Prince Rama Varma NJ Concert - June 10, 2017

[Ramaprasad]

Prince Rama Varma (Vocal)
Avaneeshwaram S R Vinu (Violin)
B. Harikumar (Mridangam)
Dr. S Karthick (Ghatam)

Guruvayur Temple, Morganville, NJ. June 10, 2017

1. Amma Ananda Dayini_Varnam_Gambira Nattai_Adi. M. Balamuralikrishna

2. Deva Deva Kalayamithe_Mayamalawagowla_Rupaka. Swathi Thirunal [S]

3. Karuna Cheyvanenthu Tamasam Krishna [On Gurvayur Krishna]_Yadhukula Kambhoji_Adi.
Iraiman Thampi

4. Smarasi Pura Guru Vanitha [from Swathi Thirunal’s Kuchela
Upakhyana]_Anandhabhairavi_Adi [Tuned by M Balamuralikrishna]

5. Raminchuvarevarura_Suposhini_Rupaka. Thyagaraja

6. Hariyum Haranum_Athana_Adi. M D Ramanathan

7. Sarasaksha Paripalaya Mamayi_Kamavardhini_Chapu. Swathi Thirunal [A, S]

8. Ninnaiye Rati Enru_Sindhubhairavi_Adi. Subramania Bharati

9. Ragi Tandira Bhikshake Ragi Tandira_Nadanamakriya_Chapu. Purandaradasa

10. English Note. H Mutthia Bhagavathar

11. Thillana_Ahirbhairavi. M Balamuralikrishna

12. Sri Rama Nee Naamamu _Kaivara Amara Nareyana composition tuned by
M Balamuralikrishna


After a long chat with Prince Rama Varma for a radio program a group of us host in NJ, I came away with the impression that he is a multifaceted person. He is a musician and a mentor, a musicologist and an articulator, a traditionalist and a trendsetter. Exposed to four different gurus, and many manasa gurus, his music has evolved as his own, with the underpinning of a harmonious blend of his diverse schooling. That was evident to me when I later attended his live concert here. For me, it has so far been only the web as a source of this music

Without meaning to be disrespectful, this concert was like a buffet. The musical fare offered was a variety of some familiar and some rare works (at least to this rasika). What I liked, as a rasika, was this additional feature – for many of the kritis he sang, it was also a teaching moment that made the soiree even more delectable. I hope more musicians indulge in this mentoring, as the concert proceeds, that can only make us more enlightened rasikas. Engaging the audience, thus, is something I have not always found in my meager concert experience. I also want to add that any mistakes below are my misunderstanding of what he said on stage.

The tana varnam of Balamuralikrishna was preceded by a short history of varnams, with special reference to the Viriboni varnam by Pacchimirium Adiyappier. The 1-2-3 pattern of the first three syllables of this kriti has been emulated by composers to follow. It was a very lively delivery of the varnam, with frictionless gliding over the chittai swarams. Next, the rendering of Deva Deva Kalayamethe brought out the beauty and grandeur of this fundamental raga.
Balamuralimuralikrishna has brought to light many rare ragas, kritis and composers. His student has followed the trend. There are great composers from Kerala, in addition to the iconic Swathi Thirunal. One hardly hears their compositions. My two bit wisdom is that if we don’t sing them often, we will lose them. Rama Varma’s next piece, a kriti on Guruvayur Krishna, composed by Iraiman Thampi in Yadhukula Kambhoji, brought out not only the essence of this raga, but also the feeling how many such great compositions we are truly missing. That Iraiman Thampi was the teacher of Swathi Thirunal was also pointed out, especially for the benefit of a group of young people in the audience, who had just finished a two-day course under his tutelage.

After dwelling briefly on other musical forms that Swathi Thirunal had immersed himself in, a piece from his opera, Kuchela Upakhyana, was rendered in Anandabhairavi. This particular song was tuned by Balamuralikrishna and it has several Anandabhairavi sancharas that were the creation of Prayaga Rangadasa (maternal grandfather of Balamuralikrishna). Rangadasa was a composer and musician in his own rights and his illustrious grandson has sung many of his works.

Then followed a little gem of a composition of Thyagaraja in raga Suposhini (Janya of Harikambhoji). It is the only kriti in this raga. The Hariyum Haranum in Athana was preceded by an explanation of the sahitya whose essence was that whether it is Vishnu or Shiva, we are experiencing the same divinity.

The Kamavardhini kriti of Swathi Thirunal could be considered the center of gravity of the concert. It was, in my opinion, a tribute to M D Ramanathan. An in-depth and very contemplative immersion in the raga, with fragrances of the old master, but rendered with a feeling that can’t but touch our own hearts, was for me a spiritual moment.

Then followed short pieces, very joyously rendered, and made for a fitting conclusion to the musical evening. The English Note and Sri Rama Nee Namamu was really musical fun, since his students were asked to join in. The chorus of voices in harmony was an aural delight. Another educational moment was learning about Kaivara Amara Nareyana, an eighteenth century yogi, who lived in Karnataka and composed many kritis. His works have been aired by, yes, Balamuralikrishna. He also tuned Sri Rama.

I could write another essay of my heartfelt enjoyment of the three accompanists. Rama Varma told me, in his interview, that his concerts are always democratic, in the sense that he is not the center on the stage and the others are accompanying him. It is a team of four equals making great collaborative music. That needed no repetition as I followed his teammates on stage. What talent lurks in those fingers as they caress the violin, mridangam or ghatam. One had the additional good fortune of listening to Karthick’s konnakol. The privilege of listening to such a mature and gifted artist rendering this art form is not lost on this rasika. S R Vinu’s violin brought out and reaffirmed the melody just articulated by the vocalist with fidelity beyond explanation. The delicate touches on the mridangam by Harikumar, that was essentially a vocalization of music, was the other delight of the evening.

You see, it must have been very moving. I got carried away and wrote this long essay on my impression of the evening.

Ramaprasad

[arasi]

Ramaprasad,
Good to hear from you, and that too with this 'from the heart' review. After all, if the music we hear is moving, what more do we rasikAs need! Highly analytical assessments have a place too, of course. They teach us, guide us. Nevertheless, a concert which touches the heart is fulfilling...

The prince has so many facets. His zeal is endearing. Buffet or not (but a moving buffet, you say), Rama Varma certainly has proved to be very much a part of today's CM music scene--as a teacher, sponsor and a musician. He is a fellow artiste in the true sense. His ensemble speaks volumes about it...

[melam72]

Prince Rama Varma has a wonderful and unique style, and his disciple Amrutha is one of my favourites. He tries to present compositions we associate with BAlamurali's voice and bani in his own voice and bani, which may or may not succeed...

[Ramaprasad]

Thank you, Arasi. Some English writer, whose name I can't recall now, wrote that analysis was an enemy of pleasure!

[arasi]

When art, mind and heart come together, that is rasAnubhava for many...

[sreebeecane]

Curious: Why doesn't the good Prince ever sing neraval at all? I have never heard him sing neraval. Wonder why!

[Sivaramakrishnan]

....Some English writer, whose name I can't recall now, wrote that analysis was an enemy of pleasure!

That's a wonderful concept!!