Singers From India

"Nature is our mother. She is not a resource for human consumption."

"Balamuralikrishna had made the country proud with his artistic imagery and outstanding performances of high order in Carnatic music. He enthralled classical music lovers and earned international laurels to motherland [India]."

"I have the honour to inform you that the Minister of Culture and Communication, Renaud Donnedieu De Vabres, has conferred on you the award of Chevalier des Arts et Lettres (Knight of the Order of Arts and Letters). This award honours those who have distinguished themselves in the field of art and have contributed to spread of culture in France and throughout the world."

"He was one of the earliest South Indian Classical w:MusiciansMusicians to perform abroad. He has acted in films, sung for films and even scored the music for films. Apart from his own compositions numbering more than two hundred, he has breathed life into compositions of other composers whose original tunes were lost in the sands of time like w:Narayana TeerthaNarayana Theertha, Annammaachaarya, Purandara Daasa, Kaiwara Amara Nareyana, Kaiwara Amara Nareyana, Sadasiva Brahmendra, Bhadraachala Raamadaas and Maharajah Sri Swathi Thirunal."

"As a mere fourteen-year-old child he composed songs in all the 72 Melakartha Raagas, which form the very backbone of the South Indian System of Raaga Music."

"Everything I did was deprecated by the media and others. I think I derived my strength from it. There was brouhaha over my singing my own compositions. I wondered why I cannot choose words to express myself. That’s what Tyagaraja did. He described Rama the way he saw him. Ironically many of my works are now being used by musicians and dancers. It’s heartening though. I never expected to reach where I am today. I learned music without knowing it will one day become my calling."

"We are getting carried away by the on-the-move musicians. Most of the Carnatic concerts abroad are being organised by NRIs. The defining moment is when an artist is invited to a foreign land and applauded by the foreign nationals. They should forge artistic alliances and find new audiences by introducing people of other nationalities to our arts."

"Style. It varies from person to person. Without it music will be monotonous."

"I have performed with British musicians. I have sung Rabindra Sangeet and French numbers too. Most often I include local flavour in my concerts to connect with people.]]"

"I like to take things easy. I don't constantly think about music. I never plan concerts, practise or even hum. When I go up on the stage, music courses through me. My family members attend my concerts because they do not hear me sing at home. I have entrusted you [Prince Rama Varma] with the task of popularising my style of singing among others, especially in foreign countries. I have heard some of your foreign students sing my compositions and was surprised. They sound better than many Indian students. I want to be known more as a composer than as a musician. You are now making this happen."

"Our arts, particularly music, are more livelier than any sport. I play with my `raagas.' And there is no defeat here. Only victory for everyone - singers, listeners and the music itself."

"I will render whatever Lord Siva makes me render. I never plan for my concerts. I render what comes."

"Classical music is a perennially flowing river and nothing can affect its flow. No one needs to worry about Indian music. It is forever."

"There isn't one specific way of teaching. It varies with each student and his/her ability to grasp what is being imparted. Every student has a different purpose for learning. Some think they will get a chance to perform if they learn from a senior musician. Some even ask me to recommend them to sabhas. But I don't. I firmly believe that opportunities should come on their own. But rarely do we get students who are only interested in learning and expect nothing else. One should be passionate about the art if one is to scale heights."

"It is only rigorous training and in depth study that make music mature into the realm of the classical."

"He [Guru Parupalli Ramakrishna Pantulu gaaru] would take care of me. He focussed only on teaching me and never on performances. He never cared about popularity and wealth. However, I am not like that. I perform and give my listeners a tough time. They think this fellow is not good. He does not follow tradition. I provide them with food for talk and thought."

"I would like to learn Carnatic music under his tutelage and become such a great singer that my Guru will say `sabhash after hearing me sing. She conferred the title of `Gandharva Gana Samrat" on him at the function organised by "Vipanchee.""

"With all awards and accolades at the international level and his outstanding contribution to classical music, his appeal was not restricted to purists or the elite connoisseur. He endeared himself to the public at large by his tasteful rendering of light music and film songs."

"The real issue underlying these controversies appears to have been a challenge to his philosophy of music; nay, that of the Trinity. Balamuralikrishna has long held that Carnatic music today is an entity outside the strictly religious domain. He remarked once that those who believed that concert singing denigrated the essence of Carnatic music should confine their singing to puja rooms."

