Jayadeva's Gita Govinda in Muraliganam : An Album of Slideshow, Audio & Video - M Balamuralikrishna
7.9 هزار بار بازدید -
3 سال پیش
-
◼ Introduction:JAYADEVA (12th century), the
◼ Introduction:
JAYADEVA (12th century), the author of the Gīta Góvinda, is pre-eminent among the Sanskrit poets and is acknowledged universally to be the writer of the sweetest lyrics in Sanskrit.
Gīta Góvinda is a cycle of Sanskrit songs; commentaries and invocations depict the courtship of Krishna with Rādha. The Sanskrit hymn, by name ashtapadi, refers to the fact that each hymn is made up of eight couplets.
◼ Jayadeva’s Gīta Góvinda in Muraligānam:
This offering is a compilation of ashtapadis of Gīta Góvinda. It is rendered by Dr. M Balamuralikrishna (BMK). The recordings are selected mainly from his live between 1970 to 1985.
◼ BMK and ashtapadi renditions in concert:
Jayadeva ashtapadis rendered by BMK are some of the finest examples of his innovation par excellence towards aesthetic perfection.
The rendition of an ashtapadi, often times is positioned towards the end of a Carnatic music concert (of a conventional format), and is rendered briefly. This is in contrast to its position and the elaboration it receives in Jugalbandis or Hindustani music concerts.
The mere positioning of an ashtapadi towards the end, we feel, it has not received sufficient attention that it truly deserves.
When a study of the corpus of music left behind by BMK is made, it becomes evident to see a trail of the maestro’s journey in innovation and how he sculpted each asthapadi to its optimum aesthetic setting. Listening to BMK’s ashtapadi renditions in an exclusive setting, i.e., going beyond the concert format mindset, we could look at the intrinsic greatness in them.
◼ Why this album?
This offering as an album, is thus an attempt to showcase an exclusive collection of ashtapadis. It is for the listeners to get a first-hand experience of their indescribable nature of magnificence. It is much like a constellation of stars to behold their brilliance; or a necklace of pearls to see its natural beauty; or maybe even a garland of fragrant forest flowers.
◼ What is unique about BMK’s rendition of Asthapadis?
BMK, as a vaggéyakāra, has not only pioneered in mirroring the intent of the composers like the trinity of Carnatic music, but has also identified an appropriate format for rendering the compositions for which the original music of its composer is not available.
BMK has considered the time, place and the cultural backdrop in which each composer has lived to visualise and to interpret a musical format that could go with it.
Be it the compositions of Annamacharya, Jayadeva or even the works of mystics, BMK’s musical heart appears to have been concomitant with those composers while rendering them, as these too would move our hearts and still our minds when listened to them.
◼ What is great about BMK’s rendition of Asthapadis?
✅ The aesthetic balance to portray the inherent poetic beauty in them: Like the uniqueness of Rabindra Sangeet, the format of rendering ashtapadis by BMK too has a certain distinctiveness. The aesthetic balance of several aspects such as delectable sāhitya-bhāva, rāga-bhāva and his dexterity of voice modulation help to portray the inherent poetic beauty contained in them.
✅ The nuanced approach of madhyama-shruti: It is to present the subtle aspects of beauty, tenderness, melody in poetry and also allow ample opportunity to modulate his voice. All these help BMK to express every emotion in its most favourable setting. It thus facilitates the empathetic listener to experience the rasānubhava as experienced by BMK.
✅ The appropriateness of BMK’s voice to render ashtapadis: By listening to the collection of these asthapadis, one can vividly discern BMK’s voice that could soar like an eagle and with equal felicity, plumb the depths of the lower octaves to emulate the emotion contained in the poetry of Jayadeva. For example, if we focus on a word such as, “Krishna” throughout the album, we would observe an array of variations in uttering the word to imply an intended emotion for a context.
00:00 ◼ Jayadeva's Gita Góvinda in Muraligānam
00:06 ◼ 00 – Slideshow
06:47 ◼ 01 - Nātha haré : Darbāri kānada
14:48 ◼ 02 - Yā ramitā : Patdeep
19:56 ◼ 03 - Kāpi madhuripunā : Hind. Janjhūti (M)
26:32 ◼ 04 - Nijagāda sā : Sindhubhairavi
33:46 ◼ 05 - Tava virahé : Shubhapantuvarāli (M)
43:10 ◼ 06 - Pravisha rādhe : Kósala (M)
49:47 ◼ 07 - Yāmi he : Natabhairavi (M)
54:54 ◼ 08 - Rāsé harimiha : Rāgamālika
1:06:39 ◼ 09 - Ramaté yamunā : Mishra Bilahari (M)
1:12:12 ◼ 10 - Tava virahé : Behāg
1:20:13 ◼ 11 - Shrita kamalākuca : Janjhūti (M)
1:24:07 ◼ 12 - Rādhikā Krishnā : Janasammodini
1:31:40 ◼ 13 - Priyé! cārushīle : With Smt. Kishori Amonkar
1:43:52 ◼ 14 - Nātha haré : Cārukéshi (Video)
◼ My sincere thanks to 🙏
1️⃣ Dr. Jaya Prasad for his suggestion to initiate this project.
2️⃣ Sri. T K Ramkumar for his editorial help in building this album.
