An atmosphere can
sometimes play games with our senses and so it did on the 25th July
2005 at the Music Academy in Chennai., Tamilnadu
I had been
fortunate to be invited by my guru, Dr M Balamurali Krishna to attend his 75th
Birthday celebrations. I could be excused for imagining I had gone back in time and that I was in the
court of a Maharajah about to confer some great honour on a favoured subject
and so in truth it was .
The atmosphere in
the auditorium was electric as the chief minister of Tamilnadu Selvi
Jayalalitha, serene and majestic, stepped into the auditorium on the stroke of
five (pm). Regal to behold, surrounded by her security guards, very much the same
as may have happened in times gone by….. one could not help but feel a sense of de javu, that this would have happened to a Tansen or a Thyagaraja, a Mozart or a Beethoven. Royalty showering their patronage on a favoured subject.
The atmosphere as I said, was electric with anticipation.
In the front rows
sat some very important people indeed, billionaire industrialists, front-ranking musicians, and the real who’s who of Chennai society. It goes without
saying that the auditorium was filled to capacity and because of the CM‘s
presence, security literally popped
out of the woodwork!
The CM took to the
rostrum and below this article appears her verbatim speech in praise of Padma Vibushan Dr. M Balamuralikrishna. Her
admiration and deep respect for Dr. BMK are poignant and totally unabashed.
After the speech
Sri Selvaganesh and troupe performed a brilliant talavadhyam . The school of Dr. Saraswathi (Vipanchee) who’s
students, very young (6 to 12 yr olds, performed
exquisitely a Varnam composed by Dr BMK
My guru then
performed a short concert (at the CM’s insistence) for the invited audience. In
this short concert he also sang a special composition in praise
of the CM composed for the occasion.
Radhakrishnan Pillay.
The speech of the
CM of Tamilnadu on the occasion of the
75th Birthday celebrations of Padma Vibushan Dr M Balamuralikrishna
follows:
Speech delivered by Selvi J Jayalalithaa, Hon’ble Chief Minister of Tamil Nadu
during the 75th birthday celebrations of Dr. M. Balamuralikrishna and Chevalier
Award Felicitation Function on 25.7.2005
It is my proud privilege to be here today to share the dais with one of the most
extraordinary Carnatic Music geniuses of modern times Dr. M. Balamuralikrishna, and
to felicitate him on his 75th birthday and upon his being conferred with the prestigious
Chevalier des Arts et Lettres Award by the French Government. Dr. Balamuralikrishna
is truly a doyen, a Pithaa Mahaa of Carnatic music today, coming as he does in the
glorious tradition of the Thanjavur Trinity of Thyagaraja, Shyama Shastri and
Muthuswami Dikshitar. It was Thyaga Brahmam who sang in all his humility,
“Endharo Mahanubhavulu, Andariki Vandanamulu”, that is to say, “Great souls are
many, to all of them my salutations”. No account of modern day Carnatic music can be
complete without acknowledging the sterling contributions of Dr. Balamuralikrishna.
To you, Mahanubhava, Ma Vandanamulu.
In India, whether it is in the North or South of the country, the word we use for
music is Sangeetham. However, singing or vocal music enjoys pride of place in the
comprehensive art form of Sangeetham. Even in the Natya Shastra of,Bharata, geetha
was the main limb followed by instrumental music and dancing. Legend has it that
once upon a time, a king wanted to learn sculpture and went to a Rishi to be taught the
art. The Rishi asked him, “How can you learn sculpture, if you do not know painting?”,
to which the king replied, “Master, teach me the art of painting”. The sage then said,
“But how will you understand painting without the knowledge of dance?” to which the
royal disciple said, “Then, instruct me in dance, Swami”. The teacher replied, “But you
cannot dance without knowing instrumental music”. “Then, let me learn the laws of
instrumental music” prayed the king. The Guru is supposed to have replied,
“Instrumental music ban be learnt only if you study deeply the art of singing, which is
the fountainhead of all arts” Dr. M. Balamuralikrishna is a Sangeetha Kalanidhi whose
silken melodious voice has mesmerized generations of connoisseurs and commoners
alike. His mastery extends not only to vocal music but to instrumental music as well,
with his versatility in playing the kanjira, the mridangam, viola and violin not only as
an accompanist to other great vocalists but also in independent concerts. On his 75th
birthday celebrations, we can only marvel at the many brilliant facets of this Diamond
amongst Carnatic Musicians.