"An enduring legacy of Balamuralikrishna is the wider accessibility of classical kirtanas to the public. Many of his contemporaries tend to treat classical and popular music as watertight compartments."

"I am a diehard romantic. My all time favorite romantic movie would be Guru Dutt’s Pyaasa. Waheeda Rehmanji’s role in the movie is something I would love to do in my career. My role in Aashiqui 2 had shades that came close to it. Also, Titanic and The Notebook are on my favourite films list. My idea of romance revolves around everything I’ve grown up watching in our Bollywood movies. Our romances are like fairy tales, something that every romantic freak, especially girls would love to experience."

"I'm a complete Marathi mulgi, My mom’s a Maharashtrian and my maternal grandparents stay close by. Thanks to that, right from my eating habits to my mannerisms, my upbringing has been completely Maharashtrian. I'm also fluent in Marathi."

"It’s an absolute delight for me to play a naagin on screen. I have grown up watching, admiring and idolising Sridevi ma’am’s Nagina and Nigahen and always wanted to play a similar role rooted in Indian traditional folklore. It’s like playing an iconic character, which has always been so fascinating for the audience."

"From the time I was a child, I was told I would be an actor. Deep down I did know that too, but I was rebellious. I went to Jamnabai Narsee School, and then the American School, where my grades were really good. My parents weren't keen on me going abroad to study, but I was adamant, so I took off for Boston University. I started getting film offers on a summer break here, so I never returned. But I really enjoyed my psychology class."

"It’s hard no matter where you come from. You have your own struggles."

"I am a die hard fan of dancing and would take my dad's clothes and my mom's clothes and dance in front of the mirror. I loved my dad's clothes as they had a lot of glitter in them. My whole family speaks in this sing song way and, for a short period of time, I would practice these air hostess speeches. While my dad was comfortable with me being an actor, the only thing he said no was to becoming an air hostess."

"He did not practise law and so whatever money I earned, I just placed before him. He invested in business--trucks, cars--but lost everything. I could not bear to see him unhappy. Often he would disappear from home for months on end. The bank people would come and harass me, ask for my property as I was unable to repay the loans. This happened several times. I had to sell everything I had. I will never forget or forgive myself for not being by his bedside before he died. I had a programme in Bombay, but I did not want to go. He insisted because we needed the money. While I was performing, he died."

"I remember stealing fruit from our neighbour's mango trees. More than the act of stealing, I remember the neighbours being horrified that a singer's daughter should step into their compound. I would be thrown out. Incidentally, the same people invite me over to their house today and call me 'Gangubai' with great respect. There are so many incidents that I will never forget--I remember singing for the Belgaum Congress session which was attended by Gandhiji--my only paranoia throughout the programme was that I would be asked to eat my food separately."

"In Calcutta, when the organizers saw me, they insisted that I first sing in a private sitting a night before my concert was scheduled. I couldn't understand why they couldn't wait till the next day. Nisar Husain Khan Saheb took me aside and explained that the organizers had doubts about what I, a frail girl at that time, was capable of! I sang and was greatly appreciated. In fact, I was awarded a gold medal by the Maharaja of Tripura. At the same concert, I kept remembering my mother who was no more, and just then felt a hand on my shoulder. When I turned around, I saw K. L. Saigal, who said, 'bahut surila' (very melodious). I was happy but then very upset that a strange man should touch me!"

"Guruji did not teach me more than four Ragas. He often drew an analogy between swaras and money and said that one must spend only as much as is required of both. My practice would follow this method. I was given a certain palta and would have to keep repeating it for days on end. It seemed boring and monotonous then, but later I thanked him for this rigorous training. The entire relationship with a guru was different in those days. Our respect for him was so great that there was no question of us asking him to teach us something particular, not because of our blind devotion, but because of our innate belief that he knew what was best for us. I remember getting caught by him invariably, whenever I tried something new. For instance, on radio, I sang Raga Bhinbhas, working it out on my own, quite confident that guruji would not hear me, as there was no electricity in Kundgol. But as luck would have it, he happened to be in Belgaum that evening. I was subsequently taken to task for using a komal dhaivat in Bibhas. This was followed by comprehensive training of the Raga. There are so many Ragas with which I associate a strange incident with guruji--Suha, Marwa … the list is endless."

