Mazhavarayanendal, better known as Mazhavai is a village on the western banks of River Vaigai in Ramanathapuram District. Chidambara Bharati who hailed from this place was a prolific composer. His hold over diction, display of sense and sound and a spontaneous blend of rhythm and form are amazing. His compositions bring out the rich raga bhava in full. ‘Ma Mayuramithileri Va' in Bilahari and ‘Amba Krupai Thanthu Rakshi Amba' in Karnataka Kapi are a few examples.
Kunnakudi M. Balamuralikrishna began his sparkling concert, for Mudhra, with Chidambara Bharati's lilting composition, ‘Pahi Pahi Baala Ganapathe' in Hamsadhwani in Adi, Tisra Nadai. He was in top form and a few brisk rounds of swaraprastharas, in addition to the charming chittaswaras, provided an energetic start to the abundantly rich fare that was to follow.
And, what a magnificent Begada was that! It was powerful like a tornado and in between, gentle as breeze. Let the musicologists discuss the ‘Ma' and ‘Ni' variations of the raga, but the one that Balamuralikrishna created was so full of life and verve that the spacious hall was filled with the very spirit of Begada. Mullaivasal Chandramouli on the violin re-created an equally charming raga. The little instrument just produces what he has in his mind. The kriti that Balamuralikrishna took up was Tyagaraja's masterpiece, ‘Nadopasana.' “The deities Siva, Vishnu and Brahma derive divine effulgence through worship of Nadha,” the Saint says. The niraval and kalpanaswaras were at ‘Tantri Laya Swara Gaana,' in the charanam. The thani provided by the versatile B. Sivaraman on the mridangam and the ever-resourceful Dr. Karthick on the ghatam was a gorgeous rhythmic exercise. The concluding korvai was as sweet as it was tough.
Balamuralikrishna's sub-main was Dikshitar's ‘Mamava Meenakshi' in Varali with the niraval and swaras at the usual ‘Shyame.' Neelakanta Sivan's Ritigowla kriti ‘Oararu Mukhane' brought out almost all the melodic sancharas of the pleasurable raga.
Well-handled Desadi Talam has a rhythmic beauty of its own. The pleasing ‘Nee Kelana' (Devamanohari) of Ramnad Srinivasa Iyengar with embellishing chittaswaras is set to this talam. The artist timed this breezy kriti well. The well-planned concert concluded with a Kapi Jawali and a Khamas thillana.
With his sonorous voice and proficiency in every compartment of Carnatic music, Kunnakudi M Balamuralikrishna has certainly a bright future.
(ramakrishnan.h@gmail.com)
