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Padmabhushan Dr. M. Balamuralikrishna

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Padmabhushan Sangeetha Kalanidhi Dr. M. Balamuralikrishna is a trailblazer and a colossal vocalist and also a very important vaggeyakara of the 20th Century. Mangalampalli Balamurali Krishna was born on July 6, 1930 at Sankaraguptam (a small hamlet in Rajolu Taluk, East Godavari District in Andhra Pradesh) to Mangalampalli Pattabhiramayya and Suryakanthamma. He inherited the musical traits of his parents. His father, Pattabhiramayya was a famous flutist and a music teacher and Suryakanthama was a notable veena artiste. His father entrusted Balamurali to 'Gayaka Sarvabhauma' Parupalli Ramakrishnayya Pantulu under whose competent tutelage young Balamurali reached the pinnacle of fame in the field of music. In 1938, at the age of eight, during the Sadguru Arandhana Utsava, held at Vijayawada, Balamurali Krishna gave his first full- fledged performance. His greatest asset is his wonderfully vibrant, widely ranging, magnetic voice over which he has perfect control in all three octaves. He is very versatile and apart from being a vocalist, he plays the kanjira, mrdangam, viola and violin. Balamurali Krishna has enriched Carnatic music with his compositions (over 400) and also through the creation of several new musical scales. He has created new ragas like mahati, sumukham, trisakthi, sarvashri, omkari, janasamodini, manorama, rohini, vallabhi, lavangi, pratimadhyamavathi, sushama, etc.

Balamurali Krishna has also proved his talent as a playback singer, music director and actor in several languages.

Source:Musicalnirvana.com



Edited by mp_142 - 14 July 2006 at 8:14am

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Articles on Dr. M. Balamuralikrishna


The Genius



It is said that "Music resembles poetry - contained in each, are numerous graces which no methods can teach and which a mastermind alone can reach". M.Balamuralikrishna is a Sangeetha Kalanidhi and a Padmavibhushan as well, who is at the very top, reigning as the musical monarch of the Carnatic music field. Sangeetha Kalanidhi Dr M. Balamuralikrishna, is also one of the most celebrated Carnatic musicians and vaaggeyakaara-s to grace Carnatic music in recent times. He is a musical genius who has a unique appeal of his own in the international arena and both commoners as well as connoisseurs are swayed by the variety of his music and of course, his extremely melodious voice.

Mangalampalli Balamuralikrishna (or, Balamurali, as he is known affectionately to his numerous fans around the world) was born on July 6, 1930 at Sankaraguptam (a small hamlet in Rajolu Taluk, East Godavari District in Andhra Pradesh) to Mangalampalli Pattabhiramayya and Suryakanthamma. He began his musical career at an age when most children cling to their mother's apron strings. He inherited the musical traits of his parents. His father, Pattabhiramayya was a famous flutist and a music teacher and Suryakanthama was a notable veena artiste. His mother passed away when young Balamurali was just a 15 day-old baby. From then on his maternal aunt Subbamma brought him up. When he was just two years old, Pattabhiramayya relocated to Vijayawada. At this very young age, he imbibed the nuances of good music when his father taught his other disciples. Encouraged by this Pattabhiramayya entrusted him to 'Gayaka Sarvabhauma' Parupalli Ramakrishnayya Pantulu under whose competent tutelage young Balamurali reached the pinnacle of fame in the field of music. In the order of Guru Parampara, Balamurali Krishna is fifth in the line of direct disciples of Saint Tyagaraja. Indeed, Parupalli Ramakrishnayya Pantulu's guru was Susarla Dakshinamoorthy Sastry whose guru was Akumadugula Manambuchavadi Venkata Subbayya; a direct disciple of Saint Tyagaraja. In 1938, at the age of eight, during the Sadguru Arandhana Utsava, a felicitation to Parupalli Ramakrishnayya's guru Sri Susarla Dakshinamoorthy, held at Vijayawada, Balamurali Krishna gave his first full-fledged performance. His talent came fully to the fore and since then, he has been a trailblazer in the field of Indian music. Due to his continuous concerts, Pattabhiramayya was persuaded by his friends to let his young son dedicate himself completely to music and he stopped attending school when he was in the 6th grade. From then our young performer took the entire music world by storm with his mellifluous voice and did not whither away like many other child prodigies.

