This concert, in many ways, gives us some hints about BMK’s thought-process in selecting and presenting some of MD’s creation with full serenity, resourcefulness and every facet of the music flow.

One such composition that follows the buoyant Bilahari ālāpana here is, Shri Bālasubrahmanya, dedicated to the presiding deity of Swami Malai in Tamil Nadu.

The rendition could be a benchmark for producing MD’s music with near perfect frequency through his vocal chords, perfect breath control and paying special attention to articulate the Sanskrit syllables to project its optimum sound value blended with musical notes.

Some 35 or 40 years back, when my distinguished friend Sri. T K Ramkumar found a spool tape of this concert, we together went around in Bangalore on his scooter in search of a spool tape recorder to play the concert. When we ultimately succeeded in transferring the audio from the spool to a cassette tape by using all our engineering skills, the outcome of listening to this concert became a milestone in our journey in listening to classical music.

We observed and learnt that while the compositions of Shyama Shastri excel in intricate rhythmic patterns, those of Saint Tyagaraja in the happy blend of emotion & melody, those of Muthuswami Dikshitar are in their richness in portraying the vivid and detailed description of melodic beauty and variety.

Please listen to the Bilahari rāgālāpana, the presentation of kriti and how BMK sings playful rounds of kalpanāswara at the pallavi phrase line in both first and in the second speed.

Also, please listen to Sri. Purnachander's detailed narration about nuances in the rāga Bilahari, tāla-mishra chāpu and the subtleties in the lyrics handled by BMK in this rendition.

Here is a link to Sri. Purnachander's introduction :
[ Ссылка ]

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