musings on music and life

July 7, 2018

Maarga December 2016

Filed under: Carnatic Music — sankirnam @ 12:11 am

Yet another gem from Youtube – this is a concert I performed in during the December 2016 music season in Chennai, under the auspices of Maarga, which is organized by vidwans Delhi P. Sunder Rajan and Delhi Muthukumar.

In this concert, I performed with Keerthana Sankar and Vignesh Thyagarajan – both are students of Delhi Sunder Rajan, residing in the U.S. Vignesh is in fact his nephew. Keerthana sang extremely well and surprised Vignesh and myself with the Tiruppugazh at the end, with nicely executed niraval and swarams for the unusual thalam – tisra gathi tisra jathi jampa thalam. Unfortunately the sound levels were atrocious, but we managed to make do.


June 23, 2018

Recent recording!

Filed under: Carnatic Music — sankirnam @ 12:49 am

A few days ago I was browsing and discovered one of my concerts from last December on YouTube:

I didn’t realize that Narada Gana Sabha had actually put the recording online until now! It is gratifying to see a leading sabha doing this – otherwise, the performers have no way of obtaining a recording of their performance!

The vocalist (Ashwin Srikant) is a good friend of mine – he performed very well in this concert. His niraval for Kaddanuvariki was particularly good.


May 1, 2017

Mark your calendars!

Filed under: Carnatic Music — sankirnam @ 2:13 pm


I’m super excited for this program – it’s been my dream to play for Smt. Sowmya, especially since I’ve been listening to her concerts regularly since the 90’s. I have heard her concerts with my guru while sitting stage-side at the Madras Music Academy, no less.

Smt. Sowmya is one of my favorite artists; she presents a rare intellectual approach to music that is also purely classical. This is something that is sorely lacking in a lot of concerts by other artists nowadays, which are very flashy with a lot of “gimmicks” and little real substance.

April 24, 2017

Professional Courtesy

Filed under: Carnatic Music, Uncomfortable truths — sankirnam @ 3:05 pm


This situation has happened to me way too many times now, and I need to vent here. It’s just a matter of having basic professional courtesy as a musician. If you don’t have the instrument, or are unwilling to pay for transportation costs, then don’t accept the engagement. It’s that simple.

As a professional, I do this myself – before accepting a concert engagement, I always inquire for the sruthi (pitch) of the main artist and make sure I have access to the correct instrument. It’s amazing to me how so many others don’t do this, and instead hope that someone else will lend their instrument for their use. I have actually had some of my mrudangams come back basically destroyed after loaning them out for concerts.

I do not go to all the trouble of maintaining my instruments just so that others can use them in concerts. This would not be such a big deal if I were living in India (or Chennai specifically), where access to mrudangam artisans and repairers is easy. The mrudangam is an incredibly finicky, high-maintenance instrument, and I don’t put a lot of my own time, effort, and money into maintaining my instruments just so that other people can use them.

The same thing can hold for concert organizers, if they read this: don’t expect one musician to give his/her instrument (especially a high-maintenance instrument like the mrudangam in the US) to another musician.

</end rant>

January 17, 2017

Poromboke Paadal

Filed under: Carnatic Music — sankirnam @ 12:39 pm

This video has been trending on Youtube for the last couple of days:

One cannot fault TMK’s music – the music is beautiful, and his rendition is excellent, as always.

I just find it interesting that he is using Carnatic music as a medium for environmental activism, given that Carnatic music is an extremely niche art form. This may not be the optimal way to reach out to a lot of people with this message.

December 9, 2016

More recordings!

Filed under: Carnatic Music — sankirnam @ 8:15 pm

Shameless plug for a thani I played in a concert a few months ago here, on Diwali:

In retrospect, the sound quality is not bad, considering that I was playing without mikes – this audio is directly spliced from the video recording of the concert.