The brilliance of Dr. Balamuralikrishna, we are all aware, became obvious at a
very tender age. When he was just eight years old, when most other children would
have just let go of their mother’s apron strings, he gave his first full-fledged public
performance. From then on, the entire Carnatic music world has been swept off its feet
by his magnetic, vibrant, melodious voice with its perfect mastery
over all three octaves. Dr. Balamuralikrishna has travelled all over the world and fired
the imagination of awestruck rasikas in almost every country of the world, enthralling
not only Indian but Western audiences as well.
The ability of the voice to transmit music as well as prose places it at the
centre of almost all Carnatic music compositions. According to Hindu Philosophy,
pure sound is Nadha Brahma and it is believed that the propitiation of Nadha leads to
the attainment of Moksha or Salvation. It is, for this reason that Saint Thyagaraja in his
kriti “Sobillu Saptaswara” sang that “It is not merely the voice, but the entire being,
including the abdomen, the heart, the vocal chords, the tongue and the nose that shine
in all the seven notes of the octave. Let us worship the confluence of all of these
through music.” Thus, the singing of Carnatic music is an experience that involves the
artistes entire being. Those of us who have been fortunate enough to listen to Dr.
Balamuralikrishna’s performances vividly remember the energy, the sheer magnetism,
the resonance, the radiance and effulgence of his voice, heart and spirit that transport
us all into a higher plane of enjoyment of the Nadha Brahma.
Carnatic music, particularly in its vocal form, is like the everflowing waters of
a mighty river and Sampradhaya or tradition is like the banks of this river, which give
direction to the flow of the water. If there were no direction from Sampradhaya, there
would be flood However, who can deny that the vibrant energy of the flood is what
gives new course to the river as it accepts new tributaries. So too, with the classical
singer who, even as he expresses the composition in the grammar of raga and tala,
breaks out into a spontaneous flash of creativity of new expressions of the navarasas,
by the power of his sadhana and his true devotion. Dr. Balamuralikrishna is the most
outstanding modern exponent of this fine balance between the grammar of raga and
tala and the poetry of rasa and bhakti.
Dr. Balamuralikrishna’s restless energy and vitality did not allow him to rest
content with worldwide fame as a concert vocalist. Even as a child prodigy, when he
was just 14 years old, he had composed a detailed work entitled Raganga Ravali, the 72
Melakartas Scheme (basic scales of music) with a composition in each of the melas. All
the songs have been published with notations and he has himself rendered the kritis in
praise of various Gods and Goddesses apart from Saint Thyagaraja, Muthuswami
Dikshitar etc. Dr. Balamuralikrishna has enriched Carnatic music with over 400
compositions in several new musical scales, including varnams, kritis, javalis and
tillanas in languages like Telugu, Tamil and Sanskrit. He is credited with creating new
ragas like mahati, sumukham, trisakthi, omkari, lavangi, pratimadhyamavathi, etc. He
has experimented with ragas having only four swaras in both
arohana and avarohana, deviating from the convention of at least five swaras in the
arohana and avarohana
Apart from his mastery over Carnatic music, he has also performed
Jugalbandhis with a number of Hindustani classical musicians like Pandit Bhirnsen
Joshi, Pandit Hariprasad Chaurasia and Smt. Kishori Amonkar, in promoting the cause
of National Integration through music. It is no wonder, then, that he has been the
recipient of a number of prestigious awards like the Sangeet Natak Akademi award,,
Sangeetha Kalanidhi, Kalidas Samman, Padmashri, Padma Vibhushan, apart from a
number of Doctorates and a host of other titles and awards.
Dr. Balamuralikrishna must be credited with giving Carnatic music a global
image. He has appeared as a featured soloist with an award winning British choir,
performing the “Gitanjali” with words from Rabindranath Tagore’s Nobel Prize-winning poetry. His clear diction in several languages prompted an invitation to record
Tagore’s entire Rabindra Sangeet compositions in Bengali, preserving them for
posterity. He has sung in French and even ventured into jazz fusion. Similarly, Dr.
