Avaraku tathyamai - Kutuhalam - Manabuchavadi V Iyer - M. Balamuralikrishna (1 Jan 1978 MMA) - 2/8 скачать в хорошем качестве

Avaraku tathyamai - Kutuhalam - Manabuchavadi V Iyer - M. Balamuralikrishna (1 Jan 1978 MMA) - 2/8

Avaraku tathyamaiiiiiiiiiiiiii .... that long draw for more than 5 or 6 seconds was arresting. That was an emphatic opening. Having never heard that composition till then made it even more stunning. And a surprise since it was not mentioned in the Academy souvenir list. As enchanting as the composition and its rendition were, so was my curiosity about the composer, the rAgam, and the overall meaning. That was already a bonus for us. If the opening kriti in the first track was one of paying obeisance, this kriti was an absolute leap to the highest philosophy of advaita, in which the listener is urged to realise and develop a reasoned disinterestedness towards the world that seems real. Interestingly, kutUhalam is the name of the rAgam and rightly means ‘curious’ which was all over me on that day without any clue. The rAgam was a creation of his great grand guru Manambuchavadi Venkatasubbayya along with the composition. Patnam Subramanya Iyer, one of the earlier disciples of Manambuchavadi went further to create the rAgam kadanakutUhalam in which is the popular composition raghuvamsha sudAmbudhichandra. Both the rAgams are derivatives of the 29th mELa dhIrashankarAbharaNam. It is also appropriate to remember that Susarla Dakshinamurthy, the grand guru of Mangalampalli Balamuralikrishna, was a later disciple of Manambuchavadi. The different sangatis that he has presented add to the loftiness of the composition whose overall meaning sank in me much later. Truly a one off rendition that was never heard again as I know. Epilogue: Recalling now a concert of my most favourite Mangalampalli Balamuralikrishna gAru that I had heard 40 years ago while still a college student, now at the time of Dasara, when there are nine nights of festivities in celebration of the glory of the mother goddess, is indeed a pleasure, privilege and certainly the grace of the goddess. When the curtains were down people on the dais rushed to compliment Balamuralikrishna for presenting one of the finest concerts of the 1977 music season. He who sang the last sang the best, is what my cousin and me thought and left the Academy. If the tillAna was magical with its continued ringing in the ears, the pallavi was just too haunting, and the tODi the most serene that I had ever listened to. What a concert!!