3️⃣ To all those individuals, institutions for recording, curating and sharing.
JAYADEVA (12th century), the author of the Gīta Góvinda, is pre-eminent among the Sanskrit poets and is acknowledged universally to be the writer of the sweetest lyrics in Sanskrit.
Gīta Góvinda is a cycle of Sanskrit songs; commentaries and invocations depict the courtship of Krishna with Rādha. The Sanskrit hymn, by name ashtapadi, refers to the fact that each hymn is made up of eight couplets.
◼ Jayadeva’s Gīta Góvinda in Muraligānam:
This offering is a compilation of ashtapadis of Gīta Góvinda. It is rendered by Dr. M Balamuralikrishna (BMK). The recordings are selected mainly from his live between 1970 to 1985.
◼ BMK and ashtapadi renditions in concert:
Jayadeva ashtapadis rendered by BMK are some of the finest examples of his innovation par excellence towards aesthetic perfection.
The rendition of an ashtapadi, often times is positioned towards the end of a Carnatic music concert (of a conventional format), and is rendered briefly. This is in contrast to its position and the elaboration it receives in Jugalbandis or Hindustani music concerts.
The mere positioning of an ashtapadi towards the end, we feel, it has not received sufficient attention that it truly deserves.
When a study of the corpus of music left behind by BMK is made, it becomes evident to see a trail of the maestro’s journey in innovation and how he sculpted each asthapadi to its optimum aesthetic setting. Listening to BMK’s ashtapadi renditions in an exclusive setting, i.e., going beyond the concert format mindset, we could look at the intrinsic greatness in them.
◼ Why this album?
This offering as an album, is thus an attempt to showcase an exclusive collection of ashtapadis. It is for the listeners to get a first-hand experience of their indescribable nature of magnificence. It is much like a constellation of stars to behold their brilliance; or a necklace of pearls to see its natural beauty; or maybe even a garland of fragrant forest flowers.
◼ What is unique about BMK’s rendition of Asthapadis?
BMK, as a vaggéyakāra, has not only pioneered in mirroring the intent of the composers like the trinity of Carnatic music, but has also identified an appropriate format for rendering the compositions for which the original music of its composer is not available.
BMK has considered the time, place and the cultural backdrop in which each composer has lived to visualise and to interpret a musical format that could go with it.
Be it the compositions of Annamacharya, Jayadeva or even the works of mystics, BMK’s musical heart appears to have been concomitant with those composers while rendering them, as these too would move our hearts and still our minds when listened to them.
◼ What is great about BMK’s rendition of Asthapadis?
✅ The aesthetic balance to portray the inherent poetic beauty in them: Like the uniqueness of Rabindra Sangeet, the format of rendering ashtapadis by BMK too has a certain distinctiveness. The aesthetic balance of several aspects such as delectable sāhitya-bhāva, rāga-bhāva and his dexterity of voice modulation help to portray the inherent poetic beauty contained in them.
✅ The nuanced approach of madhyama-shruti: It is to present the subtle aspects of beauty, tenderness, melody in poetry and also allow ample opportunity to modulate his voice. All these help BMK to express every emotion in its most favourable setting. It thus facilitates the empathetic listener to experience the rasānubhava as experienced by BMK.
✅ The appropriateness of BMK’s voice to render ashtapadis: By listening to the collection of these asthapadis, one can vividly discern BMK’s voice that could soar like an eagle and with equal felicity, plumb the depths of the lower octaves to emulate the emotion contained in the poetry of Jayadeva. For example, if we focus on a word such as, “Krishna” throughout the album, we would observe an array of variations in uttering the word to imply an intended emotion for a context.
00:00 ◼ Jayadeva's Gita Góvinda in Muraligānam
00:06 ◼ 00 – Slideshow
06:47 ◼ 01 - Nātha haré : Darbāri kānada
14:48 ◼ 02 - Yā ramitā : Patdeep
19:56 ◼ 03 - Kāpi madhuripunā : Hind. Janjhūti (M)
26:32 ◼ 04 - Nijagāda sā : Sindhubhairavi
33:46 ◼ 05 - Tava virahé : Shubhapantuvarāli (M)
43:10 ◼ 06 - Pravisha rādhe : Kósala (M)
49:47 ◼ 07 - Yāmi he : Natabhairavi (M)
54:54 ◼ 08 - Rāsé harimiha : Rāgamālika
1:06:39 ◼ 09 - Ramaté yamunā : Mishra Bilahari (M)
1:12:12 ◼ 10 - Tava virahé : Behāg
1:20:13 ◼ 11 - Shrita kamalākuca : Janjhūti (M)
1:24:07 ◼ 12 - Rādhikā Krishnā : Janasammodini
1:31:40 ◼ 13 - Priyé! cārushīle : With Smt. Kishori Amonkar
1:43:52 ◼ 14 - Nātha haré : Cārukéshi (Video)
◼ My sincere thanks to 🙏
1️⃣ Dr. Jaya Prasad for his suggestion to initiate this project.
2️⃣ Sri. T K Ramkumar for his editorial help in building this album.
3️⃣ To all those individuals, institutions for recording, curating and sharing.
3 سال پیش
در تاریخ 1400/06/05 منتشر شده
است.
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