Adamodi galada - Charukeshi - Version 1 (1982) - The art of communication with the heart of Rama
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- čas přidán 13. 03. 2017
- On listening to a repeated rendition by Dr. Balamuralikrishna in a live concert with well-informed rasikAs, many a times, a discussion repeatedly witnessed was about the “freshness” that was experienced in his presentation, even in renditions like ‘nagumOmu’, which was sung quite often.
Last week, the same topic came up again for discussion with Sri. Ramkumar, as we both listened to ' the 2 renditions' of the remastered audio recordings from the early ‘80s.
The rendition is “ ADamODigaladA in chArukEshi”. These two are rendered in a span of about 1 year and on listening to it, one notices the freshness in each and wonders about its uniqueness.
My discussion with Sri. Ramkumar has resulted fruitfully and here is a narrative that attempts to explain, from the perspective of a well-informed rasika, for how Balamuralikrishna can present the same kriti with an uniquely enduring freshness each time it is rendered.
* * * * *
“ What is meant by freshness ? It is the point of view of how one can look at the rendition itself each time one listens to a particular rendition, especially in a concert. Generally one knows how a rose smells and there cannot be anything new or different when the same red rose is smelled again. But because there is fragrance attached to the flower that is unique when it emanates from a fresh rose, a fresh rose smells differently. Likewise, the aspect that a particular rendition sets one to view it in a different manner than what one is used to. In the case of a rose, it was that it was plucked just then; in the case of a rendition, it is that it was presented just then at that instant. That is freshness. Just to be clear, rendition includes rAgam AlApana, krti, sAhitya vinyAsam, svara prastAram, RTP, and even muktAyams. There is just no suggestion of predictability, but always a hint of something different.
That freshness, an uniquely enduring one, that Balamuralikrishna imparts to a rendition, is possible due to three aspects:
1) A true power of now-an absolutely in-the-moment presence that is both experiential to everything around him and exploratory.
2) A rare musical acumen-an amazing aesthetic approach due to which he is able to look at the entire rendition and present embellishments, musical and lyrical, with that often elusive to many but always available to him, sense of balance. As a result nothing is over done or under done. He figures out the components then, seeks the balance there, and arrives at the balance in the moment.
3) A childlike curiosity--a fearless and daring attitude to handle the rendition as if he is doing it the first time and just then. A mindset to constantly improvise to perfection then--without settling for merely doing it but do it innovatively.
It is never compulsive but natural, and always aesthetic but never hasty. The old does not come to him since it is boring and uninspiring; and what comes out gushing is exciting and beckoning.
That is how his music is filled with an uniquely enduring freshness every time he renders. One cannot help but make a comparison to food.
It boils down to one asking oneself, “Do I settle down for canned food for convenience, or freshly prepared food for contentment ?” When it comes to Balamuralikrishna’s music, often times it is like settling for freshly made food cooked innovatively then.”
* * * * *
We have titled these two tracks (version 1 and 2) as
“The art of communication with the heart of Rama”
to express the idea presented in the composition by Saint Tyagaraja and BMK’s uniquely enduring freshness each time it is rendered.
* Version 1 : An excerpt from SFAS Bombay concert (1982) With
Sri. Annavarapu Ramaswamy (Violin) and Sri. Coimbatore
Ramamurthy (Mridangam).
* Version 2 : From BARC Bombay concert (1983) With Sri.
Annavarapu Ramaswamy (Violin) and Sri. Guruvayur Dorai
(Mridangam).
Both versions have been restored and are digitally remastered for posterity through your listening experience.
My grateful thanks to Sri. Ramkumar for his support in bringing out this upload and please take your time to savour both versions and do share your thoughts. - Hudba
Truly astounding rendition with magnificent portrayal of raga , its character, bhava, and yet simple silken flow from the voice of the greatest master of all times.....
శ్రీ శ్రీ బాలమురళి గారు ,కేవలం పండితుల నె కాక నాబోటి పామరులను కూడా సమ్మోహితులను చేయు మహానుభావుడు.
Wow Murthy garu. This one has been my top most additction over past several years. I simply become emotional every time I listen to this. My all time favorite rendering. Of course, I also love his many other renderings of the same composition.
Couple of years back, I wrote about what I felt listening to this master piece with my brother-in-law. Pasting it below.
"This morning as soon as I got up, I made my coffee and started listening to thyagaraja composition Ada modi galada raamayya by BMK. This piece has always given me some inner peace. This time my imagination was that lord rama is sitting in a lotus posture with closed eyes. Seetha Devi is playing thamboora. Lakshmana is singing the song. Hanuman is playing mridangam. The first two beats of the mridangam when the song starts after alapana, always gave me goose bumps. While doing alapana Bmk stays on thara sthayi shadjam. This again feels as if you are having the glimpse of Rama as virata roopa. I never feel like waking up prostrating to the saint thyagaraja after listening to this bhakthi soaked master piece. Hail Sri Ram. Hail Hanuma. Hail Thyagaraja and hail BMK."
