Last saturday an amazing concert took place with Chy. Kamalkiran Vinjamuri accompanying for Dr. MBK believe it or not. This was a fund raiser, I believe. And, I asked Kamalkiran how the experience was on FB. And, here is his reply.
"This was an amazing experience. he sang in his full ability..he was also very encouraging and when he saw that I was able to follow what he did, he gave me more and more chances to play!!"
Here is the song list that I got from Kamalkiran.
The song list is 1)His own composition in Arabhi, 2)his own composition in sarasangi in which it is in praise of lord hanuman, and every line has the swaraksharam of ma, 3)Nee Dayarada, again a composition of his in poorvikalyani and that had alapana and swarakalpana, 4)Nagumomu with alapana and swaram and that was the main, 5)Pibare Ramarasam, 6)his own composition in mohana ragam, 7)A new composition of his in ragam Hanuman which has only three notes (Sa, ma, and ni), 8 )Kuntalavarali thillana
Way to go little master...
Dr. MBK with Chy. Kamalkiran accompanying on violin
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hamirkalyani123
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Ranganayaki
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Re: Dr. MBK with Chy. Kamalkiran accompanying on violin
This was an amazing concert and yes, we could see Balamurali's growing faith in the young, delightful Kamalakiran throughout the concert. I had taken extensive notes and intended to write a review, but I discovered that my iphone wanted to bite me by simply deleting all my stored notes in one go, all by itself. 
It happened during the main piece of the Suryaprakash concert, and clouded my mood for a while.
To be more precise, it was not just that every line had a swarakshara with Ma, but every ma in the sahityam was a swaraksharam. Will add details soon.
It happened during the main piece of the Suryaprakash concert, and clouded my mood for a while.To be more precise, it was not just that every line had a swarakshara with Ma, but every ma in the sahityam was a swaraksharam. Will add details soon.
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rajeshnat
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Re: Dr. MBK with Chy. Kamalkiran accompanying on violin
The doyen MBMK with the wonderkid kamalkiran wow. It is quite a task for violinists to play for shri BMK as most of the compositions may be new and would have been a tough challenge in the stage . Kudos to kamalkiran, rather little master kamalkiran. 
Tx hamirkalyani/ranganayaki. Can we get the names of the percussionists?
Tx hamirkalyani/ranganayaki. Can we get the names of the percussionists?
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Ranganayaki
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Re: Dr. MBK with Chy. Kamalkiran accompanying on violin
The percusionists were the same as those in the Gayathri Venkataraghavan concert. The entire team remained the same:
Vijay Ganesh - Mridangam
Sowmya Narayanan - Ghatam
Vivek Chellappa - Kanjira
Vijay Ganesh - Mridangam
Sowmya Narayanan - Ghatam
Vivek Chellappa - Kanjira
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Ranganayaki
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BMK in Greenbelt, Md, USA
Dr. M. Balamuralikrishna Vocal
Kamalakiran Vinjamuri - Violin
Vijay Ganesh - Mridangam
Sowmya Narayanan - Ghatam
Vivek Chellappa – Kanjira
1. Sri Sakala Ganaadhipa Paalayamaam Anisham – Arabhi – Adi Taala – Balamuralikrishna
2. Hanuma Anuma O Manama – Sarasangi – Adi Taala – Balamuralikrishna
3. Nee Daya Raada Amba – Purvikalyani – Adi Taalam – Balamuralikrishna
4. Nagumomu – Abheri – Adi Taalam – Thyagaraja
5. -----?-- (Talli?) Neeve, Neeve – Mohanam – Adi Taalam – BalamuraliKrishan
6. Pibare Rama Rasam – Chakravakam / Ahir-Bhairav - Adi Taalam – Sadashiva Bramhendra
7. Ramanaamame Neeku Raksha – Hanuman – Mishra Chaapu – Balamurali Krishna
8. Tillana – Kunthalavarali – Adi Taalam – BalamuraliKrishna
This was a wonderful concert, with moments of sublime music, artistry, playfulness, mastery, joy, as well as other moments when I could not make up my mind on how I felt, whether what I was listening to was brilliant or just a gimmick.
