Guru Purnima is a festival that commemorates a disciple’s respect for the guru. It is essentially a thanksgiving occasion in which every disciple thinks of and thanks the guru in a spirit of devotion.

That every disciple pays obeisance to his guru is an essential and common theme; but to Mangalampalli Balamuralikrishna (BMK) belongs the credit of composing a variety of guru-vandana (adoration of the teacher) compositions. They are a testimony to his uncanny virtuosity in taking a theme beyond its usual utility and embellishing it with his unusual musical and poetic skills. These compositions are a veritable treasure trove of devotion to the guru and celebration of the institution of the guru-shishya relationship, that is so characteristic of our culture.

When we look closely at the compositions of BMK and study them, we could classify them into several themes and topics. From this, we could also understand the themes that are very close to his heart, and the theme - “Guru parampara in Muraligānam” stands out as one of the outstanding contributions to the world of music.

When we go even closer and deeper into the topic of “guru parampara,” we learn about the intensity of compassion, one-pointed devotion and the profound respect embedded in BMK’s heart for his beloved guru. The strength of his love spans from his guru to the feet of Saint Tyāgarāja.

For Guru Purnima 2019, we have explored a topic that is dearest to BMK and have put together compositions that highlight the glory of the guru in this offering with the album “Gāyati Murali Priya Guru Ravali.”

To facilitate an exclusive listening session, the concert is presented in two parts. It is hoped that this approach would help you enjoy listening to the entire concert at your convenience.
Part 1 of 2 : The album opens with an invocation on the relevance of guru, a rare recording without accompaniments, and flags off our journey into the album.

The Khamās Varñam, an exquisite rendition, which was composed in the very early stages of the maestro’s journey in music, helps us to visualise the young Muralikrishna sitting in front of his guru – Gayaka Sarvabhouma Parupalli Ramakrishnayya Pantulu (PRP). It provides a contextual setting to savour the album.

BMK, following the same approach of St. Tyāgarāja in his composition “Gānasudhārasa pāna niratam” (i.e., a composition in Nāta sans D3, excepting for the line of lyrics containing the name of the seven notes), sings His praise and highlights Tyāgarāja’s contribution to redefining and establishing the grammar and practice of Indian music, by bringing out the essence of euphony.

In the composition ‘Bhāvamé mahā bhāghyamurā’, BMK says that he is immensely fortunate to express his devotion to the heritage of his gurus and their lineage, starting from Saint Tyāgarāja to PRP.

Then follows a rare rendition in rāga Gurupriya which connects PRP to his guru Susarla Dakshinamurthy Shastri (SDS). Here, BMK says, his grand guru SDS dwells in the heart of musicians such as PRP and also enjoys the music of Murali.

From here, we are transported to the banks of Kāvéri in Tiruvayyāru, where BMK composed this popular song in ‘Amritavarshiñi’, which is dedicated to Saint Tyāgarāja portraying the then prevailing contemplative mood experienced by him.

The next track is a composition in the rāga Mahati. Among many of his creations, BMK appears to have had some special attachment for the rāga Mahati. When this kriti was rendered by BMK in the presence of his guru, PRP was seen wiping tears of his eyes… recalls the veteran violinist Sri. Annavarapu Ramaswamy.

The Sowrāstra composition brings a colourful celebrating mood and BMK invites “Come! Let’s pray and talk about the glory of our master, who has come upon this earth and obtained emancipation.”

As a penultimate track of this part, we have a testimony from BMK about his guru and guru parampara. This short speech is also a testimony to his one-pointed devotion to his lineage. The “tone in the speech” resonates with the emotion and aesthetics of his renditions.

Finally, there comes a rare rendition as a crest jewel, offering salutations to Lord Shiva, the Ādi guru (Sri Dakshināmūrti), in the rAga ‘Shivaranjani’ . Here BMK says, “accumulation of pious and meritorious deeds done in my former lives have indeed transformed as music and devotion in the present life.”

00:00 🌹
00:06 💐Introduction
00:32 💐gurulEka etuvaNti guNiki - gowri manOhari - JhmpE - Tyagaraja
03:07 💐varNa - Ve sAritine - kamAch - Adi - BMK
08:42 💐gAna sudhA rasa pAna niratam - nATa - Adi - BMK
21:05 💐bhavamE mahA bhagyamura - kApi - Adi - BMK
27:27 💐sadguru dakshiNAmUrtim - gurupriya - Misha JhmpE - BMK
33:18 💐sAma gAna sArvabhouma - amrutavarshini - rUpaka - BMK
44:30 💐mahanIya madhura mUrte - mahati - rUpaka - BMK
55:25 💐swamini vEDaga - sowrashTra - Adi - BMK
59:17 💐BMK Speech about his guru parampara
1:08:10 💐shri rAja rAjEshwara - shivaranjani - Adi - BMK

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