About Prapancham S.Balachandran

Sri.Prapancham S. Balachandran is an ‘A-Top’ graded Carnatic flautist who hails family of illustrious musicians. His mother, Thanjavur V.Prema, is a reputed Carnatic vocalist. He underwent initial training in Carnatic music and flute from Sangeetha Bhooshanam Pozhakudi Sri P.V. Ganesa Iyer and Kattuputhur Smt T.R. Nagarathinam Ammal. He later underwent professional training in Flute under Sangeetha Kalanithi Padmasri Dr. N. Ramani for more than 35 years and has also performed alongside him in a number of concerts. Being one of the senior most disciples of Dr N.Ramani, he currently plays an active role in propagating the Carnatic Flute through teaching and lecture demonstrations. As a Guru, Shri Prapancham Balachandran’s unique teaching methods have proved so effective that some of his students are now graded artists of All India Radio. Also a post graduate in Music, he has presented numerous research papers and lecture demonstrations. Sri.Prapancham S. Balachandran is a State level Gold Medallist adjudged by none other than the legendary Dr.Semmengudi Sri.R.Srinivasa Iyer. He is also recipient of numerous awards and titles that include ‘Flute Mali Award’ by the Madras Music Academy, ‘Venugana Rathna’ by Sangeeta Mumurthigal Committee, ‘Mathura Murali Puraskar’ by Dr. Balamuralikrishna, Vipanchee and so on. He was conferred with the title ‘Pullankuhal Innisaivendu’ by Tamil Nadu Mangalavadya Isai Kalaigar Sangam, Chennai in the year 2001.

Awards & Highlights

Balachandran has complete control over the bamboo and never did it whistle. The manner in which he was able to pleasantly render the quixotic raga ganamurthi revealed his full understanding of the idiom. He gave an excellent interpretation of this raga and wove patterns that approximated the Shehnai - Subbudu, The Indian Express, 25.12.1991 Balachandran has a euphoric tone, remarkable control over the instrument and is well equipped in all departments of kutcheri music - The Times of India, Bombay, 02.12.1993 Instrumental competence marked Balchandran’s technique both in alapana and rendering of songs. A few bars of Bhiravi raga before Viribhonivarnam raised hopes that Mali’s influence would prevail over the quality of the performance - SVK, The Hindu, 04.06. 1999

Courses handled