She had the rare privilege of learning both Carnatic and Hindustani systems of music simultaneously from her father, violin maestro M.S. Gopalakrishnan. Exponent of what is now called the “Parur-MSG” bani (style) of playing violin, M. Narmadha is one of the country's most sought after violin artistes. Narmadha started learning the violin from Parur A. Sundaram Iyer, her grandfather, when she was four years old. Apart from learning from her father, she also learnt vocal music from her mother Meenakshi Gopalakrishnan. She also holds a doctorate from Delhi University. Now established in her own right, she performs as a soloist, an accompanist and also as a duet partner with her father. Narmadha has also presented jugalbandi concerts in the Hindustani and Carnatic genres.
In the Capital recently for a performance, Narmadha took time out for a chat. Edited excerpts:
How did the Parur-MSG bani evolve?
The pioneering efforts of my grandfather, the great maestro Parur Sundaram Iyer, led to the genesis of the Parur style. My grandfather had a fascination for the violin and had early training under Ramasami Bhagavatar of Trivandrum. Initially he migrated to Chennai and later on to Mumbai and came under the direct influence of Pandit Vishnu Digambar Paluskar. He started accompanying Paluskarji in his concerts, imbibing the classical elements of Hindustani music. My grandfather also came in contact with Pandit Omkarnath Thakur and was greatly influenced by the nuances of Hindustani music through him. With his knowledge in both the forms of Indian music (Carnatic and Hindustani), he created the Parur style as early as 1925, the first of its kind that brought out the best of Carnatic and Hindustani music. This was further improvised and popularised by my father M.S Gopalakrishnan, leading to the “Parur-MSG” bani, as it is called now.
What are the hallmarks of this bani?
This bani incorporates fingering of international standards and approach beyond time, making every stroke of the bow an enchanting appeal to the mind of the listener. The technique stands for perfection in bowing and fingering based on scientific methods for complete mastery over the violin. One finger playing, long-bow are some of its special attributes. The bowing and fingering incorporate complex gamakas of Carnatic music, the lovely meend of Hindustani music and the lovely taanam patterns.
How did you happen to do your doctorate in music from Delhi University and what kind of guidance did you get for your research studies?
Delhi gives great scope to study and research Hindustani as well as Carnatic systems of music. I had excellent guidance for my doctoral research from the sitar maestro Professor Debu Chaudhuri and vocalist Dr. K.G. Ginde.
Any Do you have any memorable incident from your Delhi days? while performing in Delhi to share with the readers?
Once for Voleti Venkateshswarlu Sir's concert organised by the Karnataka Sangeetha Sabha in Delhi, my father was to provide the violin accompaniment. My father who had gone to Lucknow for a solo concert of Hindustani violin could not reach Delhi as his flight was unable to land due to heavy fog. I was in 12th standard at that time and I had already reached Delhi by train for a violin duet concert with my father, which was scheduled a day later. To my surprise, I was asked to accompany Venkateshswarlu Sir.
It was a memorable and wonderful experience to accompany the great vocal maestro. After the concert Venkateshswarlu Sir showered compliments on me. He also blessed me and said that one day I will become a great violinist. I cherish his blessings and this memorable incident.
