The great violinist Kumbakonam Rajamanickam Pillai who spotted GNB's genius earlier than others was accompanying GNB from his early days. He says in a tribute to GNB: "Accompanists were always eager to play for GNB. This is mainly because GNB always encouraged them to give of their best, shared in the approbation they received, worked hard to make the concert a success and unstintingly acknowledged their contribution to it. GNB was large hearted and overlooked any shortcomings. I have felt supreme satisfaction whenever I accompanied him. Whether it was in the discussion during the journey before the concert, during the concert or after, I had that pleasant feeling of fulfillment .

Lalgudi G. Jayaraman, who accompanied him in many a concert in the later years, acknowledges sincerely how much he was benefited by playing for GNB. He says that the opportunities GNB gave to young accompanists to show their skill, his large hearted approbation of the good points in their playing and his hearty acknowledgement of their contribution to the success of the Concerts cannot but instill deep loyalty and admiration in their minds.

Always A Student

It is a fact that everyone is a student throughout his life. GNB not only referred to this in his speeches but followed it faithfully in his life. He was not averse to receiving suggestions from anyone and was always open to conviction. Parur Sundaram Iyer used to encourage his son Sri M.S.Gopalakrishnan to accompany GNB whenever there was an opportunity, so that he could learn the nuances and niceties of swaraprasthara and raga alapana. Instances when Chowdiah gladly joined in the approbation of GNB's alapana or kriti singing and in that enthusiasm brought some remarkable flashes which again drew cheers from the audience, are galore.

With regard to percussionists, GNB had Palghat Mani Iyer accompanying him in most of his concerts in the forties while Palani Subramania Pillai and C.S.Murugabhupathi joined him in the fifties. Palghat Raghu and Sivaraman played for him In some of the later concerts while T.K.Murthy also had the opportunity of accompanying him in a number of concerts throughout his life.

The Old Firm of GNB & Mani Iyer

GNB's association with Mani Iyer was a classical one in the annals of Karnatak music. Both of them researched rare kritis as well as the old ones and reshaped them in a way that won keen appreciation from the laymen as well as the critics. Knowing the prowess of Mani Iyer, GNB sang such sancharas and sangathis which, when sung with the brilliant accompaniment of Mani Iyer, literally lifted the concert to great heights. The understanding that GNB had developed with Rajamanickam Pillai and Chowdiah on the one hand and with Palghat Mani Iyer and Palani Subramania Pillai on the other, was complete and perfect. They contrived such special effects that sometimes Mani Iyer would keep silent. Pillai would remain idle and then they would join together and leave an indelible impression. The total effect was that of three wizards keeping the audience spell-bound by their .superb artistry and co-ordinated action. There should be something extraordinarily special about their joint efforts, if after four decades the effect is still lingering in the minds of those who were fortunate to hear those divine concerts.

Mani Iyer's Soft Comer for GNB

A short episode showing Mani Iyer's appreciation of GNB will be relevant here. It was in the 1948 Academy Session. GNB's concert was as usual brilliant and the audience was treated to 3 hours of soul stirring music. After the concert, Mani. Iyer was coming out with a satisfied smile. Some rasikas approached him and said how they enjoyed his playing which appeared to them to be a shade better while accompanying GNB than the others and wanted to know whether it was true or was it only their illusion. The wizard at once replied" I play for others, while' GN Sir' sings for me also." A cryptic and profound observation indeed. He further referred to some pieces GNB sang that day and added that he couldn't have shown his special prowess if the musician hadn't offered opportunities for that. That was the special trait of GNB. As a craftsman of the highest order, GNB knew the strong points of his accompanists and made ample provision for them to exhibit those.

Another point observed by Mani Iyer also deserves mention. Once he said to a group of rasikas : " All of you so much enjoy G.N.Sir's delineation of Kalyani. How will you receive it if ' G.N.Sir ' sings three kritis in succession in Kalyani? Surely, your interest will sag. So is the case with a mridangam player, if the musician sings a number of pieces in succession in the same tala. ' G.N.Sir ' on the other hand provides for an interesting variation of talas in the kritis he selects. That sustains our interest in the same high pitch." This is a very pertinent observation of the mridangam wizard, worthy of notice by all musicians. A skilful variation of talas is as important for sustaining the level of the concert at a high watermark as the selection of ragas.

GNB had the uncanny wisdom of selecting ragas and kritis and presenting them, some with elaborate alapana and kalpana swara, some without either and some with one or the other. It is this subtle mix in the fare he offered that enthused his accompanists and ensured for his concerts success from start to finish. His method is worthy of emulation by all musicians.