Not merely content with his name and fame as a concert vocalist, very soon he proved his immense versatility by playing the kanjira, mrdangam, viola and violin and the public flocked to hear his concerts. When he was barely 14 years old, he composed Raganga-Ravali, a detailed work on the 72-Melakarta (basic scales of music) scheme. These compositions were widely accepted and embraced by music circles and critics everywhere. Since then, Balamurali Krishna has enriched Carnatic music with his compositions (over 400) and also through the creation of several new musical scales (details provided separately). He has created new raga-s like mahati, sumukham, trisakthi, sarvashri, omkari, janasamodini, manorama, rohini, vallabhi, lavangi, pratimadhyamavathi, sushama, etc.

His greatest asset is his wonderfully vibrant, widely ranging, magnetic voice over which he has perfect control in all three octaves. He sings with a sense of infectious happiness with which he captivates his audience from the very first note. Balamurali Krishna mesmerises his audiences with his crystal clear enunciation of sahitya (lyric), the buoyant, cherubic and ever fresh quality of his music, his sparkling creativity and with the impressive ease with which he sings.

He has served as music Producer at Vijayawada, Hyderabad and the Madras All India Radio Stations. In this capacity, he pioneered the early hour devotional renderings in India under the title 'Bhakthi Ranjani'. He also acted as the first Principal of the Government Music College at Vijayawada. After his transfer to Madras All India Radio he settled in Madras in order to devote his attention to innovation and creative compositions. Balamurali Krishna has been invited to give concerts in almost every country in the world, including USA, Canada, UK, Italy, France, Russia, Sri Lanka, Malaysia, Singapore, Middle East etc. He has given more than 18,000 performances throughout the world and has created a world record by releasing over 250 audio cassettes brought out by the Sangeetha Recording Company.

Balamuralikrishna has also proved his talent as a playback singer, music director and actor in several languages. He received National Awards as the best playback singer for 'Hamsageethe' (a Kannada feature film), best music director for 'Madhvacharya', and left an indelible imprint in the hearts of the people with his portrayal as a hero in the Malayalam film in 'Sandhya Kendina Sindooram'.

He has bagged many titles and awards. The 'Gana Sudhakara', 'Gayaka Sikhamani', 'Sur Singar', 'Geeta Kala Bharati', Sangeet Natak Akademi Award, 'Sangeetha Kalanidhi', Padmashri and Padma Vibushan are some of them. He was conferred the title of Sangeetha Kalanidhi in the year 1978. He was chosen as the 'Wisdom Man of the Year in 1992'. He was also conferred the PhD, DSc and DLitt by the Andhra University, Jawaharlal Nehru Technological University, Sri Venkateswara University and the University of Hyderabad respectively. The Chief Minister of Andhra Pradesh honoured him with the 'Atma Gauravam' award in 1997. The Governor of Maharashtra honoured him for services rendered for the cause of National Integration. He is an Honarary First citizen of Vijayawada and has a road named after him in that city. He is a state musician of the states of Tamil Nadu and Andhra Pradesh and is the Asthana Vidwan of Tirumala Tirupati Devasthanam, Sringeri Peetam and Anjenaya Swami Temple, Nanganallur. He founded "Academy of Performing Arts and Research" in Switzerland and is also working on music therapy. He established the 'MBK Trust' with the objective of developing art and culture and for carrying out extensive research into Music Therapy. A dance and music school, 'Vipanchee' is a part of this Trust and is run by his managing trustee Kalaimamani Saraswati.

He is believed to have said, "for me, as a creative musician, composition is a daily function that I feel compelled to discharge. I compose because I am made for that and cannot do otherwise. I stumble upon something unexpected. This unexpected element strikes me. I make a note of it. At the proper time, I put it to good use."

His father actually named him Murali Krishna. However, captivated by his pleasant boy-like disposition, it was Musunuri Satyanarayana a distinguished Hari Katha performer who gave the prefix 'Bala' to the young Muralikrishna. This is a title that has stuck to him and to all of us.

When music flows from Balamuralikrishna, you can realise what the crazy gopi-s felt in their ecstasy of Divine Love. To be born with music in his heart, to hold a recital at a tender age of only eight-deepavalis, to be at once a master in many instruments, apart from his unfailing purity of voice, tala and raga; these are indeed preciously rare in one single person unless he is a genius [Swami Chinmayananda].

Source:Musicalnirvana.com
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Karnatic Music Vocals

With a special thanks to surasa.net, malayalavedhi.com and kannadaaudio.com

                             

They are the two giants of Carnatic music. They have become legends in their lifetime and are household names in India. Their contribution and influence on Carnatic music is something which no one has ever achieved during the last two centuries. And yet they are so totally different in their attitude, style, lifestyles and even in their cultural backgrounds.

