The Chennai-based vocalist Kunnakudi M. Balamuralikrishna gave a brilliant vocal recital in Carnatic style recently at the Uttara Swamimalai temple popularly known as the Malai Mandir. The concert was part of the Skanda Shasti festival. In the concert of two and a half hours, Balamurali’s selection of songs for the concert, right from the Varnam to the concluding Thiruppugazh, was predominantly on Lord Kartikeya, keeping in view the occasion of the concert. Intelligently interweaving his creative talents, Balamurali sang to the utter delight of the music lovers.
Balamurali started his concert with the Adi taal varnam “Mal Marugan Murugan” in the raga Hindolam. After delightfully presenting this Varnam though in one speed but at a faster pace, he went on to sing a somewhat detailed kalpanaswaras towards the end, thus enlivening his recital from the beginning. The next item, an innovation song on Lord Ganesha, was Muthuswami Dikshitar’s “Sri Mahaganapathim” in the raga Gowla. The vividly crafted kalpanaswaras in a brisk tempo for this item too kept the proceedings lively.
Balamurali took up two Tyagaraja’s compositions “Lavanya Rama” in the raga Poorna Shadjam and “Vara Sikhi Vaahana” in the raga Supradeepam (Janya raga from Suryakantam, the 17th mela). He handled these compositions in a fine manner and brought out the lyrical and emotional values to the fore.
Balamurali then moved to take up Patnam Subramania Iyer’s “Aparadhamulanniyu” in the raga Lathangi for a detailed rendition. Besides, the scintillating raga alapana, Balamurali’s presentation of neraval of the phrase from the Anupalavi portion of the composition and subsequent kalpanaswaras once again brought to fore his creative talents. In particular, his foray into the higher octave while delineating the raga was a delightful experience.
Thoughtful choice
Papanasam Sivan’s composition “Karthikeya Gangeya” in the raga Todi seemed to be a thoughtful choice of Balamurali for the central item of his concert. In the unhurried and detailed delineation of the raga he brought out the essence of the raga in a fine manner. Apart from singing the song to a riveting tempo, he was in his creative best while singing the swaraprastharas.
Balamurali continued to sing energetically and infused liveliness in his concluding session too. He included in it a scintillating “Muruga Muruga Ena Nee Sol” in the raga Hamsanandi and Arunagiri Nadar’s Thiruppugazh “Erumayil Eri” in the ragamallika pattern.
Akkarai S. Sornalatha on the violin, N.C. Bharadwaj on the mridangam and Trichy S. Krishnaswamy on the ghatam, all from Chennai provided excellent support to Balamurali and contributed significantly both as a team as well as individually. Sornalatha’s delightful delineation of the ragas Lathangi and Todi and her befitting takes of kalpanaswaras were enjoyable. The percussion support was riveting and the talented duo played a fine tani avartanam in Adi taal commanding the appreciation of music lovers.