Balamuralikrishna has an innate capacity to absorb the facets of foreign cultures and to
transmit them to his music. In a song based on the Raga Kedaram, written in the
solitude of a Russian hotel in the 1980’s, the charanam describes the principles of “To
each according to his needs”, in practice in the erstwhile USSR, in the words “yevari
joli varidhi ita joliki pani ledhu”. Owing to the cosmopolitan and global
contributions of Dr. Balamuralikrishna, there has been a paradigm shift in the
patronage of Carnatic music in the West. The conferment of the French honour of
Chevalier des Arts et Lettres (Knight of the Order of Arts and Letters) this year has,
therefore, come as no surprise, being an international recognition of his all-round
contribution to the cause of Carnatic music in India, and the World.
With all these awards and accolades at the international level and his
outstanding contribution to classical music, Dr. Balamuralikrishna’s appeal is not
restricted to the purist or the elite connoisseur alone. He has also endeared himself to
the public at large by his tasteful and melodious contributions to light music and films.
As would be characteristic of his genius, he has excelled in the celluloid world as well.
Who can forget the honeyed sweetness of his song in the film “Kavikkuyil,
Chinnakkannan Azhaikkiraan” based on the Raga Reethigowla? He is, perhaps, the
only musician who has received National Awards as a classical singer, composer and
a film Playback singer as well. Dr. Balamuralikrishna has received the National
Award as the Best Playback singer for “Hamsageethe” in Kannada, and Best Music
Director for “Madhvacharya”. He has even acted in a Malayalam film. One can only
marvel at the myriad achievements of this multifaceted genius. How much he has
packed into a single lifetime! To recount the many many achievements of
such a mastermind, and virtuoso, one can only stand back and despairingly say “Oru
Naal Podhuma? Indru Oru Naal Podhuma!”
This has truly been a memorable evening of song and dance, with scintillating
performances in vocal and instrumental music, and dance by a number of very talented
artistes. They have put together an unforgettable treat for our eyes and ears. I wish to
congratulate all of them for their excellent performances. But what has been special
and an unforgettably joyous experience for me was this opportunity to hear the
maestro, Dr. Balamuralikrishna sing in person, once again. It is an experience that I
will cherish for a long time to come.
I came here today to honour Dr. Balamuralikrishna but he has honoured me in a
way I never expected. He has created a new raga, he has composed a kriti in this new
raga, he has named this raga after me and he has dedicated this raga and kirti to me.
This is an honour I never dreamt of and something I will cherish with utmost humility
till the end of my days. While speaking here many referred to Dr. Balamuralikrishna as
Padma Vibhushan. It is my firm conviction that Dr. Balamuralikrishna deserves no less
than the “Bharat Ratna”. A day will come when we will be able to influence even at the
Centre and God willing when such a day comes, I will see to it that Dr.
Balamuralikrishna is awarded the "Bharat Ratna". By awarding the "Bharat Ratna" to
him India will only be honouring herself. After seeing his rendition, hearing his
rendition of the new raga which he has composed and dedicated to me I would like to
say that if I have one wish it is this. If there is another janma, another birth I would like
to be born as a disciple of Dr. Balamuralikrishna. I would like to learn Carnatic Music
under his tutelage and become such a great singer that my Guru should say "&Ljrr4"
after hearing me sing.
On a momentous occasion such as this when thousands of grateful rasikas like
us are gathered here to felicitate a musical Colossus like Dr. Balamuralikrishna, it
would be in the fitness of things to hon6ur him yet again. I am keenly aware that as
John Ford, the English Dramatist of the 1739; century wrote in his play, The Lady’s Trial
Act I Scene 3, 1 quote
“Titles of honour add not to his worth,
Who is himself an honour of his titles.”—unquote
To a creative genius like you, Sir, an Award would be but another in a long list
of honours bestowed on you, but to the grateful world of rasikas and all those who
appreciate art and culture, it is their way of showing their deep appreciation of your
tremendous contribution to Carnatic music, Indian Art and World culture. As a mark
of the love and admiration of the people of Tamil Nadu and the appreciation of the
State Government, I have the greatest pleasure in
announcing that the Government of Tamil Nadu has decided to confer upon Dr.
