1966 Madras Music Academy - M Balamuralikrishna - M S Gopalakrishnan - Tanjore Upendran - Part 2/2
7.1 هزار بار بازدید -
5 سال پیش
-
Here is an offering of
Here is an offering of a restored and remastered vintage live concert of Dr. Mangalampalli Balamuralikrishna (BMK) held in Madras Music Academy in the year 1966. BMK is accompanied on the violin by Sri. M S Gopalakrishnan (MSG) and on the Mridangam by Sri. Tanjore Upendran (TU).
In Part 2, BMK has presented an exclusive Ragam Tanam and Pallavi and I would like to share an excerpt from a book “Splendour of Swaras – An Authorised Biagraphy by Kala Bharati B N Sundaram.”
“Generally, Balamurali never repeated any pallavi (RTP), for a second time, unless he was requested to do so. He is capable of composing any number of pallavis or kritis, in a moment’s time, studded with novelty in them.
“I want to mention here about one of his ‘brain-teasing’ pallavis. That concert in Music Academy, Madras raised the eyebrows of many.
“He rendered a pallavi, ‘nagasvarAvaLi hitE – parama hamsa dhwani virAjitE’ in two ragas, namely Nagasvaravali and Hamsadhwani. But the technique he adopted to sing these two ragas was unprecedented. Nagaswaravali has ‘ s g m p d s – s d p m g s’ as the arohana and avarohana, while Hamsadhwani has ‘s r g p n s – s n p g r s’, both pentatonic. If the madhyamam of Nagasvaravali is taken as shadja, by the method of modal shift of Tonic, the result would be Hamsadhwani. Balamuralikrishna employed this and rendered it.
The Poorvanga (first section) - nagasvarAvaLi hitE – was in Nagasvaravali raga, while the Uttaranga (latter section) - parama hamsa dhwani virAjitE – was also rendered in the same Nagasvaravali raga, but taking its madhyamam as shadja, there by sounding it as Hamsadhwani. The tala was Trishra Jhampa in khanda gati.
“This rare feat, he executed in three speeds of tempo, effortlessly. To pass comments, even appreciatively, on witnessing one’s acrobatics on trapeze would be easy for anyone, but the difficulty and risk involved are known only to the acrobat. Music is abstract and cannot be explained in mere words.
“Victor Hugo wrote, ‘Music expresses that which cannot be said and on which, it is impossible to be silent’. Many musicians in the audience, that day, were awe-struck. In the beginning, it was not easy for them to perceive what was being done on the stage. It took time for them to recover from the stupor.
“Soon after the concert, many went on the dais and appreciated Balamuralikrishna’s tantalising pallavi and the novel manner of execution that could never be imagined by anyone else.
“Some of his close friends asked him, why he ventured to demonstrate such an intricacy. He smilingly said, ‘if not in Music Academy, where else? …’
00:00 🌹 Welcome to the Part 2 of the Album
00:00:30 1️⃣ enda-nEramO – bhairavi - rUpaka - BMK
00:05:40 2️⃣ shara-shara - kuntala-varALi – Adi -Tyagaraja
00:11:39 3️⃣ RTP in nAga-svarAvaLi_& hamsa-dhwani - trishra-jhampE khanDa-gati
00:46:40 4️⃣ bruhadhIshwara -kAnaDa – rUpakam -BMK
00:53:00 5️⃣ pravisha-radhE – kOsala – Adi - Jayadeva
00:59:26 6️⃣ Tillana – chakravAka -Adi - BMK
01:04:25 7️⃣ Mangalam – saurAshTram – Adi - Tyagaraja
Reference and Acknowledgement:
1. M Balamuralikrishna – Splendour of Swaras – An Authorised Biagraphy by Kala Bharati B N Sundaram. First Edition 1996, ISBN 81-7020-716-9
2. My sincere thanks and appreciation to Sri. T K Ramkumar for his support and help in bringing out this album.
Come, let’s savour the music in this offering, learn something new and discuss our reflections with others to facilitate the process of music for posterity by sharing and listening with the younger generation.
In Part 2, BMK has presented an exclusive Ragam Tanam and Pallavi and I would like to share an excerpt from a book “Splendour of Swaras – An Authorised Biagraphy by Kala Bharati B N Sundaram.”
“Generally, Balamurali never repeated any pallavi (RTP), for a second time, unless he was requested to do so. He is capable of composing any number of pallavis or kritis, in a moment’s time, studded with novelty in them.
“I want to mention here about one of his ‘brain-teasing’ pallavis. That concert in Music Academy, Madras raised the eyebrows of many.
“He rendered a pallavi, ‘nagasvarAvaLi hitE – parama hamsa dhwani virAjitE’ in two ragas, namely Nagasvaravali and Hamsadhwani. But the technique he adopted to sing these two ragas was unprecedented. Nagaswaravali has ‘ s g m p d s – s d p m g s’ as the arohana and avarohana, while Hamsadhwani has ‘s r g p n s – s n p g r s’, both pentatonic. If the madhyamam of Nagasvaravali is taken as shadja, by the method of modal shift of Tonic, the result would be Hamsadhwani. Balamuralikrishna employed this and rendered it.
The Poorvanga (first section) - nagasvarAvaLi hitE – was in Nagasvaravali raga, while the Uttaranga (latter section) - parama hamsa dhwani virAjitE – was also rendered in the same Nagasvaravali raga, but taking its madhyamam as shadja, there by sounding it as Hamsadhwani. The tala was Trishra Jhampa in khanda gati.
“This rare feat, he executed in three speeds of tempo, effortlessly. To pass comments, even appreciatively, on witnessing one’s acrobatics on trapeze would be easy for anyone, but the difficulty and risk involved are known only to the acrobat. Music is abstract and cannot be explained in mere words.
“Victor Hugo wrote, ‘Music expresses that which cannot be said and on which, it is impossible to be silent’. Many musicians in the audience, that day, were awe-struck. In the beginning, it was not easy for them to perceive what was being done on the stage. It took time for them to recover from the stupor.
“Soon after the concert, many went on the dais and appreciated Balamuralikrishna’s tantalising pallavi and the novel manner of execution that could never be imagined by anyone else.
“Some of his close friends asked him, why he ventured to demonstrate such an intricacy. He smilingly said, ‘if not in Music Academy, where else? …’
00:00 🌹 Welcome to the Part 2 of the Album
00:00:30 1️⃣ enda-nEramO – bhairavi - rUpaka - BMK
00:05:40 2️⃣ shara-shara - kuntala-varALi – Adi -Tyagaraja
00:11:39 3️⃣ RTP in nAga-svarAvaLi_& hamsa-dhwani - trishra-jhampE khanDa-gati
00:46:40 4️⃣ bruhadhIshwara -kAnaDa – rUpakam -BMK
00:53:00 5️⃣ pravisha-radhE – kOsala – Adi - Jayadeva
00:59:26 6️⃣ Tillana – chakravAka -Adi - BMK
01:04:25 7️⃣ Mangalam – saurAshTram – Adi - Tyagaraja
Reference and Acknowledgement:
1. M Balamuralikrishna – Splendour of Swaras – An Authorised Biagraphy by Kala Bharati B N Sundaram. First Edition 1996, ISBN 81-7020-716-9
2. My sincere thanks and appreciation to Sri. T K Ramkumar for his support and help in bringing out this album.
Come, let’s savour the music in this offering, learn something new and discuss our reflections with others to facilitate the process of music for posterity by sharing and listening with the younger generation.
5 سال پیش
در تاریخ 1398/05/26 منتشر شده
است.
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