Reviews

Concert review: Kunnukudi Balamurali Krishna

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. 

Subscribe