Very fine about the description of both the versions. Once Sri BMK himself had said which appeared in the newspaper also that he cannot sing or can't repeat in the same type which he has sung in the past be it the same raga and same kruthi. Being the musician who has inherited Sadguru Sri Tyagaraja's guru parampara (5th lineage of the order) what is not possible to his great and highly blessed birth (Karana Janma). He took birth for a special cause in the field of music. Pranams and thanks to Sri Srinivasa Murthy sir.
Great rendition. It is by BMK so the stamp of genius says it all. Very interesting observations on the freshness the great artist brings out every time. Two experts mr. Sreenivasagaru and Mr. Ramkumargaru who are obviously keen observers have brought out the uniqueness of BMK who brings newness and freshness consistently to the songs rendered on each occasion. BMK’s renditions never are similar while the kriti and raaga may be same. For instance ( nagumomu - Aabheri raaga ) arguably would have been rendered on maximum occasions by BMK due to popular demand but each rendition is unique and never same. The reason I attribute is to the creative instinct of this genius , hence never ceases to innovate. It is in this context the service rendered by Sreenivasagaru and team/associates assumes greater importance as songs are retrieved from archives and restored painstakingly with greater clarity for posterity to enjoy.
Namaskāram.
Thanks for your keen listening and sharing your observations.
You have mentioned “ creative instincts of a genius would never ceases to innovate” - an excellent pointer to contemplate while listening.
A marvellous rendition, thank you for posting Sir, I am tempted to say there is no better raaga than Charukesi and no better conversation than this (Tyagaraja Swamy with Srirama) 🙏🙏🙏
We have many versions of Charukeshi. but each one is different in all aspects.weather it is alapanam, kruti rendering or Swaravinysam. finely Sri Ramachandra will be having convergetion with Balamurali every time he renders this beautiful kruti
Yes
I am echoing yours and several other's thoughts. If I may paraphrase this phenomenon, if an artist (in real sense) renditions a raagam 100 times, each time, it is a unique art piece and will be never like another. Since its a creative act, even the artist fails to remember what/how he sang it earlier. So obviously we the ordinary mortals can never fail to appreciate any number of BMK's performances of
*-Abheri -Hindolam -Kalyani -Mohanam -Kharaharapriya -Mukhaari -Amritavarshini -Shanmukhapriya -Madhyamavathi -Kambhoji -Sunadavinodini -Sankarabharanam -Charukesi -Kalyanavasantham -Hamsadhwani -Bhairavi -All his tillanas -All his varnams* to name my favoirites of this wonderful artist and the greatest vaggeyakara on record I am blessed to delve into.
His outstanding *Pancharatnamulu* and *Bhadrachala Ramadasu Kruthulu*
Apart from ALL the above, his amazing *dual raga renditions* are true mark of virtuosity and beauty. I dont know if this prakriya was his own experiment or anyone used to do this? Haven't come across such by another musician.
I havent even mentioned a thousand other renditons just because this becomes a tedious essay.
I felli into this abyss of DRBMK's heavenly music, All thanks to you *Sri SreenivasaMurthy* , ever indebted
My life is not enough to imbue this genius in entirety.
Thanks
Sriram
Thank you for the essay. I thoroughly enjoyed reading it and I am also inspired to work to get some more renditions from the various concerts of the ragas listed by you.
Please keep sharing your thoughts and reflections. It is very helpful to deeply connect while listening to the tracks.
Brilliant rendition and bhakti filled accompaniment… Absolutely blissful…..
Apart from BMK's great rendition a special mention is also deserved by Mr. Ramaswamy for such amazing accompaniment.
This rendition reminds me of what is spontaneity. BMK has often excelled in this aspect of his creativity...That's possible only when the musician transcends beyond the creator ....We often say the music flows...yes it does from his enormous capacity to reinvent himself....Nithyananda sukam prapnoti yaha srunoti thasya gaanam... Sorry i dont have sanskrit keyboard and had to type in english....BMK iva gayaka na abhavat, bhavati , bhavishyati iti aham manye.....
Sangeeta saraswsti Sri Balamurali gatu and Saint Tygaraja Swamy, accompanying artists, andariki Padabhivandanamulu 🙏🙏🙏
మీకు ధన్యవాదాలు
Thank you so much for explaining about freshness of song. I might have listened this song more than 100 times and felt new at each time. In this bhogi morning , this song set my mood perfectly .
As I don't know any other best word to express my gratitude , thanks again
🙏🏻🙏🏻🙏🏻
I am echoning your thoughts. added my comment as well
Expose of what Karnatic music should be. Masterly and brilliant.
Amazing
I just forgot to mention one more thing...All this magnificence is due to his Guru who had showered enormous blessings on the great master....
This is like that dialogue ...
Coffee or tea?
Yes.
sonic tour de- force
What about real innovative ideas in this same raga when we all stunned and speechless while listening to national programme on 14-8-1976
Where is the version 2 presented?
czcams.com/video/Ji1Y7mDpT1I/video.html