Reviews
Concert review: Kunnukudi Balamurali Krishna
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Kunnakudi M. Balamurali Krishna presented a concert at Vani
Mahal for Thyaga Brahma Gana Sabha with an innovative twist. In addition to the
traditional violin and mridangam accompaniment by Mysore Srikanth and Shree
Sundarkumar, he was joined by tavil vidwan Tanjavur Govindarajan and nagaswaram vidwan T. P. N. Ramanathan. The inclusion of these instruments added a unique
dimension to the concert. It was truly commendable to see these rarely showcased instruments take center stage during the Margazhi season, a platform that seldom highlights them. Equally intriguing was the anticipation of how Balamurali Krishna would seamlessly integrate these instruments into his concert.
The concert began with the popular Sidhi Vinayakam anisham
in Shanmukhapriya, enriched with kalpana swaram. The swaras and koraippu
followed a vocal–nagaswaram-violin sequence, while the tavil and mridangam
alternated. The combination of so many instruments alongside the vocal
performance was undoubtedly a feast for the senses. However, the absence of a
prominent tambura sound diminished the overall harmony, as one couldn’t feel
the comfort of the music being one with the tambura as one might have hoped.
Violinist Mysore Srikanth introduced Poornachandrika, which
was followed by Sree Rajarajeshwari in the same raga. Balamurali Krishna added to the composition by presenting a few kalpana swaras. The mridangam
accompaniment was particularly commendable, lending excellent support to the
composition, though it concluded with an unusually long arudi that felt
slightly overstretched.
Next came an elaborate exploration of Lathangi. Balamurali Krishna showcased a series of fast phrases and Panchama varja
patterns, but the performance felt hurried at times, leaving little room for
the raga’s inherent elegance to unfold. As he reached the mel shadjam, the nagaswaram
took over, offering a refreshing perspective by emphasising Lathangi’s more
traditional phrases. When Balamurali Krishna returned, his approach shifted to
slower, more expressive renditions that beautifully highlighted the raga’s essence,
with his brighas gliding effortlessly across the scale.
One sensed that Balamurali Krishna’s focus leaned more towards balancing the contributions of
all instrumentalists than immersing fully in his own musical flow. Among the
three artists, it was the violinist who truly stood out, delivering a masterful
interpretation of Lathangi. For the sub main, Balamurali Krishna chose Marivere
Dikkevaru and added an uncommon chittaswaram.
The evening’s undeniable highlight was a Mallari in
Gambheera Nata, composed by Thiruvengadam Nataraja Pillai, celebrated for his
expertise in this genre. This intricate piece, set in keezh kala misra Chapu,
showcased remarkable complexity and artistry. Balamurali Krishna shared that it
was Thanjavur Govindarajan who had taught him this mallari, which is often
regarded as a confluence of all mallaris. In his approach, Balamurali Krishna rendered only the swaras of the mallari, omitting the lyrics. The composition’s
dynamic shifts in pace and nadais created an electrifying atmosphere.
For the Carnatic audience, unaccustomed to hearing mallaris on the concert stage, this performance was a rare and refreshing experience. The rich, resonant textures of the nagaswaram and the vibrance of the tavil elevated the mallari to even greater heights. It was undoubtedly the crowning moment of the concert, leaving a lasting impression on everyone present.
The highlight of the evening was Chesinadella Marachitivo in Todi. The raga was introduced by the nagaswaram and violin, setting the stage beautifully, followed by an extensive and emotive exploration of Todi by Balamurali Krishna—a performance that was truly enchanting. The kalpana swarams were equally captivating, with some rendered in tisram, adding a rhythmic flair. The violinist showcased remarkable skill in executing fast patterns with precision and finesse. Balamurali Krishna’s strength lay in his mastery of kanakkus, intricate korvais, and his exceptional ability to experiment with laya. The tani, featuring both mridangam and tavil, was a standout moment. Sunil Kumar demonstrated remarkable versatility on the mridangam, exploring a wide range of tonalities and sounds.
This was followed by Neelakantan Sivan’s Theruvadapo
nenje in Khamas. In contrast with the rest of the concert, this was slow
and melodious.
Overall, the concert was a treat which would have been even
better had the tambura been louder, with the mallari stealing the show, ringing
in our ears long after the concert and leaving us yearning for more.