KBMK@MA, 30/12/2015

[sankark]

MAS, B Sivaraman, khanjira? morsing?

thOdi eRa nApai. Stll hasn't overcome the audible breathing issue. Hit the ground running. s@charanam
harikAmbhOji entara nItana kenta s@sEshudu sivuniki

[sankark]

varALi sEshAcala nAyakam s@aravinda patra nayanam. beautiful jantai phrases. A bit elongated final swaram round but grand nonetheless.
bhuvini dAsudanE pErAsacE ns@pAlamuncina.

[sankark]

? RTP what a bowing. Stop/Short tanam playing with absolute control and no screech or bow bouncing off the string. rAma srI rAma sItArAma ena bhajittAl munvinai thIrumE jaya Adi kanda nadai

[grsastrigal]

Before I start this, I heard that Aruna Sairam did not give Tani in her concert, taken the ire of sabhA and of course the accompanists. Anyone knows !!!

It is unkind for this artist to cut short his concert view. So, let me complete.

Kunnakkudy Balamuralikrishna
M.A.Sundareshwaran-Violin
B Sivaraman
K.S.Rangachari-Ganjira
Srirangam Kannan-Morsing
30th December 2015
Music Academy

Era nA pai-tOdi- PSI-vaRnam
HarikAmbodhi- followed by Entha rAni-Thyagarajar- (s) in “sEshudU…. lakhsmanA”
varAli-rAgam –sEshAchala nAyagam-Dikshitar- (S) in “aravinda patra”
buvinAdusudanE-Sriranjani-Thyagarajar - Neraval in “pala munchinA nIta muchinA” (S)
RTP-sarasAngi- Pallavi- “Rama SrirAma Seetha rAma ena bhajittal mun vinai teerumE- jeya”-Dwijavanthi, subhapantuvrAli.
Bhaja bhaja mAnasa- Sindu bairavi-ST
pahAdi-LGJ TillAna-
mangalam

As per the Music academy book, he is supposed to sing “ungal puzhakadai-Anandha bairavi”- TiruppAvai. I don’t know whether he did. I entered while he is in HKB rAgam.

He is the one musician who has not been given due credit in this season. Knowing his throat problem, he worked on this by sheer sAdhagam and proper medication. Real treat to see that husky voice disappeared, if not fully at leat 85%. That itself is a great achievement.

I was pleasantly surprised when Hindu’s article showed full praise on KBMK review (two weeks back), I o I wanted to go to this concert, despite Sanjay, singing in PSS just in 10 minutes distance.

BuvinidAsudanE merits mention- he brought SSI pudi’s. His guru PSN was with full smile, -his disciple bringing SSI music in front of him.

SarasAngi- good pAdantharam. Since he started at 8.15, had enough time to show the full view of the rAgams.
Interesting mannerisms-, he is wearing 3 or 4 rings in both the fingers. Suddenly removing one and clapping during tAlams…. and putting it back. Something unsual. He is more swaram oriented. Strong in tAlams and swarams. He is restless during the concert, moving “idhar udhar”,

Nice to see the full accompanists including morsing exhibited their skills during tani. It was crisp and good.

M A Sundareswaran- I don’t understand his violin. For me it is bad. He plays in his own playing some peppy sounds in his violin. Neither following the vocalist nor bring the beauty of the rAgA. Bit irritating. Throughout the concert, he spoiled the mood of the rasikAs by some strange sounds.

[rajeshnat]

M A Sundareswaran- I don’t understand his violin. For me it is bad. He plays in his own playing some peppy sounds in his violin. Neither following the vocalist nor bring the beauty of the rAgA. Bit irritating. Throughout the concert, he spoiled the mood of the rasikAs by some strange sounds.

GRS
I would not disagree with you on that . My last concert of his he suddenly played few phrases of yArO ivar yArO and upacharamulanu when the main was koluvaiunnadE. But at times he is brilliant in terms of speed and especially in taanam or in general for any hindustani allied ragas . It depends on how the main vocalist uses him and ofcourse MAS mood on that day.

[rajeshnat]

Before I start this, I heard that Aruna Sairam did not give Tani in her concert, taken the ire of sabhA and of course the accompanists. Anyone knows !!!

GRS,
Was it in academy or thamizh isai raja annamalai manram? In which venue it happened.

[sankark]

Had to leave as he was wrapping up dwijavanthi swarams for the RTP. A very good concert till the RTP. The alapanai sounded to me like a continuous briga exercise flowing up and down the scale and that may be the reason I felt let down by the RTP even though it was pretty elaborate rather than a truncated affair.

[Venkataraman]

I would not disagree with you on that . My last concert of his he suddenly played few phrases of yArO ivar yArO and upacharamulanu when the main was koluvaiunnadE. But at times he is brilliant in terms of speed and especially in taanam or in general for any hindustani allied ragas . It depends on how the main vocalist uses him and ofcourse MAS mood on that day.

Dear rajeshnat, MAS was a complete spoil in this concert. I really don't know why he has to exaggerate everything that the vocalist does? And even when he plays he stresses unnecessarily and as grs says makes strange noises which are definite not musical to ears. May be he thinks he is too senior and wants to stamp his authority on the platform. Some senior mridangists have resorted to banging precisely for this reason.

Anyways, on this concert itself, Balamurali is just a class apart and I just hope his voice holds up and fate does not play spoil-sport and take away a very promising talent. His creativity is outstanding.

Happy new year to all

[mahesh3]

Solid concert - except for the violin. I only
joined for the Harikamboji krithi.

BMK has toiled in the shadows for years and its shows in his knowledge and performance. I feel this season is a turning point for him. The surety in his performance esp SriRanjani and the Sarasangi was too good. The Subapantuvarali swarams with the
Lalit distinction shown within the Porutham was the
concert's highlight IMO - he performed it awesome on stage. Planning was also strong - I doubt there are many musicians who can deliver what he did on this night.

Kudos.

[Sivaramakrishnan]

I have often wondered why the Sahitya passage 'athivegama' not commonly used for neraval in Bhuvinidasudane(sriranjani).

I have listened to Semmangudi - king of this kriti - doing spirited swaraprastara for the Pallavi.

[narayan]

I have often wondered why the Sahitya passage 'athivegama' not commonly used for neraval in Bhuvinidasudane(sriranjani).

May be because it is 'avivEka mAnavula ...'?
See
http://sahityam.net/wiki/Bhuvini_Dasudane
or other sources.
Or are you referring to some other part of the song?