Balamuralikrishna, the title of 'Gandharva Gana Samrat'. I also pray for the good health
and well-being of Dr.Balamuralikrishna so that he may continue to shine as a glittering
diamond in the Carnatic music firmament, and continue to give us more and more of
his divine compositions and enthrall all of us with the sweetness of his melodious
voice.
Rabindranath Tagore wrote in mystified praise of the Divine, thus,
“I know not how thou singest, my Master! I ever listen in silent amazement. The light of
thy music illumines the world!”
These words could well describe the genius we know as our Dr.
Balamuralikrishna.
I once again thank you for giving me this unique opportunity to felicitate you.
The Modern Thyagaraja – A Tribute to Dr, M Balamuralikrishna
By Bhushan Toshniwal
Credit: Acharyanet
Credit: Acharyanet
One fine day, while listening to my music collection, I came across raag Abhogi by the Carnatic music maestro DR. M Balamuralikrishna [hereafter referred to as BMK]. My first introduction to BMK, was through a jugalbandi, which he did with late VidushiKishoriAmonkarji. I thoroughly enjoyed it, however was rather sceptic about whether I would enjoy pure Carnatic music, as I did not have much exposure to it. BMK transcended all boundaries of musical styles/conventions/traditions.
It is often said that, music does not have any language, but I experienced it first hand with this particular rendition. BMK’s majestic voice, his 3.5 octave range, his logical interplay of phrases right from slow and calm, to lightning fast ones, culminated into a beautiful musical rainbow of infinite colors. Within only 10 minutes of raagaalapana, BMK gave the Darshan of RaagaAbhogi in its various facets. Then started his own composition, in which he sang Kalpana Swarams. Kalpana Swarams reflect the playful nature of a raga, and BMK played with the notes of the raga, just like a child plays with his favorite toy. As I heard more and more of him, I found myself gravitating towards his music in particular, and Carnatic music in general.
Originality
The secret of BMK’s musical genius, and his high popularity, not just among Carnatic connoisseurs, but also among lay people, was his originality. His guru was a great motivator, who constantly inspired him to have his own identity. Once BMK played a Raaga on violin. His guru said, “You played well, but I didn’t see Balamurali in it.” Events such as this, motivated BMK right from his childhood, to discover himself. Even when there was no internet in those days, BMK never wanted to be behind anyone, in terms of knowledge. When he heard the great Hindustani legends Nazakat and Salamat ali khan, he thought as to why a Carnatic artist cannot sing 3 octaves. Later, he developed his much talked about 3.5 octave range, in which he had perfect control on voice throw. It was a convention in Carnatic music to rely heavily on syllables, while singing raagaalapana.
BMK focused more on akara [carrying forward the tradition set by G N Balasubramaniam], since he did not feel the need of so many syllables. He accompanied many maestros of his times on violin, and imbibed all their good things. Since he learned violin, veena, viola and mridangam, he brought all the aesthetics of these instruments into his music. His quest for innovation led him to try out different things in highly popular ragas. For example, in raag Charukeshi, he would develop more in Ni, which is not conventional. He believed that, the positions of ghamakas is different for every raaga. Continuing the above Charukeshi example, he once said, “People think of Charukeshi as Shankarabharanam in the first half and Todi in the second, and sing ghamakas of those raagas. But Charukeshi is different from these. So, ghamakas should be sung differently.”
Even a well wornraaga like Kalyani would sound different in every rendition of his. In his own words, “You should think of a raaga as a person, then only you can invoke the raaga in its various facets. If you learn only ascending and descending scales, your raaga understanding will be very limited.”
BMK popularized lesser known ragas like Sunadavinodini. (358) The melody of vintage Sunadavinodini – M Vasudevacharya’s “Devadi Deva” – M Balamuralikrishna (1966) – YouTube After the rendition of the Krithi “Devadhi deva” in this raaga by Mysore Vasudevacharya, the composer came with tears in his eyes and told BMK, “This krithi should be sung only this way.”
Another of BMK’s popular rendition is the ThyagarajaKrithi “Nagumomuganaleni” in Abheri. (358) Dr Balamuralikrishna’s ever young ‘Nagumomu’ – YouTube
BMK changed its style of rendition to bring out the correct meaning of the song. Even though BMK had to pay a high price for this originality, [a lot of reviewers wrote against him, and he was banned from many sabhas] he continued in his own way.
