A Scholarship in Rendition - Dr. M Balamuralikrishna with MSG & UKS : A Vintage Live Concert -1978 скачать в хорошем качестве

A Scholarship in Rendition - Dr. M Balamuralikrishna with MSG & UKS : A Vintage Live Concert -1978

A scholarship in rendition for Dr. M Balamuralikrishna (BMK) is undoubtedly an innate attribute. The gifted diligence in him, paying attention to sentiments, elegance and the texture of sound, combined with creativity and connection with the intent of various composers can be experienced in hundreds of his music concerts. On this Rāma navami of 2022, we present you one such concert of scholarship in rendition. This is a restored and re-mastered live concert of BMK held in Bangalore Gayana Samaja in 1978. BMK is accompanied by M S Govindaswamy (violin) and U K Sivaraman (mridangam) There are 14 renditions in this concert and here are the details. 00:00 - Varñam - Shanmukhapriya - Ādi - BMK 00:10:24 - Sogasujūda - Kannadagaula- Rūpakam - Tyagaraja 00:14:18 - Nā moralanuvini - Ārabhi - Ādi - Tyagaraja 00:28:13 - Paralóka-bhayamu - Mandāri- Ādi - Tyagaraja 00:37:04 - Shrī Abhayāmbā - Shrī - Ādi - Muttuswami Dikshitar 00:45:15 - Mariyāda-gādura - Shankarābharañam - Ādi - Tyagaraja 01:53:33 - RTP in the rāga Tódi- Ādi - BMK 02:26:27 - Māyé twam yāhi - Tarangini- Ādi - Muttuswami Dikshitar 02:32:28 - Paluké-bangāramāyena - Ānandabhairavi - Ādi - Bhadrachala Ramadas 02:36:27 - Harirasamā vihāri - Hinóla - Ādi -Annamacharya 02:40:23 - Rāma rāma enarAda - Sindhubhairavi - Ādi - Prayaga Rangadas 02:45:27 - Bruhadhīshwara - Kānada - Rūpakam - BMK 02:50:00 - Tillana- Kānada - Ādi - BMK 02:53:53 - Shrungārinchukoni - Surati- Ādi - Tyagaraja What follows is a narrative to highlight pointers of mastery in this aptly describable “text book concert” of BMK, an exercise in balance and blend of all the essentials. Some pointers of Mastery: 1️⃣ Pronunciation and resolution of sentence 🔶In Sogasujūda (Kannadagaula) one can observe how the word “ kāma” appearing twice is handled (one for the end of a word and the second for the beginning of the subsequent word) 🔷The word “ rā – rā ” (come, come) in the last track is used with different intonation, conveying a different emotion each time. 2️⃣ Handling the speed of rendition 🔶 The pace of the presented compositions is of a wide range—from the slow, full of feeling to the fast, with no less appropriate feeling. As an example, the pace at which “Bruhadhīshwara in Kānada” is rendered sans mridangam vis-a-vis the rendition in Sindhubhairavi gives an idea to look for such distinction in the entire concert. 3️⃣ Selection of compositions 🔷 The repertoire of compositions spans various dimensions of aesthetics. There seems to be a well thought out but spontaneously presented balance between the classical heavy and the classical light. 4️⃣ Details and depth 🔶 Rāga Shankarābharanam occupies a prominent place in this concert and BMK’s rāgālāpana depicts different facets of the rāga, casting a deeper after-glow as one listens. 🔷The majesty of Tyāgarāja’s composition gracefully opens and BMK sings the phrase “mariyāda gādura,” like the flow of a beautiful river. He sings this phrase for about 35 times in which he shows us about 15 beautiful sangatīs. Each sangatī (a particular variation of a phrase in a kriti with the change of tune and with the oscillation of notes) is sung twice for the benefit of every rasika to grasp and to savour the sweetness of music. The variation of the phrase “mariyāda gādura” ranging from slight to large change in tune and oscillation of some notes in these 15 sangatīs is a feast to the ears and brings a visualisation of Tyāgarāja’s playful calling “O merciful Lord ! it’s not fair to equate all and sundry”. 🔶 Svara-vinyāsam and laya-vinyāsam for this master piece elevates the presentation to a greater height. The slow speed svarams maturing into faster pace, complemented by the deft playing of mridangam enhances the experience of beholding the flow of river visualised earlier. 🔷 Each cycle of svara-vinyāsam ends with the note “ga” and each time the note appears like a changing wave in the river, containing the same water though. 5️⃣ Playing with the Māya in RTP 🔶 When Muthuswamy Dikshitar in his tarangini rāga composition says, “O illusory force of ignorance, Māya! you may go away, who are you to affect or bother me”, BMK takes the same line into rāga Tódi and weaves a beautiful RTP, giving altogether another perspective, making the same line to sound like a mantra to dispel the illusory force of ignorance. 🔷 BMK has set this RTP into Trishrajāti triputa tālam. It’s sung in vilambakālam [2- kaLa chowka]. The off-set (Ettugada / Edupu) for the take-off of pallavi is after 4 counts. And the pada-garbam / arudhi (end of the pūrvāngam, the first half of the pallavi ending at the strike of the beginning of the second half of the tālam cycle) is 8 counts. 🔶 Révati, Kósala and Shahana as the rāgalamālika svarams add beauty to the rendition which then seamleslly transition into madhyama-shurti to render the tarangini composition. Have a blissful listening time, celebrating Sri Rama navami.💐