THE VERSITILE VOICE OF MALLIKARJUN MANSUR

It is a daunting task for any person from a not so affluent family to make a name for themselves. However, it is not impossible. With proper grit and determination, one can scale to heights. The journey of legendary vocalist Mallikarjun Mansur tells a similar story of persistence and glory.

Mallikarjun Mansur; Image Credit; wikipedia

Born on 31st December 1910, in a small village called Mansur located near Dharwad, Mallikarjun Bheemarayappa Mansur was a music icon. Although Mansur hailed from a poor family of farmers, his father never failed to encourage him. Bheemaraayappa, Mallikarjun's father himself, was a patron of music. Furthermore, Baswaraj, Mansur's elder brother, had a theatre troupe. It was at the age of 9 that Mansur's talent in the field of music would be discovered by his father while watching him enact in a play.

Following this, his father went on to sign Mansur up with a theatre group, where he would perform and sing. Mansur's melodious voice enchanted the audience and the owner of the troupe, who would make him sing a variety of tuned and melodies during their performances.

A renowned Carnatic vocalist, Pandit Appaya Swamy, once attended a performance of the young boy Mallikarjun. Impressed by his voice, Pandit Appaya Swamy took Mansur under his guidance.

Thereafter, Mansur would take his first lessons in classical Hindustani music from Nilkanth Bua Alurmath, who belonged to the Gwalior Gharana. He would later come in contact with Ustad Alladiya Khan and his two sons Ustad Manji Khan and Ustad Bhurji Khan, whose singing styles greatly affected Mansur and were equally reflected in his compositions and the way he sang.

Jod-ragas were composite Ragas that Ustad Alladiya Khan was known for, and Mallikarjun could produce beautiful renditions of these Ragas. He would often explore various genres of classical music, including Tappa, in which he has many recordings. Mallikarjun Mansur was prolific in creating renditions of complex and rare Ragas, which ranged from Lachchhasakh, Sampoorna Malkauns, Bihari, Hem Nat, Shuddha Nat, etc. He was a skilful artist who could improvise without losing the Bhava. His music would gain popularity in the 1930s. The record label HMV would offer him his first opportunity to record which would be made public in 1935-36.

Mallikarjun Mansur specialised in the Khayal style of Indian classical music, and although he came from the Jaipur-Atrauli Gharana, he was immensely inspired by the Dhrupad style.

Mallikarjun Mansur is the recipient of three major national awards. He received the Padma Shri in 1970, Padma Bhushan in 1976, and Padma Vibhushan in 1992. He was also awarded the Sangeet Natak Akademi Fellowship in 1982.

What made Mallikarjun Mansur iconic, was his versitality. He could make easy transitions between the various styles of the Gharanas and was comfortable with both traditional and non-traditional forms of music. The clarity of his voice made him a figure of admiration not only among music scholars but also the public.

Although a chain smoker, he had an impressive'Damsaas’ (control over breath and its sustenance).

A man of simplicity, Mansur could approach anyone because of his easy-going nature. He had many admirers because of his liberal attitude. Arati Mukherjee, the popular playback singer who had been trained under Mansur, said that 'the song 'Raina Beet Jayee' from the film 'Amar Prem' (1971) was one of his favourite songs which he often used to hum'.

Today a museum named 'Mrutyunjaya’ stands in Dharwad where Mansur's house once stood. It is for all of us to remember the legacy that he has left.