Music composer and creator
BMK’s zest for innovation resulted in the creation of various raagas, new tala system, and many Varnams, Kritis, Tillanas and other light songs.
Creation of New Ragas
It is believed that, to make a raaga, one should take minimum of 5 notes. However, BMK created raagas with 3 and 4 notes. His first such creation was raag Mahati, which contains 4 notes viz. Sa, Ga, Pa, and Ni. (358) Mahanīyamadhuramūrté – The melody of 4-note Mahati over the 4 decades – M Balamuralikrishna. – YouTube
The story of this creation has been mentioned in his own words as follows. “Once, a song came to my mind. I sang it before some people, and they liked it. While analysing the song I realized that, it has only 4 notes. I named this raagaMahati, which is the name of the veena used by Narada. Our music started with only 4 notes, so there is no reason why a raaga cannot be made using 4 notes.” Many such ragas like Lavangi, Sindhi, sumukhi [all having 4 notes] and Trishakti [earlier named as Sarvashri], Ganapati, [both containing 3 notes] would emerge as time went on.
New Tala System
BMK developed a tala system known as Mukhi Talas. In this, the Gatibhedam is done only on the Sashabda Kriyas [the kriyas which are heard] and the nishabda kriyas remain in chaturashragati only. For example, if the tala is PanchamukhiAdi, the 1st fifth and the 7th bit of the tala would have 5 units while others would have only 2. He composed some pallavis in these talas. For example, Sangeeta layaDnyanamuSakalaSaubhagyamu in Kalyani ragam and in PanchamukhiAdi talam. (358) Dr.M.Balamurali Krishna- RTP Kalyani – YouTube
Another example is the pallavi Murali ganalolanililannajalara set to raag Gamanashrama in NavamukhiRoopakam [which was rendered at the Music Academy in 1983 on account of the completion of 53 years of the same. The raaga Gamanashrama is the 53rd melakarta.] (358) RaagamThanaam Pallavi || Dr M Balamuralikrishna || Carnatic Clasiical – YouTube
Ragam Taanam Pallavi
This was the speciality of BMK. The Pallavis he created have a very wide range of ideas. Some pallavis like Mohan madhumuraliravaliHaayi, (358) The Magic Flute – A RagamTanam& Pallavi in HIndola – M Balamuralikrishna (1981) – YouTube or ramaya namaste shreeraghu, (358) A Six Speed Pallavi and a Sixer – Dr. M Balamuralikrishna – YouTube[set to Adi talam] are extremely simple, while some pallavis like Vanaruhalochanabhogishayana, (
He would sing pallavi in complex talas like ThishraJhampa SankeernaNadai using combination of two ragas like Sunadavinodini and Bhairavi, (358) Dual Rāga RTP – Sunādavinódini&Bhairavi – M. Balamuralikrishna (1 Jan 1978 MMA) – Track 6/8 – YouTube or Amrutavarshini and Anandabhairavi. He sang a pallavi in Revati, in which the concept of Gopuchayati was used. (358) Vidwan Dr M Balamurali Krishna RTP RagamRevati( BairagiBhairav) – YouTube
To sum-up, he was an artist who could do full justice to the spirit of creativity involved in singing RTP.
Varnams
Each of BMK’s varnams are different from each other. In other words, there is no fixed formula for the same. Normally any varnams theme is that the Nayika is missing her lover, who happens to be Lord Venkatesha or lord Subramanyam etc. However BMK’s varnams are all devotional in nature. His famous varnam in Gambheeranattai has pallavi and anupallavi of one avartana each, instead of the traditional two, yet it sounds complete. (358) 01 – GambheeraNaata – Varnam – M Balamuralikrishna – Muraliganam in Ganeshotsavam (1997) – YouTube
In another of his varnams in Nattai, the charanam begins on the 4th unit of the 4th beat, while chittaswarams begin from the samat. Another speciality of these chittaswarams is that, there are 7 of them and all begin from all 7 notes of the raga [including ShatshrutiDhaivatam, which is not often used]. All chittaswarams except the last one are of 3 beats and 3 units leading to the charanam. (358) M Balamuralikrishna – Varnam – Nata – YouTube
In his Kharaharapriya padavarnam composed on Ganapati, he covers one incident in Ganapati’s life in each chittaswaram.