The concert opened with a brief sketch of Arabhi limited to its purvanga. I had not heard Balamurali live in decades. I do not usually gravitate towards his recordings even though I know how great he is. Like everyone else I was holding my breath for Kamalakiran and hoping he would shine with this great master. These first seconds of the concert predicted it all, Kamalakiran was in no hurry to shine, he followed his alapana gently, and played those first notes very appropriately and delicately at the proper time, just as he would have played at any other concert, and I knew he was going to just be himself and do just fine.
Balamurali sang a beautiful Arabhi composition dedicated to Sri Ganesha, Sri Hanuman, Sri Krishna. The song was interesting with tempo changes – a brisk pallavi, an anupallavi beginning in a meditative tone with but quickly gets to a madhyamakaala tempo which continues into a charana. Percussion support for this song was beautiful, with silences and sarvalaghus in the apt places. The song had a rather playful rhythm.
Most songs were preceded by an introduction by a shishyaa who was on stage with him. Hanuma – Anuma o Manama revolved around the letter and swara “Ma”, and a lot of jumps over octaves. There was ample opportunity for vocal range, but not really for nuances in this song and considering that this was the building-up phase of the concert, I felt that it was a little out of place. If the arabhi song sounded a little light on classicism, this song was even more so, and rather brought on a strong sensation of a resemblance to film music. Kamalakiran continued to play in a restrained yet confident way that was supportive, yet steeped in classicism. To my mind this song seemed to flow in fits and starts.
The purvikalyani was the sub-main piece and by now Kamalakiran has clearly shown himself to be a violinist confident enough to hold back and yet follow closely. Balamurali extended a slightly elaborate alapana and seemed to be moving into a more challenging mode with subtle and flowing sancharas and playful starts and stops and Kamalakiran was clearly able to keep up and knew to not try when BMK leaped down to his lowest ma from an octave or even two up. Kamalakiran had already been following on his lowest strings to a beautiful contrasting effect, and he stood his ground and stayed right where he was, knowing he couldn’t go lower, to applause and laughter from the audience. There were more exchanges with jumps, and leaps over octaves, and fast and intricate patterned travels up and down octaves prompting applause and laughter and I sensed that the alapana ended in an acceptance of Kamalakiran’s competence. The entire thing could well have been an exchange between Baloo and Mowgli beginning with playful challenges and ending with the two of them walking hand in hand.
Kamalakiran returned with a beautiful Poorvikalyani full of classicism and seriousness and flavored with imagination and sensitivity, commanding applause from all, including Balamuralikrishna. The composition Nee Daya Raada Amba was beautiful with Kalpana-swarams at Nee Daya Raada in two tempos. Balamurali initiated several calculations, changes of kaalam and nadai and Kamalakaran continued to show total competence. His swara-sthanams and laya are perfectly crisp.
The choice of Abheri for main was a disappointment to me, but as I listened, I suddenly felt like I was In those movies where everything slows down and the main characters are in a slow-motion dance all by themselves. The octaves are BMK’s personal playground and he dribbles, makes graceful passes leaps into the air and allows the ball to roll, flow over his shoulders. KK plays right along and the entire stadium disappears leaving BMK as king of the court. I have never heard anyone use their voice as effectively as him. Beautiful sancharas bring out touching aspects of Abheri as Kamalakiran performs a beautiful, sensitive meditative alapana.
Swarams brought along a lot of lively exchanges between everyone, including the percussionists, with a series of continually shortening phrases going around, some sarvalaghu swarams but not any particular korvai to finish off.
The Mohanam Kriti had an anecdote associated with it: BMK received a massive electric shock on his terrace when he was 7 years old and passed out for several hours and woke up to find a monkey caressing him. He was convinced it was Hanuman standing guard and composed the kriti.