Smt. M.S.Subbulakshmi (16-Sept-1916 - 11-Dec-2004)

She was born in a Devadasi family (traditional temple dancing & singing girls) in the temple town of Madurai on September 16th, 1916. Their tiny home was close to the Meenakshi temple. Her mother Madurai Shanmukhavadivu Ammal was a Veena player. Her lawyer-father Subramania Iyer lived a few streets away.

Her first guru Madurai Srinivasa Iyengar passed away rather too soon. But she kept practicing on her own and having a musician mother helped a lot. Her first recording was at the age of ten, when she recorded a couple of songs for HMV in Madras as an accompanist to her mother. She started giving concerts at a tender age, first by accompanying her mother and then as a solo vocalist. She was the child prodigy of Madurai. Her mother recognized MS's exceptional talent and shifted from Madurai to Chennai (then Madras) to launch MS on her own. When her mother performed at concerts, MS was the vocal accompanist - she was only 13.

She gave her first performance at the prestigious Madras Music Academy at the age of 17. She went up the dias at the festival to sing for the most elite gathering of music lovers in Madras. Till then stage classical music performing was a male dominated profession. The few ladies from the dancing girls lineage who ventured onto the stage were more intent on bewitching potential lovers with come-hither smiles and body language. But in this case it is her absolute devotion to her concert, a rich and clear voice, a very dignified presence on the stage which enticed the listeners and held them spellbound as she took them through the intricacies of Carnatic music. She essayed into serious elaborations of ragas without apparently being aware that she was breaking fresh ground as a female vocalist. And soon, the young and beautiful MS had a major cult following.

In 1936 she met Sadasivam Iyer, a well known figure in the Madras Congress circle, and a protg of the Congress leader Rajaji. The courtship lasted for four years and had its up and downs. Friends recall that at times M.S. seemed like backing out of the relationship, because of Sadasivam's possessiveness. But such spells did not last long and she was a contented happy woman when the couple were married in Thiruneermalai, in 1940. He gave up his job as the advertising manager of 'Ananda Vikatan', a leading Tamil magazine, and concentrated on guiding MS's musical journey. With his wide connections in the journalistic and political world, he became instrumental in the continued success of her already flourishing career. He was a tall personable man with a can-do attitude. He was a widower with two children. Such was the man who was to change M.S.'s life for forever. Soon he started his own magazine "Kalki", a nationalist Tamil weekly. The part of 'Kalki' magazine in her image building was not small. Almost every other cover featured her, with a reverential little article inside about her charity performances. Kalki, in fact played a big role in projecting M.S. as a saintly musician.

In those days most concert vocalists acted in films. It was not surprising that M.S., with her lovely voice and charming personality, joined films. 'Sevasadanam', her first movie was released in 1938 where she acted as a poor young girl who married a rich old man. This was followed by 'Sakunthalai' where M.S. played the lead role, the most glamorous of all her roles teaming up with G.N.Balasubramanian, the most attractive vidwan of the time. The film contained some of the most haunting of all her movie melodies - 'Endan Idathu Tholum', 'Premayil', 'Engum Nirai Nadha Brahmam'. This was followed by 'Savithri' (directed by Y.V. Rao) which was released in 1942. M.S. played as Naradha with the North Indian star Santha Apte in Savithri. This film too did extremely well at the box office. The income from this movie was largely used to start the 'Kalki' magazine. This was the time when M.S.'s persona as a star was established, that of a quite type of a glamour queen. She dressed slightly more flamboyantly, sported some make-up and was naturally gossiped in the press. She was also imitated widely. This image remained intact until the release of 'Meera' in 1945. When 'Baktha Meera' was released in both Tamil and Hindi, it created a swelling wave of appreciation that gave M.S. an all India status as a musician. It also marked the end of her film career. It is said that Rajaji himself advised the couple against any more involvement in the films. Perhaps Sadasivam saw a greater benefit in preserving the somewhat saintly image that M.S. had acquired after the film. Whatever, M.S. gave up films once and for all and turned wholly to concert music.

