5 months ago
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Kunnakudi M. Balamurali Krishna’s euphony is characterised by vibrant energy, a penchant for arithmetical intricacy and matching method virtuosity. When this flair is tempered by aesthetic sensitivity, arsenic it mostly was astatine his Bharatiya Vidya Bhavan recital, the effect is elevating. A seasoned accompanying ensemble of H.N. Bhaskar (violin), B. Shree Sundarkumar (mridangam) and S. Karthick (ghatam) played a cardinal relation successful sustaining this balance.
Balamurali Krishna opened with a neat presumption of the Khanda Ata tala varnam ‘Vanajakshi’ by Pallavi Gopala Iyer. Following an Abhogi outline, helium delivered a nuanced rendition of Tyagaraja’s ‘Nannu brova niku’, wherever the composer questions Rama’s inordinate hold successful granting him refuge. Judicious usage of janta and datu phrases embellished the kalpanaswaras.
Kunnakudi M. Balamurali Krishna. | Photo Credit: SRINATH M
The celebrated Tamil kriti successful Varali, ‘Kaa vaa vaa’, which seeks Muruga’s divine beingness and protection, was Balamurali Krishna’s adjacent song. The classic, with its pallavi and anupallavi replete with vocatives, invoking the god’s assorted names, was rendered with apt and animated intonation.
The vocalist past presented ‘Paridaanamichite’, Patnam Subramania Iyer’s Bilahari creation successful Khanda Chapu. Occasional off-key moments successful the accelerated passages of an different well-rounded raga effort suggested that the impulse to propulsion the tempo came astatine the outgo of alignment. Speed was again the driving unit successful the niraval and swara sections, wherever the accompanists were successful synergy, but the melodic quotient momentarily yielded to rhythmic drive.
‘Sanatana paramapavana’ successful Phalamanjari, invoking the grace of the Supreme, was sung successful a leisurely tempo that unfurled the quality of the Tyagaraja kriti successful this uncommon raga. An intriguing chatuswari vakra-sampurna melody derived from Karaharapriya, Phalamanjari has conscionable 4 notes (sa-ga-ma-dha) successful the ascent, and though the descent employs each seven, the bid is irregular.
Hemavathi, the main piece, catapulted the performance to a antithetic plane, arsenic some the alapana and the kriti ‘Sri kanthimatim’ provided an immersive experience. The raga was unveiled with unhurried, well-spaced phrases that revealed its contours successful its existent colours, and a sustained mandhra sthayi exploration was peculiarly compelling. It was similar a solemnisation of ‘Dikshitar 250’, arsenic Balamurali Krishna showcased the kriti’s architectural spot and meditative extent with a sublime rendition wherever tranquility ruled. This was followed by the kalpanaswaras astatine the pallavi opening, which embraced measured arithmetical articulation. The tani avartanam was an expansive percussion dialog betwixt Shree Sundarkumar and Karthick, defined by tonal clarity, absorbing patterns and variety.
A soulful rendition of Papanasam Sivan’s ‘Muruga muruga ena nee sol’ successful Hamsanandi rounded disconnected the concert, which underlined the worth of philharmonic restraint.
