Dual Raga RTP - Sunadavinodini & Bhairavi - M. Balamuralikrishna (1 Jan 1978 MMA) - Track 6/8
3.5 هزار بار بازدید -
7 سال پیش
-
The item to begin was
The item to begin was yet another big ticket item. Curiosity of a bigger dimension started bugging us now. What rAgam will he take up for the rAgam tAnam pallavi (RTP) ? What kind of pallavi ?
As we were fidgeting with these thoughts, Balamuralikrishna started the next item with what seemed a familiar rAgam, or at least something that I had heard—sunAda vinOdhini. That set the mind to rest and we waited with intent listening to the AlApana. I could read from the expression of the other rasikas on the stage a sense of keenness and also a sense of joy of the familiar. The AlApana was just the way that he was an expert at--building tier by tier. After his completion and the violinist’s follow through, which was crisp to the point and melodious, Balamuralikrishna took up bhairavi, one of my most favourite rAgams, especially after the kannada movie Hamsa Geete that had become popular since 1976. It was my cousin’s favourite too. We thought we were instantly rewarded in many ways—a two rAgam RTP and our favourite rAgam bhairavi. Now the curiosity dimension started biting us about the kind of pallavi that he would take up. The bhairavi AlApana, which was once again a precisely cut and timed one, was rich in melody. The violin follow through was once again crisp to the point and neat. The tAnams followed, first in sunAda vinOdhini, for which the violin follow through was there, and then in bhairavi for which there was no violin follow through. But the way Balamuralikrishna returned to sunAda vinodhini from bhairavi to end the tAnam was outstanding. It was thoroughly enjoyable.
The pallavi,”sunAda vinodhini janani pAhimAm, shyAmakrishna sOdari mahA tripura bhairavi,” that followed was not merely lyrical enough and thoroughly melodious for a pallavi but once again was something addressed to the mother goddess.
The rendition of the pallavi in the various speeds was scintillating to say the least. There was a short second tani that followed this after which Balamuralikrishna took up svara prastAram, which was both a surprise and a novelty. It was later that I learnt what I had presumed as the second tani, was actually a detailed exposition of the tisra jhampe sankIrNa gati tALam to which was set the pallavi that evening. It was extremely enjoyable and an able demonstration of the tALam that was the creation of Balamuralikrishna.
The svara prastAram was as creative as only he could make it. What was most enjoyable, apart from everything about the svara prastAram that was absolutely enjoyable, was the seamless switching from one rAgam to the other, either while singing the svarams or while rendering the lyrics. During the svara prastArams the quick rendering of a set of svarams of one rAgam and then switching to the svarams of the other rAgam, and alternating from one to the other, was testimony to his hold on the shruti and the tonal purity of the notes. My cousin and me were absolutely elated like it was a concert just for us.
Once the RTP was over the resounding clapping was a joy to hear, while a section of the audience stood up.
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!!
As we were fidgeting with these thoughts, Balamuralikrishna started the next item with what seemed a familiar rAgam, or at least something that I had heard—sunAda vinOdhini. That set the mind to rest and we waited with intent listening to the AlApana. I could read from the expression of the other rasikas on the stage a sense of keenness and also a sense of joy of the familiar. The AlApana was just the way that he was an expert at--building tier by tier. After his completion and the violinist’s follow through, which was crisp to the point and melodious, Balamuralikrishna took up bhairavi, one of my most favourite rAgams, especially after the kannada movie Hamsa Geete that had become popular since 1976. It was my cousin’s favourite too. We thought we were instantly rewarded in many ways—a two rAgam RTP and our favourite rAgam bhairavi. Now the curiosity dimension started biting us about the kind of pallavi that he would take up. The bhairavi AlApana, which was once again a precisely cut and timed one, was rich in melody. The violin follow through was once again crisp to the point and neat. The tAnams followed, first in sunAda vinOdhini, for which the violin follow through was there, and then in bhairavi for which there was no violin follow through. But the way Balamuralikrishna returned to sunAda vinodhini from bhairavi to end the tAnam was outstanding. It was thoroughly enjoyable.
The pallavi,”sunAda vinodhini janani pAhimAm, shyAmakrishna sOdari mahA tripura bhairavi,” that followed was not merely lyrical enough and thoroughly melodious for a pallavi but once again was something addressed to the mother goddess.
The rendition of the pallavi in the various speeds was scintillating to say the least. There was a short second tani that followed this after which Balamuralikrishna took up svara prastAram, which was both a surprise and a novelty. It was later that I learnt what I had presumed as the second tani, was actually a detailed exposition of the tisra jhampe sankIrNa gati tALam to which was set the pallavi that evening. It was extremely enjoyable and an able demonstration of the tALam that was the creation of Balamuralikrishna.
The svara prastAram was as creative as only he could make it. What was most enjoyable, apart from everything about the svara prastAram that was absolutely enjoyable, was the seamless switching from one rAgam to the other, either while singing the svarams or while rendering the lyrics. During the svara prastArams the quick rendering of a set of svarams of one rAgam and then switching to the svarams of the other rAgam, and alternating from one to the other, was testimony to his hold on the shruti and the tonal purity of the notes. My cousin and me were absolutely elated like it was a concert just for us.
Once the RTP was over the resounding clapping was a joy to hear, while a section of the audience stood up.
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!!
7 سال پیش
در تاریخ 1396/06/29 منتشر شده
است.
3,506
بـار بازدید شده