On Tuesday, June 27, 1995 at 12:30:00 PM UTC+5:30, Ranganathan Srikanth wrote:
TyagaRaja Swamy -->> MaNAmBuChavidi Venkata Subbayya -->> Susarla >DakhiNaMurty(he hails from Krishna Delta and musician of great standing
in Andhra) -->> ParuPalli RamaKrishnayya -->> Dr. Balamurali.
This clearly proves that though he is removed from Thanjavur
delta his samPradaYaa is authentic. I am not trying to compare Dr. >Balamurali with any one but only in his rendering can common man follow >the Sahitya effortlessly.
Does bAlamurali get his unique style from thyAgarAja? May be!!
Did thyAgarAja sing todi, bhairavi or bEgadA with
flatter notes?(not western flatness)
Or did mAnambuchAvadi vEnkata subbiah sing with lesser dose
of gamakas or shakes?
Is bAlamurali's uniqueness attributed to him or is it from his
guru or from susarla gAru?
Ofcourse there are no doubts about his sampradAya.
For example his rendition of dEvi brOva samayamidE in chintAmani
is lonely amongst the other lakshanAs that float around. Infact
this pAtAntaram is from the AndhrA region and in that way
bAlamurali is traditional. He will render it only the way he learnt it
even if the heavens come down.
I am not trying to compare Dr.
Balamurali with any one but only in his rendering can common man follow >the Sahitya effortlessly. It can be argued that since telugu is his
mother tongue he happens to have advantage. But as one the netters
pointed out even his tamil diction is impeccable.(No flames please).
Is the simplification of detail in music (density,richness) the reason
for his extra pronunciation clarity or is his voice's ductility or both?
For example vOlEti venkatEswarulu and nEdanUri krishnamUrthi both contemporaries of bAlamurali also are telugus and definitely know
telugu very well. Can't the common man follow the lyrics in their
renditions? May be they pulp the lyrics in the gamaka laden style of theirs!!
Please some knowledge nettor quench the thrist of this group....
-srikanth
Namaste this is Shree Sharma [liaf.co.uk] - I am in the dark with respect to the traditional Chintamoney and the BMK-Chintamani
Two purpose
- the "traditional-Chantamani" one stems from the Shanmukhapriya roots/parent with the accidental/anya swara D2 [chatutushruthui Dhaivata] taking a bigger load than D1
- the BMK-Chantamani starts from Ma [as a base] on C Shruti, and it sounds like Ramapriya [surprise] without R in Arohana
any help in reconciling, decrypting, or appreciating what's happening here - will be a big help.
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