Meenākshi Jayadā - Hamsānandi - Glory of music as an art - M Balamuralikrishna (1973)

In this offering is an excerpt from a concert of the early '70s in which Mangalampalli Balamuralikrishna (BMK) has touched a number of chords and stirred a few to elevate the presentation to soaring heights. It is even unique without any exaggeration.

Here is a rare composition of BMK, sung in all its detail to emphatically capture the spirit of:

1. Devotion to the mother Goddess,
2. Greatness of music as an art-form, and the
3. Essence of attitude of gratitude.

While the rāga delineation, scaling several octaves, brings out the devotional fervour that fills the heart and envelops one imagination, the composition, that is dedicated to the mother Goddess – Meenākshi, hints at autobiographical memories to celebrate the essence of an attitude of gratitude, by remembering his guru – Parupalli Ramakrishnaiah Pantulu gāru. Finally, the elaborate swara-vinyāsam comes as a fitting tribute, eulogising the greatness of our music and its uniqueness in the 64 types of art forms. The composition is an example for 'small in stature; big in scope,' and BMK's canvas for its presentation is vast and colourful.

BMK has rendered the rāga Hamsānandi with Hindustani Maestros such as Pt. Jasraj and Pt. Ajoy Chakraborty in jugalbandhi settings. Many aspects of the raga were delineated in those concerts. But this recording of 1973 portrays many facets of the same rāga in different ways and the freshness of its fragrance touches the listener instantly and deeply.

Music, lauded as the pleasing and superior one among the 64 art forms, as presented in this rendition takes the listener to a new realm in the detailed swara-vinyāsam.

The opening line “Meenākshi” with its notes Nee, Ree, Gaa seem to invite various permutations and combinations of notes to culminate with the note “Nee” that blends seamlessly with the word Meenākshi, to clearly suggest the merging of art with divinity.

To illustrate with an example, listen to how BMK applies the notes “Ni – Da – Ma- Ga – Ri – Sa – Ni” with variations and the way he gently lands on the line Meenākshi. One of the most powerful aspects of this rendition is his dexterity in 'applied gentleness'- that deliberate application of the right softness in utterance throughout. While you listen to the words “mouna mélané” (why are you silent..?) in the Anu-pallavi, you would observe how he brings the silence through his unhurried gentleness. Perhaps, this could be described as the art of infusing life into the inanimate nature of words. Through his felicity of diction, the words seem to attain their fullest potential and intended meaning, retaining the melody and music. Isn't that an art in itself?

I do not have words to describe the way BMK has equated words to feelings impeccably. I can only recall a quote from the great poet Kamban to relate with it, "I am verily like the cat sitting on the edge of an ocean of milk, hoping to lap it all up."

The audio has been restored from an incomplete recording of a 1973 live concert in Trivandrum. BMK is accompanied by Sri. M Chandrasekaran on the Violin and Sri. Palghat Raghu on the Mridangam. While the accompanists have contributed to this great rendition through perfect follow up, at places their flourishes (vocal, violin and mridangam) lend to the uniqueness of the presentation.

Let’s listen and enjoy the music, learn something new, and discuss our reflections with others. It is to finally facilitate the process of music for posterity by sharing and listening with the younger generation.

My sincere thanks and appreciation to Sri. T K Ramkumar and Sri. Ravi Joshi for their support in bringing out this gem.