One of his performances as a budding musician from northern Karnataka, just out of his teens, was memorable — not just for its duration. That Mumbai concert, around year 1930 during the Ganesha Utsav, spanned an incredible six hours. But Mallikarjun Mansur hit the headlines for a more valid reason that had primarily appealed the connoisseurs: the young vocalist’s command over a large number of rare ragas. Such as Shuddh Nat, Hem Nat, Lachchhasakh, Khat, Shivmat Bhairav and Bahaduri Todi. Their delineations were unfailingly pithy and capable of always bringing out the essence.
It didn’t take long for him to cut his first disc. The first came in 1932, and was released by the prestigious HMV. (Later, Mallikarjun became a director of the same recording company.) His portrayal of common ragas too, simultaneously, lent them a fresh signature. Mallikarjun’s rendition of Adana and Gaud Malhar gave a refreshing touch to not just the ragas, but dramatic twists to his musical career as well. He sang such melody-types in a way that hugely impressed Manji Khan Saheb. So much so, the Ustad readily accepted Mallikarjun as his disciple. For the promising artiste, it ended up as a fulfillment of his desire to imbibing the musical subtleties of Jaipur-Atrauli Gharana maestro Ustad
Alladiya Khan, whose second son was Manji.
Soon Mallikarjun gained admirable grip over complex phrases and embellishments in the presentation of khayals and selection and execution of jod besides rare and complex ragas — all the distinctive features of his Gharana. His singing became a happy blend of complexity and intensity of two schools. For, with his strong footing in the vintage Gwalior Gharana, he had mastered swara and laya and intertwined them with the tradition of Jaipur-Atrauli traditions. That eventually helped him evolve Mallikarjun’s own individualistic style. Perfectionism was the key word of his vocalism.
For his slightly nasal voice, Mallikarjun was bestowed with all the qualities of a versatile vocalist. He had remarkable breath control during all the six-plus decades of career; his swaras were precise and ornamental. In old age too, he betrayed a child-like enthusiasm, also leading a simple life and worshipping music all the time. To him, audiences were a means to share his joy of singing.
Nativity matters
If Mallikarjun ended up as a gem of a contribution to Karnataka’s Hindustani music story, it had much to do with his birthplace: Dharwad. This upstate town has for long been a cultural hub that has produced several celebrated vocalists like Sawai Gandharva, Basavraj Rajguru, Kumar Gandharva, Gangubai Hangal and Bhimsen Joshi.
Mallikarjun was born in a village called Mansur near Dharwad on December 31, 1910. Like some of the other prominent musicians of his town, Mallikarjun too began his art journey by enacting in dramas. He successfully donned the roles of Prahlada, Narada and Vidyaranya among others. Emboldened by that slice of on-stage experience and attracted by the cultural scene, Mallikarjun left his home and dedicated himself to acting in a touring professional theatre troupe. In between, he also had a brief stint in Carnatic music, by learning under a local master called Appayya Swamy.
When he was about 12, Mallikarjun’s talents won the notice and recognition of renowned Gwalior Gharana vocalist Neelkanth Buwa, a leading disciple of Pt Balakrishnabuwa Ichalkaranjikar. Mallikarjun underwent rigorous gurukula-school training under Pt Buwa for six years at Meeraj. The hard work and dedication were rewarding, and Mallikarjun gained remarkable mastery over music — and became equipped formidably to perform. Only that his stints later under Manji Khan and Bhurji Khan eventually gave a broader and finer touch to his personal style.
Vachana singer
A staunch devotee of Mrithunjaya Swamiji of Dharwad’s Murugha Math, Mallikarjun was a pioneering singer of Vachanas of Shaiva saint-poets like Basavaveshwara, Allama Prabhu and Akka Mahadevi. His creative musical inputs accorded this branch of literature an artistic place in the Hindustani concerts. It even received international recognition. And that, without sacrificing the basic tenets of the Gharanas to which he owed allegiance. After all, Mallikarjun always set high standards of music and never played to the gallery.
Mallikarjun was a sincere teacher also. He has passed on the rich legacy of his music to several musicians, including his son Rajasekhar Mansur, to ensure that they became top-notch artistes. He was conferred with the Kalidas Samman and the Central Sangeet Natak Akademi Award among several other titles. He was honoured with three prestigious civilian awards: Padma Vibhushan in 1992, Padma Bhushan in 1976 and Padma Shri in 1970. He went on performing till the end of his life. In fact, soon after having recovered from a bout of illness in 1992, Mallikarjun sang in his last concert — for a charity at his state’s capital, for the Bangalore Kidney Foundation.
In one of his interviews, Mallikarjun commented on the contemporary classical music scene like this: “Gone are the years when there were more titans of music, but only small audiences. Today, we can find huge gatherings at concerts, but there are only very few great musicians.” What indisputable truth!
— The writer is an art critic and winner of the Karnataka Sangeetha Nrithya Academy Award. drmsuryaprasad@gmail.com