Ramanaamame neeku raksha was composed the day before the concert in honor of the Anjaneyar temple after meeting with the purohits of the temple. The raga was a new creation: Hanuman whose arohanam and avarohanam had only 3 swaras: S-M1-N2. The pallavi was rather touching: Rama(SA-SA) Naamame (Ma-mama) Neeku (Ni Ni) Raksha (Sa SA) Hanuma, Nee Naamame Maaku Raksha.
The concert ended with the tillana in Kunthalavarali with more challenges to Kamalakiran who proved to be very capable musically, mentally with the calculations, and technically with his flawless control at great speed.
The end of the concert was a moment of great joy, everyone was proud of Kamalakiran. A garland was offered to Balamuralikrishna and shawls to the others. At Kamalakiran’s turn, he was greeted like a rockstar, or rather like a beloved mascot with thundering applause and whistles. Balamurali delighted us all by taking his garland off and offering it to Kamalakiran, who innocently kept it on for the rest of the time on stage. I think he is as beloved and popular here in the Metro DC area as Krishna was in Gokul.
Kamalakiran Vinjamuri - Violin
Vijay Ganesh - Mridangam
Sowmya Narayanan - Ghatam
Vivek Chellappa – Kanjira
1. Sri Sakala Ganaadhipa Paalayamaam Anisham – Arabhi – Adi Taala – Balamuralikrishna
2. Hanuma Anuma O Manama – Sarasangi – Adi Taala – Balamuralikrishna
3. Nee Daya Raada Amba – Purvikalyani – Adi Taalam – Balamuralikrishna
4. Nagumomu – Abheri – Adi Taalam – Thyagaraja
5. -----?-- (Talli?) Neeve, Neeve – Mohanam – Adi Taalam – BalamuraliKrishan
6. Pibare Rama Rasam – Chakravakam / Ahir-Bhairav - Adi Taalam – Sadashiva Bramhendra
7. Ramanaamame Neeku Raksha – Hanuman – Mishra Chaapu – Balamurali Krishna
8. Tillana – Kunthalavarali – Adi Taalam – BalamuraliKrishna
This was a wonderful concert, with moments of sublime music, artistry, playfulness, mastery, joy, as well as other moments when I could not make up my mind on how I felt, whether what I was listening to was brilliant or just a gimmick.
The concert opened with a brief sketch of Arabhi limited to its purvanga. I had not heard Balamurali live in decades. I do not usually gravitate towards his recordings even though I know how great he is. Like everyone else I was holding my breath for Kamalakiran and hoping he would shine with this great master. These first seconds of the concert predicted it all, Kamalakiran was in no hurry to shine, he followed his alapana gently, and played those first notes very appropriately and delicately at the proper time, just as he would have played at any other concert, and I knew he was going to just be himself and do just fine.
Balamurali sang a beautiful Arabhi composition dedicated to Sri Ganesha, Sri Hanuman, Sri Krishna. The song was interesting with tempo changes – a brisk pallavi, an anupallavi beginning in a meditative tone with but quickly gets to a madhyamakaala tempo which continues into a charana. Percussion support for this song was beautiful, with silences and sarvalaghus in the apt places. The song had a rather playful rhythm.
Most songs were preceded by an introduction by a shishyaa who was on stage with him. Hanuma – Anuma o Manama revolved around the letter and swara “Ma”, and a lot of jumps over octaves. There was ample opportunity for vocal range, but not really for nuances in this song and considering that this was the building-up phase of the concert, I felt that it was a little out of place. If the arabhi song sounded a little light on classicism, this song was even more so, and rather brought on a strong sensation of a resemblance to film music. Kamalakiran continued to play in a restrained yet confident way that was supportive, yet steeped in classicism. To my mind this song seemed to flow in fits and starts.