Kritis
BMK composed kritis with the Mudra Murali, exploring various ideas. His kriti “vegame gavara” in Abhogi is dedicated to the temple of Pandharpur, (358) VegamayAbhogi – M Balamurali Krishna(Album: Maestro’s Choice) – YouTube while another kritiBrihadeshwaramahadeva in Kanada is composed for the Brihadeshwara temple in Thanjawar. (358) Brihadhishwara Mahadeva – Kanada – Rupakam – Dr. M Balamuralikrishna – YouTube
He composed a krithi in Arabhi dedicated to three gods lord Ganapati, Hanuman and Krishna. (358) Dr M Balamuralikrishna’s Sri sakalaganadhipapalayamam – YouTube
A song on hanuman “hanuma hanuma” set to raga Sarasangi has each ma of the kriti falling on the madhyama note. (358) HanumaAnuma (Dr.M.Balamuralikrishna at Perla) – YouTube
Kritis like “sadatava pada” in Shanmukhapriya, (358) A Meditation in Shanmukhapriya – Sadatava pada sannidhim – Dr. M Balamuralikrishna (1975) – YouTube or the above mentioned AbhogiKrithi have very non-conventional chittaswara patterns. He believed that, the chittaswaras in any composition should convey the message given in the words of the song. One of his kritis in raga Revati is composed in all the 5 nadais of Adi talam. (358) The semblance of a flute – Mohana Vamshi Vadana – Revati – Dr. M Balamuralikrishna – YouTube
Some krithis like “GayatiVanamali” in Hamsadhwani are sung in madhyma Shruti. (358) An Innovative Hamsadhwani – GayatiVanamali – SadashivaBrahmendra – YouTuberagas like Hamsadhwani are never sung in Madhyama shruti, but BMK explored this idea.While talking about BMK’s Kritis, it must be mentioned that, he is among the very few Waggeyakaraswho composed Krithisin all the 72 melakarta ragas, so that the clear picture of these can be put before the audience. All these songs were composed by BMK, when he was only in his teens. Besides self-composed songs, BMK also set to tune, Kritis of various known and unknown composers. For example ‘piba re ramarasam’ by Bhadrachala Ramadas in Ahirbhairav. (358) Dr.M.Balamurali Krishna – PibareRamarasam – YouTube
So far, we have talked about BMK, as a composer of Krithis. But now we will talk about a unique format introduced by him, called KrithiThaanamKrithi [KTK], which brought together a few technics of raga development from Hindustani and Carnatic music. To illustrate this concept, I here take example of his performance of a self-composed Krithi in Kalyani VIZ. Sangeeta Me Mana Sukha Dayi. After singing the Pallavi and anupallavi, BMK sang a line from the Charanam, and started improvising by singing raga alapana. after every such alapana, this same line would be sung. This stile of development is followed in Hindustani music, where an artist elaborates raga, with the help of 1 or 2 compositions, set to various talas. [in Carnatic system, raga alapana is sung without tala, and nereval and swaram are sung with tala]. after singing alapana, he sang Thaanam, followed by the next line of the charanam. Later, the charanam was completed, and swarams were sung in regular manner. In this way, BMK explored many ideas not only while composing Krithis, but also while performing them.
So far, we have talked about BMK, as a composer of Krithis. But now we will talk about a unique format introduced by him, called KrithiThaanamKrithi [KTK], which brought together a few technics of raga development from Hindustani and Carnatic music. To illustrate this concept, I here take example of his performance of a self-composed Krithi in Kalyani VIZ. Sangeeta Me Mana Sukha Dayi. After singing the Pallavi and anupallavi, BMK sang a line from the Charanam, and started improvising by singing raga alapana. after every such alapana, this same line would be sung. This stile of development is followed in Hindustani music, where an artist elaborates raga, with the help of 1 or 2 compositions, set to various talas. [in Carnatic system, raga alapana is sung without tala, and nereval and swaram are sung with tala]. after singing alapana, he sang Thaanam, followed by the next line of the charanam. Later, the charanam was completed, and swarams were sung in regular manner. In this way, BMK explored many ideas not only while composing Krithis, but also while performing them.