M.S. become an accepted and integral part of the Madras elitist society. It became an honor to have her at a wedding or a gathering. Always a trend setter, M.S. became a kind of fashion apostle for the upper class Madras wife. Her sarees, her diamonds, the particular style in which she wore flowers in her hair, all became trademarks. In the 50s, almost every Madras housewife had at least one saree of the M.S. blue shade. For most part, M.S. had adjusted magnificiantly to her new life. Along with her public VIP image, she developed an equally strong private life image of the orthodox Hindu housewife whose husband's word was her command.

Laurels and honors came looking for MS. She was among the earliest to receive the Padma Bhushan in 1954, before many other stalwarts. She had the honor of singing at the United Nations Day celebrations in October 1966. In 1968, she was the first woman to be honored with the title of Sangita Kalanidhi by the Madras Music Academy. She was elected a Fellow of the Sangeet Natak Academy in 1974. MS has also been awarded honorary Doctorates from the Rabindra Bharati University, Sri Venkateswara University and Delhi University. The Ramon Magsaysay Award (1974), the Padma Vibhushan (1975) and the Bharat Ratna (2000) - India's highest national civilian honor - have been notable achievements in her lifetime.

MS always maintained a very low profile, content to let her husband do the talking for her. Hers has also been a life of sacrifice: she brought up Sadasivam's children as hers and did not have any of her own. But she has always come across as the committed mother and wife, happy and contented, and has seldom been involved in any controversies. She has carried fame very naturally on her dignified shoulders. A smiling figure dressed traditionally in silk Kanjeevarams, with diamond studs glittering in her ears and on her nose, she is the epitome of charm and feminine grace.

She sang in a perfectly controlled, melodious "B Flat" voice and strictly adhered to the traditional Carnatic style of the old masters without any variations and believed in following and preserving their rich heritage.

Mangalampalli Balamuralikrishna was born on July 6, 1930 at Sankaraguptam, a small hamlet in Rajolu Taluk, East Godavari District in Andhra Pradesh, to Mangalampalli Pattabhiramayya and Suryakanthamma. His father, Pattabhiramayya was a famous flutist and a music teacher and Suryakanthama was a notable Veena artiste. His guru was the famous Parupalli Ramakrishnayya Pantulu. In the order of Guru Parampara, Balamurali Krishna is fifth in the line of direct disciples of the great Saint Tyagaraja.

In 1938, at the age of eight, he gave his first full-fledged performance. Not merely content with his name and fame as a concert vocalist, very soon he proved his immense versatility by playing the kanjira, mrdangam, viola and violin and the public flocked to hear his concerts. When he was barely 14 years old, he composed Raganga-Ravali, a detailed work on the 72-Melakarta (basic scales of music) scheme. By 16 he became a a Doctorate in music. He has served as music Producer at Vijayawada, Hyderabad and the Madras All India Radio Stations. In this capacity, he pioneered the early hour devotional renderings in India under the title 'Bhakthi Ranjani'. He also acted as the first Principal of the Government Music College at Vijayawada.

He has created new raga-s like mahati, sumukham, trisakthi, sarvashri, omkari, janasamodini, manorama, rohini, vallabhi, lavangi, sushama, pratimadhyamavathi, etc. He has given more than 20,000 performances throughout the world and has created a world record by releasing over 250 audio cassettes brought out by the Sangeetha Recording Company.

He has bagged many titles and awards. The 'Gana Sudhakara', 'Gayaka Sikhamani', 'Sur Singar', 'Geeta Kala Bharati', Sangeet Natak Akademi Award, 'Sangeetha Kalanidhi', Padmashri and the coveted Padma Vibushan are some of them. He was conferred the title of Sangeetha Kalanidhi in the year 1978. He was chosen as the 'Wisdom Man of the Year in 1992'. He was also conferred the PhD, DSc and DLitt by the Andhra University, Jawaharlal Nehru Technological University, Sri Venkateswara University and the University of Hyderabad respectively. The Chief Minister of Andhra Pradesh honoured him with the 'Atma Gauravam' award in 1997. The Governor of Maharashtra honoured him for services rendered for the cause of National Integration. He is an Honarary First citizen of Vijayawada and has a road named after him in that city. He is a state musician of the states of Tamil Nadu and Andhra Pradesh and is the Asthana Vidwan of Tirumala Tirupati Devasthanam, Sringeri Peetam and Anjenaya Swami Temple, Nanganallur. He founded "Academy of Performing Arts and Research" in Switzerland and is also working on music therapy. He established the 'MBK Trust' with the objective of developing art and culture and for carrying out extensive research into Music Therapy. A dance and music school, 'Vipanchee' is a part of this Trust.

