their path of Gandharam, one section survives many singers, was comfortable and inspired.

A rhythmic RTP

In the early 1940s, Trikalam came to a combosy tanam and Severe RTP was a rhythmic miracle, weaving Tissara and Chhatashasra Nadis together with ragamalika vowels and electrified Melkala Swaras.

Beyond the performance, GNB was Sri Vidya Upasaka. Even in his last days, he called Ramachandran in his favor and taught him every shloka and ritual, ensuring that the spiritual tradition continued. Ramachandran said, “They asked me to take me to worship.”

Trichur v. Ramachandran’s singer and daughter Subashree Ramachandran said, “For the last 15 years, we have been organizing this tribute.”

The heritage is not just remembered. It is trusted, every time music is not only heard, but is seen and felt.