The purvikalyani was the sub-main piece and by now Kamalakiran has clearly shown himself to be a violinist confident enough to hold back and yet follow closely. Balamurali extended a slightly elaborate alapana and seemed to be moving into a more challenging mode with subtle and flowing sancharas and playful starts and stops and Kamalakiran was clearly able to keep up and knew to not try when BMK leaped down to his lowest ma from an octave or even two up. Kamalakiran had already been following on his lowest strings to a beautiful contrasting effect, and he stood his ground and stayed right where he was, knowing he couldn’t go lower, to applause and laughter from the audience. There were more exchanges with jumps, and leaps over octaves, and fast and intricate patterned travels up and down octaves prompting applause and laughter and I sensed that the alapana ended in an acceptance of Kamalakiran’s competence. The entire thing could well have been an exchange between Baloo and Mowgli beginning with playful challenges and ending with the two of them walking hand in hand.
Kamalakiran returned with a beautiful Poorvikalyani full of classicism and seriousness and flavored with imagination and sensitivity, commanding applause from all, including Balamuralikrishna. The composition Nee Daya Raada Amba was beautiful with Kalpana-swarams at Nee Daya Raada in two tempos. Balamurali initiated several calculations, changes of kaalam and nadai and Kamalakaran continued to show total competence. His swara-sthanams and laya are perfectly crisp.
The choice of Abheri for main was a disappointment to me, but as I listened, I suddenly felt like I was In those movies where everything slows down and the main characters are in a slow-motion dance all by themselves. The octaves are BMK’s personal playground and he dribbles, makes graceful passes leaps into the air and allows the ball to roll, flow over his shoulders. KK plays right along and the entire stadium disappears leaving BMK as king of the court. I have never heard anyone use their voice as effectively as him. Beautiful sancharas bring out touching aspects of Abheri as Kamalakiran performs a beautiful, sensitive meditative alapana.
Swarams brought along a lot of lively exchanges between everyone, including the percussionists, with a series of continually shortening phrases going around, some sarvalaghu swarams but not any particular korvai to finish off.
The Mohanam Kriti had an anecdote associated with it: BMK received a massive electric shock on his terrace when he was 7 years old and passed out for several hours and woke up to find a monkey caressing him. He was convinced it was Hanuman standing guard and composed the kriti.
Ramanaamame neeku raksha was composed the day before the concert in honor of the Anjaneyar temple after meeting with the purohits of the temple. The raga was a new creation: Hanuman whose arohanam and avarohanam had only 3 swaras: S-M1-N2. The pallavi was rather touching: Rama(SA-SA) Naamame (Ma-mama) Neeku (Ni Ni) Raksha (Sa SA) Hanuma, Nee Naamame Maaku Raksha.
The concert ended with the tillana in Kunthalavarali with more challenges to Kamalakiran who proved to be very capable musically, mentally with the calculations, and technically with his flawless control at great speed.
The end of the concert was a moment of great joy, everyone was proud of Kamalakiran. A garland was offered to Balamuralikrishna and shawls to the others. At Kamalakiran’s turn, he was greeted like a rockstar, or rather like a beloved mascot with thundering applause and whistles. Balamurali delighted us all by taking his garland off and offering it to Kamalakiran, who innocently kept it on for the rest of the time on stage. I think he is as beloved and popular here in the Metro DC area as Krishna was in Gokul.
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rajeshnat
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Re: BMK in Greenbelt, Md, USA
ranganayaki
Liked your review , while they were bit playful at times in the stage , you seem to show the same flavour in the review. Looks like kamalkiran is indeed getting the grasp as much as his guru A kanyakumari, as said before it must have been quite a challenge to accompany Shri BMK.
Liked your review , while they were bit playful at times in the stage , you seem to show the same flavour in the review. Looks like kamalkiran is indeed getting the grasp as much as his guru A kanyakumari, as said before it must have been quite a challenge to accompany Shri BMK.
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hamirkalyani123
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Re: BMK in Greenbelt, Md, USA
Excellent review ranganayaki... I felt as if I was there reading it.
He is performing in Richmond, VA this Friday at richmondrasikas.
He is performing in Richmond, VA this Friday at richmondrasikas.