"Peace of mind is very essential in anything that you do--particularly in music. But in my case, it was just the opposite. What new things could I learn when I was constantly disturbed and unhappy? And I tell you, this whole concept of getting lost in music and forgetting the world around you, is a myth. In my case, I can openly say that my troubles and problems were not forgotten by just holding the tanpura in my hand. When I would sit down for riyaz, I would, on the contrary, break down and cry over the daily scene. Over the question of just surviving through the next day. And it wasn't for me that I was worried, but for the entire family that I supported. I personally never thought of becoming rich, of having a new car or house. Those ambitions never entered my mind. All I knew then was the money was not enough. There were many humiliations I had to face because of this. A certain lady musician in Pune invited me over to her house one day. Her mother asked how much I charged for a concert. I told her Rs 125. She suggested that I move over to Pune and accept all her daughter's rejected programmes. They knew I was very badly off. I was insulted by this suggestion and left their house immediately. But later I thought that maybe they were trying to be helpful."

"He belonged to a respectable family and I wanted him to continue to belong there."

"I learned 60 compositions in drut laya within a year."

"Three minutes then seemed a terribly long time limit."

"It’s a hard life, she said, and not everyone can bear the hardships that are part of a life of music."

"It was a great experience. Unfortunately those days are over. Nowadays, you seldom see an artist listening to another artiste. Also, the sangeet jalsas, would go on for hours. I remember the tickets were priced at 50 paise for sitting on the ground and a rupee for a chair! All this may sound quaint today."

"But there was a strong bond between us artistes in the old days. I remember when Siddheshwari Devi was laid in bed with paralysis, we went to meet her and asked her if she needed help. She asked me to sing Bhairavi for her. She listened with tears in her eyes."

"It was 12.30 in the night when I got two congratulatory telegrams - Indira Gandhi's and Jagjivan Ram's. Who has ever sent congratulatory telegrams to me? I went and woke him (Uncle) up and he came and sat with me. What did we do? We cried till dawn. Because of music...all that we had gone through...The joy was real. But we thought of the past."

"Her circumstances did not deter her from pursuing with single-minded devotion to be a worthy disciple of the inimitable Sawai Gandharva. It is ironic that although she was educated only as far as the fifth standard, she was conferred honorary doctorates by four universities, received 50 awards and 24 titles and was felicitated by nine prime ministers and five presidents."

"At the age of 16 she went to learn under the legendary Sawai Gandharva, who also taught Pandit Bhimsen Joshi and Firoze Dastur."

"Her first public performance was in the Belgaum Congress Session, which was attended by Mahatma Gandhi"

"Gangubai included in her performances such lighter genres as Marathi pad, [[w:Bhajan|bhajans, and thumris."

"Gangubai Hangal's primary guru in music was Sawai Gandharva. She has also acknowledged the inspiration and influence of her mother Ambabai and Zohrabai Agrewali on her musical development. Her singing embodies an extraordinary grasp of the essence of raga, keen sensitivity of swara, and an acute feeling for aesthetic design."

"Throat surgery left her with a masculine voice, but the doyenne of the Kirana gharana turned it into an advantage through years of hard work."

"It is a myth that music rides on a great voice. Gangubai disproved it every living moment of her life. Indian classical music is neither a perfect piece of poetry nor a premeditated symphony. It does not have a definite aesthetic ambition. It takes birth and develops at the given moment along the shore of tradition. Gangubai's music was a celebration of such imperfections."

"Music, for Gangubai, was an expression of faith and the note had to be searched and discovered each time a phrase was attempted. …In her case, a penetrating search for the note was more important than ornamentation. She could never achieve the sweetness, smoothness or the delicate artistry of tones that the Kirana was noted for, but with inherited talent, scrupulous cultivation and years of struggle what she achieved was unbelievable."

"Few know that Hangal had recorded ghazals in 78 rpm vinyl records in her early days. K L Saigal, the famous singer-actor, had once remarked that she was bahut surila ("very melodious") after attending her concert in Calcutta. It was through sheer saadhana that she turned her androgynous voice to advantage, imparting a certain majesty without sacrificing melody."

"It took me back more than 40 years when I first heard her at a Sangeet Mahotsav organised by the state government in Bombay, as it was called then. The khayal in Shuddha Kalyan captured me and I remained a lifelong fan. The beauty of Shuddha Kalyan lies in the swaras of mandra saptak and in the meends relating to nishad andmadhyam, which she could exploit well with her bass voice."

"If Gangubai sings it touches the sky and if Krishna sings it touches the heart."

"The greatness of this lady lies in her simplicity--it is this that draws her to both old and young alike."