His greatest asset is his wonderfully vibrant, widely ranging, magnetic voice over which he has perfect control in all three octaves. He sings with a sense of infectious happiness with which he captivates his audience from the very first note. Balamurali Krishna mesmerises his audiences with his crystal clear enunciation of lyrics, the buoyant, cherubic and ever fresh quality of his music, his sparkling creativity and with the impressive ease with which he sings.

The great Swami Paramahamsa Chinmayananda said, "When music flows from Balamuralikrishna, you can realise what the crazy gopi's felt in their ecstasy of Divine Love. To be born with music in his heart, to hold a recital at a tender age of only eight-deepavalis, to be at once a master in many instruments, apart from his unfailing purity of voice, tala and raga; these are indeed preciously rare in one single person unless he is a genius."

Till the coming of Bamuralikrishna, the Carnatic music was dominated by the orthodox tradition bound Tamil musicians, who religiously stuck to what the old masters have composed. But this versatile genius not only grasped and churned the musical essence of the old masters but enriched it with his own superb variations. His rich voice swung from the highest octave to the lowest and aptly expressed the inner feelings and the deeper subtle meanings and emotions of the verses. His smiling face radiated the sheer joy of singing and his emotion charged performances captivated the audience. This paved the way for other musicians to come out with and display their artistic talent, instead of mere repetition of the old masters. Some of his famous recitals like "Pibare Ramarasam", "Sarigamapadani Paadeda", "Sada Tava Pada sannidhim kuru", "Eeteeruga nanu daya choochedavoo" are truly outstanding out of the world performances and leave an ever lasting impression on the listener.
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Posted: 14 July 2006 at 8:17am | IP Logged

Originally posted by gauri_2

wow.....an all rounder Clap
Thanks for the article, Vinnie.

thanx gauri

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Mangalampalli Balamuralikrishna
From Wikipedia, the free encyclopedia

Mangalampalli Balamurali Krishna (transliterated variously as M. Balamuralikrishna, Mangalampalli Balamuralikrishna, M. Balamurali Krishna) (b. Sankaraguptam, Andhra Pradesh, India, July 6, 1930) is a legendary Carnatic (south Indian classical) composer, poet, vocalist, multi-instrumentalist, innovator and musical iconoclast. His magnificiently rich and instantly recognizable voice extends, with perfect control, over three octaves.


The "Bala" in his name means "child", and was added when he first gained fame as a child prodigy performing vocal concerts at the age of five. His father Pattabiramayya was a well known musician and could play the flute, violin and veena and his mother Suryakantamma was an excellent veena player. Balamuralikrishna thus began his musical career at a very young age. He soon mastered a variety of instruments, melodic and rhythmic, and is the only musician ever to be honoured with All India Radio's "Top Grade" for seven different performance areas. He is an enterprising instrumentalist who plays violin, viola, khanjira, veena, mridangam and other instruments. He is also the only musician ever to win National Awards in India for classical music, music direction and film playback singing.

While his native tongue is Telugu, he sings with crystal-clear lyrical enunciation not just in Telugu but also in Kannada, Sanskrit, Tamil and less often, in a few other languages as well. His mesmerizing vocal music combines a charmingly deep voice, effortless control over the notes, extraordinary musical knowledge, spontaneous on-stage musical originality and a consistently accurate rendition of lyrics. Consequently, it has caught the pulse of and endeared itself to vastly diverse audiences across generations, cultures and continents. He belongs to that rarest breed of Carnatic musicians who remain popular with laypersons without watering down the classicism inherent in the ancient artform. Given the astounding versatility, longevity and resilience of his artistic life, spanning over seven creative and prolific decades, it can be stated without exaggeration that Dr.M.Balamuralikrishna has, for quite some time, been India's most enduring musician.

Balamurali Krishna during a concert in Kuwait on 29th March - 2006. Accompanied By Mavelikkara Sathees Chandran(Violin), Perunna G. Harikumar(Mridangom), Manjoor Unnikrishnan(Ghatam) - This was his 25641'th Concert

400 Carnatic musical compositions are credited to him. New raga(Ganapathi Raga is an Example) some with only three or four notes, and a new tala (rhythm) system are among his iconoclastic innovations. Such innovations have provoked many criticisms, but his musical inventiveness remains unblunted. Top Hindustani (north Indian classical) musicians have collaborated with him in "jugalbandhis" (duets akin to jamming): including Pandit Bhimsen Joshi, Pandit Hariprasad Chaurasia and Smt. Kishori Amonkar, among others.

