Musician Akela Mallikarjun Sharma Photo Courtesy: R Shivaji Rao

Aspiring Carnatic music singers usually begin their training by singing Purandaradasa compositions. Shri Gananath As his first Geetam, after his initial lessons in swarams. Mallikarjun Sharma alone strongly opposed the selection of Shri Gananath as a first song for beginners, arguing that the composition requires a solid understanding of raga and swara, making it unsuitable for beginners. While many musicians had different opinions, he respected Sharma’s point of view. His views on various aspects of Carnatic music remained his top priority, rooted in his commitment to its purity and development. His demise in Hyderabad on October 20, 2024, left the Carnatic music community and countless fans in India and across the world in shock.

As a distinguished violinist, respected guru and an accomplished writer, Sharma became a stalwart of classical music. In the days when All India Radio and Doordarshan dominated broadcasting, Mallikarjun Sharma was a household name, widely recognized for his skillful accompaniment to renowned singers. He earned wide praise and appreciation by performing at prestigious events like Akashvani Sangeet Sammelan and National Music Programme. His extensive exposure across India took him to places like the Music Academy of Chennai, where he worked with many distinguished artists.

Born in 1938 in Mummidivaram, East Godavari district of Andhra Pradesh, the one and only Mallikarjuna Sharma’s musical journey began under the guidance of his father Ashwathnarayana Murthy and progressed under the guidance of PP Somayajulu. An admirer of violin master MS Gopalakrishnan, Sharma developed a unique style, combining traditional dexterity with his own artistic talent.

Sharma’s close collaboration with Nedunuri Krishnamurthy opened new vistas for him. After a brief stint as a staff artist at All India Radio, Hyderabad, he spent over 30 years as a violin lecturer in various government colleges of music and dance in Andhra Pradesh from 1961 onwards. Serving as principal for 12 years, he significantly shaped the musical careers of many students until his retirement in 1996.

rhythm revival

Sharma’s major contribution to Carnatic music lies in his revival and emphasis on Prastra tala, a complex and often neglected rhythmic structure in traditional productions. His work brought this complex rhythm to the forefront, enriching and expanding the rhythmic possibilities within Carnatic music. In four decades of research, he uncovered many hidden aspects of Prastara, enriching the field with new insights. He wrote several books, including Talprastar Sagarwhich received praise from Telugu University and revised versions such as Talprastar Ratnakar And Indian talent in talaprastraHis scholarly work also includes Sangeeta Ratnakar’s Talprastar of Nishanka Sharangdev: A Critical Interpretation and Systematization of Prastar, Description of Native TalasAnother notable work, sangeetha swararaga sudhaExposes the complexities of raga alapana and swarakalpana.

Voruganti Anand Mohan, founder of Sangeetha Kshirsagaram and music connoisseur, reflects on his association with Mallikarjun Sharma. He recalls, “Mallikarjuna Sharma and my guru, Uppalapati Ankaiah garu, worked together at the Government Music College, Ramkote and performed together at the inaugural function of the Thyagaraya Gana Sabha on June 4, 1966. He often strolled at Kachiguda intersection. , find a quiet corner, and have a deep conversation. During these conversations, he shed light on the concept of Prastar taal, Ankaiya garu introduced Sharma to a new perspective on this rhythm. Inspired by these insights, Sharma devoted nearly 40 years to research on Prastar Tal. He wrote several books on the subject and incorporated its principles into his teachings and passed this knowledge on to his students.

“He was a tough taskmaster; Most artistes and students felt a little intimidated to approach him,” says Voruganti, laughing. “He was like a coconut – hard on the outside, but pure and true on the inside. His teachings emphasized accuracy and authentic presentation over routine methods, always focusing on the correct approach and style rather than following a set path.

Mallikarjun Sharma’s dedication to excellence in both violin and vocal performances has left a legacy that will inspire future generations of musicians to pursue the art with the same passion and commitment.