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Ranganayaki
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Re: BMK in Greenbelt, Md, USA
Oops, seeing your name (Hamirkalyani123) reminds me now that a thread on this concert was already started. That was where I meant (a few days ago) to put this one.
Could we merge this thread into that one, started by Hamirkalyani123? Thank you, mods.
Thank you Rajesh and Hamirkalyani123. This was one I really felt the urge to write about
.
Could we merge this thread into that one, started by Hamirkalyani123? Thank you, mods.
Thank you Rajesh and Hamirkalyani123. This was one I really felt the urge to write about
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vasanthakokilam
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Re: BMK in Greenbelt, Md, USA
Please post a link to that thread here and I will merge. Thanks.
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Ranganayaki
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arasi
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Re: BMK in Greenbelt, Md, USA
Ranganayaki,
What a review! Please feel 'more' like writing a review of all the concerts you attend.
Your home town boy is proving to be an all over united States favorite! They know of his talent in India too.
Glad you could hear BMK live. Even at this age, his youthful approach to music (his first love) is simply awesome. Did I say approach? No, his living with music, that too in an unimaginably creative way is incredible. I hadn't heard him in a concert for a long time and to hear him sing at Cleveland last year, and then at the informal late evening gathering (by streaming) made me feel as if I was there. He is another child prodigy in CM's history who marches on merrily into the future as if he's half his age (so, Ravikiran has many long years to live with his music and contribute to CM!).
I heard BMK for the first time as a child in Andhra, and haven't forgotten it at all. The strange thing is--even now, as I hear him sing, I do not see him as someone who has reached four score and more years, but as a teenager on stage, wearing an alpaca kind of coat with medals pinned on it! The words gandharva gAnam also stays with me from that day, either from a speech or the way someone among the musicians that I was there with (my uncle, Chowdaiah and the mrudangist--??) commented on him. BMK sang in an afternoon concert before theirs.
What a review! Please feel 'more' like writing a review of all the concerts you attend.
Your home town boy is proving to be an all over united States favorite! They know of his talent in India too.
Glad you could hear BMK live. Even at this age, his youthful approach to music (his first love) is simply awesome. Did I say approach? No, his living with music, that too in an unimaginably creative way is incredible. I hadn't heard him in a concert for a long time and to hear him sing at Cleveland last year, and then at the informal late evening gathering (by streaming) made me feel as if I was there. He is another child prodigy in CM's history who marches on merrily into the future as if he's half his age (so, Ravikiran has many long years to live with his music and contribute to CM!).
I heard BMK for the first time as a child in Andhra, and haven't forgotten it at all. The strange thing is--even now, as I hear him sing, I do not see him as someone who has reached four score and more years, but as a teenager on stage, wearing an alpaca kind of coat with medals pinned on it! The words gandharva gAnam also stays with me from that day, either from a speech or the way someone among the musicians that I was there with (my uncle, Chowdaiah and the mrudangist--??) commented on him. BMK sang in an afternoon concert before theirs.
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vasanthakokilam
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Re: Dr. MBK with Chy. Kamalkiran accompanying on violin
The two threads merged.
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mahavishnu
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Re: Dr. MBK with Chy. Kamalkiran accompanying on violin
very nice review, Ranganayaki.
While I adore some of MBK's compositions (which he performs a lot of these days), I still yearn for his 70s concerts that featured classics sundari nI divya rUpamunu, saraguNa pAlimpa etc. This is purely a sentiment coming out of nostalgia for his older concerts; I could also settle for a more hybrid version like the one at the BSU a few months ago.
But at the end of the day, I am just glad that he is even performing.
While I adore some of MBK's compositions (which he performs a lot of these days), I still yearn for his 70s concerts that featured classics sundari nI divya rUpamunu, saraguNa pAlimpa etc. This is purely a sentiment coming out of nostalgia for his older concerts; I could also settle for a more hybrid version like the one at the BSU a few months ago.
But at the end of the day, I am just glad that he is even performing.