Credit: Special Arrangement
Narasimhachar was not only a passionate and committed musician, but also a fine human being. His gentle, self-effacing ways were a testament to his conviction that art should speak for itself. However, in a world that was fast changing, Narasimhachar was quite an anomaly. In a 1986 interview to a Kannada daily, Narasimhachar laments the negative influence of politics and commercialisation on music. “This is a worldwide phenomenon,” he says, “and I see no systemic solutions.” By presenting the problem this way, Narasimhachar suggested that the purity of purpose was solely in the hands of the musician.
He was born to Rajamma and Krishnaswamy Iyengar in 1924. Narasimhachar regarded his mother as his first music teacher. His sisters, Lakshmi and Saraswati, excelled in music. He believed that if his sisters did not have to shoulder family responsibilities, they would have been on par with the great Karnatik vocalists, T Brinda and T Muktha. Because of his mother and sisters, there was music at home. Visits from his father’s musician friends, like violinist T Chowdiah, were frequent. Narasimhachar would also visit the Bidaram Krishnappa Rama Mandira regularly to listen to concerts. It was only natural that he decided to enrol at Annamalai University’s music school in Chidambaram, Tamil Nadu.
In an interview from 1999, he says with the excitement of a young music student: “Tiger Varadachar, Sabesha Iyer, Ponniah Pillai, Sathur Krishna Iyengar and T K Rangachar were my gurus. You can imagine how fortunate I was…” Back in the day, the University would organise monthly concerts where students were expected to perform. These were ticketed shows. The University invited stalwarts like Chembai Vaidyanatha Iyer, Ariyakudi Ramanuja Iyengar and Maharajapuram Vishwanatha Iyer who set exacting standards for the students.
The great veena exponent, K S Narayanaswamy taught at the University. Enchanted by his music, Narasimhachar went on to do a one-year certificate programme in veena, followed by a course in Western classical music from the Trinity College of London.
Later, he returned to Mysore and after seeking the permission of his father, started a music school – Gaana Kala Mandira. Within a short period of time, he had nearly 40 students. In a year or two, he earned the reputation of a competent teacher and his school earned an important place in Mysore’s music scene.
Narasimhachar’s father wished his son would become an Asthana (court) Vidwan at the palace of Maharaja Jayachamarajendra Wadiyar. He approached the then-general manager of the Mysore State Railways, the influential R N Mirza. An interview was arranged, and Narasimhachar was to be assessed by the Asthana Vidwans - Tiger Varadachar, Mysore Vasudevacharya and Venkatagiriappa. They appreciated his talent, but felt he was young and inexperienced. With that, Narasimhachar’s chances of entering the annals of the royal palace ended. However, he did get an opportunity to be a part of a concert in the palace. The legendary Ariyakudi Ramanuja Iyengar asked him to play the tambura for his performance of King Jayachamarajendra Wadiyar’s compositions. Years later, much to the joy of Jayachamarajendra Wadiyar, Narasimhachar trained his students in the King’s compositions and presented them in the palace.
T Chowdiah and Tiger Varadachar had great affection for Narasimhachar; they took keen interest in his school too. When the school turned 25, the silver jubilee (1967) celebrations took place at the prestigious Crawford Hall. The chief guests included Vidwans Semmangudi Srinivasa Iyer and professor Sambamurthy. Both the eminent musicians showered praises on Narasimhachar’s selfless work for the cause of music. The golden jubilee (1972) and the diamond jubilee (2002) celebrations were held at Gayana Samaja in Bangalore.
Sabha concerts
Narasimhachar gave concerts in various sabhas. His first was at the Jagannath Bhakta Sabha in Madras. His concert repertoire was always noticed for its adherence to tradition. However, Narasimhachar was the founder and hence he performed less. When the Acharya Patashala in Bangalore invited him to head the Department of Music, he moved to Bangalore, along with his school. A graded artiste of All India Radio, he also taught at the Maharani’s College in Mysore and the Fine Arts College, Manasa Gangotri, Mysore University. In fact, he had earned such a good name as a teacher, that he was called to teach at the South Zone Centre in Thiruvaiyaru. No other musician from Karnataka has earned this coveted position so far.
Narasimhachar’s life was dedicated to music. He could only think about music and its dissemination. He was involved in several musical productions; he directed operas and composed several kritis. Narasimhachar authored four books – on Veene Sheshanna, on Tiger Varadachar, on Thirukkodi Kaval Krishna Iyer and a textbook for Bachelor of Arts Music He was also honoured with numerous awards. Among them are the Sangeeta Bhushana title from Annamalai University, the Gana Kala Bhushana from Gana Kala Parishat, the Karnataka Rajyotsava award, an award from the Central Sangeet Natak Academy and the Karnataka Sangeeta Nritya Academy award.
Today, when we remember Vidwan M A Narasimhachar, it is not only for music, but also for his gentle way of life, his quiet conviction and his unflinching faith in the nobility of art.
(The author teaches at RV University, Bengaluru)