M. Balamuralikrishna - 1967 House Concert at Parvathi

[Sachi_R]

https://chowdaiahandparvati.blogspot.co ... -dr-m.html


In this house concert, conducted at the residence of Sri. K.K. Murthy, the younger brother of Sri. K. Srikantiah, BMK's forte, across all his musical dimensions, is on full display. His own compositions shine with his unique treatment. He sings the songs that he made famous - be it a song of Jayadeva or of any other composer, even in the film world!

The way BMK sings Amrithavarshini, Shanmukhapriya, Kapi...they will linger long in our hearts and minds.

We are posting the last few remaining archive recordings left behind by Sri. K. Srikantiah... with a sense of duty and fulfilment.

[rajeshnat]

BMK got oru naal poduma(thiruvilayadal movie with KV Mahadevan) and then chinna kannan azhaikiran (kavikkuyil movie with the greatest isaignani illlayaraja) and with that himalayan 1000 x count of rasikas . From there on with rasikas he had his own non carnatic ness in his concert

Only he can sing these 3 thukkadas
1. Thangaratham - Abhogi - Viswanathan Ramamurthy/Kannadasan
2. Natavara Gangadhara - Abheri - Venkatrajau - Film Swarna Gowri
3. Orunaal Poduma - Ragamalika - Balamuralikrishna - Film Thrivilayadal

I have not heard the second song yet(natavara) but definitely the other two yet . HOw can the song thangaratham in a carnatic concert . I have heard quite a few concerts of his , one review of his i am still recollecting ... I remember BMK telling hemavati and embar kannan telling vachaspathi for the same song. BMK when he sings prathi madhyama raga the ambiguity kills me . Few early day renditions of Thyagaraja and definitely his ashtapati were great. As a composer preferably when other great vidwans and vidushis sing it is better.

Check the 2006 review of rams and me
https://www.rasikas.org/forums/viewtopic.php?t=1203

[shankarank]

Dr BMK's carnatic-ness exists in the laya dimension, not in the mathematics or triSram/khaNDam, just the plain kalpita sangIta rendering. First line , first sangati will make that clear , to those who train their ears , sorry nerves to sense that!

He is a full and full carnatic musician for that reason alone!

We are being told for a long time that carnatic music is rAg music or even Indian music is rAg music! All because , in all world music, music is all these notes and melody! That has been weaponized into into a new narrative also!

And for these popular items that are rendered at the end, every musician did that since ARI days. Naya sangeetham or mrdu sangeetham is a healthy wind down since the days of concert era music from 1920(s) onwards!

[shankarank]

Hemavati and Vachaspati , now that have been ruled as, [:cough:] non-raga ragas, are less of a concern how they got handled. They are KHP and HK counterparts.

As the Malayalam expression goes : reNDum koLLAm!

What may be of interesting analysis is the handling of PurvikalyANi below:

https://youtu.be/oHt_COwOgIk?list=RDoHt_COwOgIk&t=1160

PK is made to be a gamakakriya by the omission of N3 on ascent, with the suggestion that R1 and M2 be not too advertized on their positions. P-M phrases or dwelling on M2 is not ideal for a gamaka filled handling. Semitones should never be heard prominently. MDP is the preferred approach.

Dr BMK being himself , is sounding out gananasrama like melody in it. Not that Gamasrama has any ownership or identity that PK cannot encroach upon.

But the intent of dropping N3 from ascent , with jumping D2 and a jumping G3 is defeated , by introducing light semitonal touches.

He is essentially rendering a Hindustani PK of sorts.