Tillanas
BMK revolutionized the world of tillanas. Like his varnams and kritis, various new ideas were presented in tillana. In one tillana he used ragas Amrutavarshini, Mohanam, Kanada and Hindolam. The same tillana has been rendered using only Hindolam as well. Another such creation was his priyaragamalikaPanchabhedatill
In a tillana set to ragam Kalyani he has demonstrated the concept of grahabhedam. (358) Dr M Balamuralikrishna || Raag Kalyani || Thillana – YouTube.
He composed tillanas in hindustani ragas like Ahir bhairav, (358) DR.M.BALAMURALIKRISHNA – THILLANA – YouTube
Vrindavani, Jayjayvanti etc. He set to tune tillanas of some other composers like the one in Bhupalam by Maharaja Swati Thirunal. [He added sahityam for this as well, incorporating the mudras of both maharaja Swati Tirunal and himself viz Padmanabha and Murali respectively]. His tillanas in Kuntalavarali, Kathanakutuhalam, (358) Thillana = Kunthalavarali = Dr.M.Balamurali Krishna – YouTube
Behag(358) TillanaBehag – M. BalamuraliKrishna(Album: Maestro’s Choice) – YouTubeare noted for their special Jati patterns.
Jugalbandis
BMK transcended the barriers of Carnatic music by participating in many jugalbandis with Hindustani artists. His firstjugalbandi was with Pt. Bhimsen Joshi. The story of this jugalbandi has been mentioned in his own words. “ A music loving governer of Maharashtra thought of the idea of bringing stalwarts from both sides on one stage. He invited me and Bhimsen Joshi, and both of us accepted. We did not talk about it, we did not rehearse as well. We just sang on the stage itself. If you worry about what will happen, who will win etc, then you would not give your best.”
Later BMK gave many jugalbandi concerts with other artists like Pt.Jasraj, KishoriAmonkar, Pt. HariprasadChaurasia among others. His Jugalbandi with Bhimsenjoshi became very famous and according to many, he could even out-perform Bhimsen Joshi.
BMK sang jugalbandis with the next generation artists like Pt. Ajoy Chakraborty, Pt. Ronu Mujumdar, [among hindustani artists] and my guru Sangeet Samrat ChitravinaRavikiran, Sudha Raghunathan [among Carnatic artists]. In his words, “These jugalbandis offer an opportunity to both the artists to learn something from each other. We can learn many things from Hindustani artists, and they can learn many things from us. I wish that, there will come a day, when instead of Hindustani and Carnatic, our music would become oneBharatiyaSangeet.”
Thoughts on Music and Lyrics
Even though BMK was a classical singer, he tried to take good things from other forms of music. He says, “When you sing in films, you learn to sing according to the situation, and with a clear diction.” Before singing even a classical kriti/song, BMK would check the meaning of each and every word in it; So that he could do full justice to it. He says, “A musician should be very careful while pronouncing the words of the song. For exampleSamajawaragamana should not be sung as Saa Maja Wara Gama Na, as it totallydestroys the meaning of the song. Even while singing any Sangati, one should think whether the Sangati is suitable to the lyrics and the mood of the music.” This focus on clear diction and letting out the correct meaning of the song, helped him sing not just in south indian languages, but also in languages like Bengali, Hindi, Marathi etc. he says, “music that pleases the year is Carnatic music, as the word carnatic means the one which pleases the ears. KarneshuAtateItiKarnataha.”.
In Popular Culture
BMK sang and composed for many films and won national awards for both. He composed the music for the first ever Sanskrit film viz. Adi Shankaracharya. He captured the attention with his part in the song “Mile sur mera tumhara“ which was designed to show national unity. He composed ragas dedicated to Jayalalita, Mahatma Gandhi and the Veena maestro Dooraswami Iyengar. He also composed several bhavageetams, and also popularized the programme of devotional songs Bhakti ranjani on radio. While he was in Russia for a concert, he composed a song on Russians. He also composed a song in Kambhoji on the nature of the people from the four states of south-india.
Conclusion
BMK was a trend-setter not just in Carnatic music but in Indian music, who transcended all musical and geographical boundries. Even though he is no more with us, he lives, and will continue to live in our hearts through his divine music.