Baala Kanakamayachela! The unexplored horizons !! - is a journey of the 3 musicians into a world of aThANa, through the conduit of Tyagaraja kriti - the presentation explores 3 stanzas of the kriti, of which only 1 is famous on date. The other 2, are equally beautiful, but were less explored by the artists over time. This is our humble attempt at familiarizing this generation with the full kriti.

The journey begins with the AnuPallavi - 'Baalakanakamaya chela' - it is a tradition to begin this kriti with AnuPallavi, perhaps because of its lyrical beauty, codified with 'antya praasa' or the rhyming of the last letter....'baala', kanakamaya 'chEla', sujana 'paripaala', Sree ramaa 'lOla', vidhRta Sara'jaala', Subhada karuNaala'vaala'....ghana'neela'...

All the charaNams of this composition flow with the 'dwiteeyaakshara praasa', or the rhyming of 2nd letters of the words, which in particular is trademark style of tyAgaraja, that requires mastery over the language. tyAgarAja does that effortlessly in most of his kritis.

In the 1st stranza, tyAgarAja pleads Lord Rama to come and shower his compassion on him. He tries to please him by showering praises....'dEvAdi dEva', 'mahAnubhAva', 'rAjeeva nEtra', 'raghuvara putra', 'sAratara sudhApoora hRdaya parivAra', 'jaladhi gambheera', 'dhanuja samhaara', 'madana sukumAra', 'budhajana vihAra', 'sakala Sruti sAra'.....

The artists delve into the crisp nuances of aThANa with their swara kalpana at 'rAra dEvAdi dEva' & merge into the 3rd stranza (presented 2nd in order)...

In the 3rd stranza, a lesser heard one in this kriti, bears the 'vAggEyakAra mudra' - 'tyAgarAjanuta' - here again he praises Lord Rama with various adjectives and pursuades him to showers his compassion on him. 'yAgarakshaNa', 'parama bhAgawatArchita', 'yOgeendra suhrdbhaavita', 'aadyanta rahita', 'nAgaSayana', 'vara nAga varada', 'punnAga sumadhura', 'sadAghamOchana', 'sadA gatija dhrita pada', 'AgamAnta chara', 'rAga rahita'...!!

It is here, that the artists dive deeper into another unexplored territory - graha bhEdam (tonic shifting) in aThANa. Yes! it is very rare to see. The team brought it out so effortlessly and seamlessly by shifting the scale to 'madhyama', which resembles a beautiful 'suruTi'. This metamorphosis of aThANa into suruTi, is presented using Swara Kalpana.

At this stage, the team makes yet another exploration into a concept of landing the swara kalpana, at each word in the sahityam...(typically, the swara kalpana lands at the starting word of the sahitya line, or at most 2 words at 2 different points of the sahityam, usually sung in Ragam Tanam Pallavi preserntations). The construction of the swara kalpana and the muktayi swarams stand testimony to the artists' calibre as professional Carnatic musicians. Konnakkol (pronounciation of jatis orally) by the percussionist is note worthy.

The team during this journey, makes another techtonic shift, this time in the 'gati', or the speed of singing of the anupallavi, by taking it to the dhrita kaalam, from the standard madhyama kaalam singing, thus culminating a series of explorations through the untouched areas of presentation of manOdharma sangeetam (extempore singing).

The 2nd stranza (presented last with titles) is yet again a persuasion by tyAgarAja, asking rAma to shower compassion on him, by praising him - 'rAjAdhirAja', 'munipOjita pAda', 'aravinda rAjasalOchana', SaraNya', 'ati lAvaNya', 'rAjadharanuta', 'virAjavAha', 'sura rAja vandita pada', 'aja janaka (father of Brahma)', 'dinarAjakOTi sama tEja', 'danuja gajarAja nichaya mrigarAja', 'jalaja mukha'...


Vocals: Kum. sOmayAjula vishNu priya indira
Violin: Kum. viShNubhoTla Sree poorNa gAyatree SivAni
Mridangam: Kopparapu KrishNaSravaN
Music Arrangement: jonnalagaDDa satya SreerAm
Camera: Chilumula bAlakrishNa
Audio, Video Editing: J S Sriram and toopurANi Sridhar
Special thanks: Smt.Arundhati; Master Vaasu SAStri
Special thanks to: Bharathi Cements, Vicat group.
Produced by: toopurANi Sreedhar, for SaamaNigama
(C) Copyright: SaamaNigama, Tumburu Music and Arts Academy Private Limited

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