He appeared as featured soloist with an award-winning British choir, performing the "Gitanjali Suite" with words from Rabindranath Tagore's Nobel Prize-winning poetry and music by Dr. Joel, the noted UK-based Goan composer. His clear diction in several languages prompted an invitation to record Tagore's entire Rabindra Sangeet compositions in Bengali, preserving them for posterity. He has sung in French, and even ventured into jazz fusion, collaborating with the top Carnatic percussion teacher, Sri T.H. Subash Chandran, in a concert for Malaysian royalty.

Honours have pursued him. He was awarded the prestigious "Padma Vibhushan" title by the Indian government, seven doctorates as of 2006, the pro-chancellorship of Telugu University and numerous top musical honours including Sangeetha Kalanidhi of the Madras Music Academy. The city of Vijayawada in Andhra Pradesh, India, has named a road after him. The record-buying public have supported him enthusiastically, prompting record labels to issue hundreds of his recordings. He has become increasingly interested in music therapy, and now performs only occasionally.




His rendition of some of Saint Tyagaraja's kritis is spritually uplifting.His place among the all-time greats of Carnatic music seems assured.



Edited by mp_142 - 14 July 2006 at 8:19am
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Dr.Balamuralikrishna honored by Sangeetha
By MIO Team




Dr.Balamuralikrishna and popular carnatic music icon Sangeetha have a long-standing association of over two decades. The celebrated veteran Carnatic vocalist Dr. M. Balamuralikrishna turned 75 on the 6th July 2005. To honor him Sangeetha is releasing a set of 10 compact discs on July 25, 2005 in Chennai.

Master Recording Co. recording, which has been coupled with Sangeetha, has already released 200 albums of the esteemed vocalist in various languages. The set of 10 CDs to be released will comprise albums 'Geetharthamu' and 'Raamabhirama' featuring Thygaraja kritis, 'Koluvaiyunnade' and 'Balamu Kulama', featuring Thyagaraja Divya Nama Sankeerthanams, 'Sangeetha Sagaram' featuring Thyagaraja kritis and a Purandara Dasa's collections 'Nambide Ninne Paddava'. The collection will also have four CD packs of 'Srimad Bhagvad Gita' a nine-CD pack of 'Raganga Ravali'. The album will comprise 72 krithis composed and sung in the 72-melakartha ragas by Dr. Balamuralikrishna and a set of 10 CDs titled 'Dr. M. Balamuralikrishna Raga Vaibhavam' of 75 kritis in 75 ragas.

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Award for Balamuralikrishna





THE Tamil Isai Sangam has chosen to honour eminent Carnatic vocalist M. Balamurali-krishna by conferring on him the prestigious 'Tamil Isai Peraringnar' award for 2002.

The singer will receive the award on the inaugural day of the Sangam's 60th music festival to be held on December 14 at the Raja Annamalai Manram.

He is the founder-trustee of the MBK Trust and does extensive research in music therapy.

Article on :The HINDU

Edited by mp_142 - 14 July 2006 at 8:27am
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M BALAMURALIKRISHNA


       
Musical Background: One of the greatest singers in the Carnatic music arena, Balamuralikrishna was born on 6th July 1930. He learnt music for brief spell of six months from Parupalli Ramakrishna Pantulu. Acclaimed as a child prodigy, his expertise is the fruit of native wisdom and hard work. He is also an accomplished viola player, who can also handle other instruments like the khanjira.
Region: Sankaraguptam, a small hamlet situated in Rajolu Taluk, in East Godavari district, Andhra Pradesh.


       
Contribution: A highly original musician, Balamuralikrishna is an outstanding composer with about 300 kritis, varnams, tillanas, etc, to his credit, who started composing right from his fourteenth year. Several of his pieces are popular both in the music and dance arena. They are a lovely blend of the intellectual, with highly complex rhythmic and lyrical patterns, but at the same time, instantly appealing. On the inspiration of Swami Vimalananda of Kuttalam Mutt, he composed and later perfected seventy-two songs in the 72-melakarta ragas. One of his publications was 'Janaka Raga Kriti Manjari', a music text. He also has the distinction of having discovered many ragas and composing in them.

Languages used: Sanskrit and Telugu.

Signature: One finds mudras like Muraligana, Balamurali etc in his compositions.

Popular compositions: Varnams in ragas like Shanmukhapriya and Tillanas in Kuntalavarali etc.

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