November 23, 2016

Dr. M. Balamuralikrishna

Filed under: Carnatic Music — sankirnam @ 12:54 am

I just heard the news today that the renowned musician Dr. Mangalampalli Balamuralikrishna passed away. I’m not referring to him as a “Carnatic vocalist” or “Carnatic musician” here, because his music transcends such classifications. My Facebook news feed today was full of people writing posts on this theme, and I figured I could write something a little longer here.

Dr. Balamuralikrishna (I’ll refer to him from here on as “BMK”) was probably the first Carnatic musician (!) to achieve celebrity status, and I’ve heard stories about the kinds of crowds he was able to pull not just at concerts, but just by being in a certain area; one of my friends told me about how he once traveled with BMK in a train in India, and at every stop, there would be hordes of people at the station waiting with garlands for an opportunity to see their favorite musician!fphotograph12

BMK with M. Chandrashekaran (violin) and Umayalpuram K. Sivaraman (mrudangam) – one can see that the year is 1959, and the writing looks like Kannada, so this was probably in Bangalore? EDIT: Thanks to KV Ramprasad and others on Facebook, the sign is actually in Telugu, and reads “Sri Tyagaraja Sangeetha Sabha Anantapuram, established 1959”.

There’s not much I can add to all that has been written about this legendary musician – fortunately his legacy will live on in the numerous recordings that exist of his concerts, as well as the countless commercial albums that he has released, and his movies. Like most of the top musicians of his generation, BMK was a child prodigy, and was adept not just in vocal music, but also in viola and mrudangam.

This is a particularly interesting clip of BMK accompanying the doyen Semmangudi Srinivasa Iyer on the viola – not the usual violin. You can tell it is noticeably bigger than a violin would be. In audience shots, you can see several of today’s top musicians in attendance, including Sanjay Subrahmanyam, T. M. Krishna, and R. K. Sriram Kumar, among others.

Dr. BMK was gifted with a golden voice, which is partly what made his music so great. It is not only resonant, but very fluid – he was able to span 3 complete octaves with ease, and the middle to lower octaves have a very bassy quality that nobody else has. Of course, having a great voice is one thing, and being able to harness it’s full potential is quite another; great musicians with both qualities literally only come once or twice a generation. I do consider myself fortunate that I was able to hear him live just once, in a concert in Sydney organized by Pallavi.

This Kalyani from a concert in Bombay in 1963 demonstrates not just the potential of BMK’s voice, but also his creativity – he employs sruthi bedham (modal shift of tonic) several times not just in the raga alapana, but also in the kalpana swaram, which is much more rare (in fact, I have not heard anyone do it since). Of course, Lalgudi Jayaraman is able to follow effortlessly, and his replies also garner applause several times! I mentioned this particular thani by Umayalpuram Sivaraman sir in a previous post, and it is worth rementioning; the UKS stamp is clearly present from the araichapu phrases to the signature mohara and final korvai in tisra nadai.

Dr. Balamurali’s legacy also lives on in the numerous compositions he authored – he has created numerous thillanas and varnams, in addition to composing krithis in all the 72 melakartha ragams. He also created new ragams such as Mahathi, Lavangi, and others, which did land him into some controversy with vidwan Dr. S. Balachander, who disputed whether those scales could be considered complete ragams at all, since they only had 3 or 4 notes.

This is BMK’s pancha gathi bedha thillana (set to 5 nadais) in 5 “-priya” ragams, as announced in the beginning. This rendition is particularly famous among collectors as it is from his Sangita Kalanidhi concert at the Madras Music Academy, December 1978. This concert also deserves further mention, as the main piece in that concert is an RTP in Kalyani set to a new thalam – Panchamukhi Adi thalam. BMK describes it as doing “gathi bedham” (changing the counts per beat) on the “sashabdha kriyas” (the ‘sounded’ beats when putting the thalam). In other words, only modifying the 1st, 5th, and 7th beats in Adi thalam (those beats are ‘sounded’ since they are downward slaps) to have 2.5 aksharams. Panchamukhi Adi thalam therefore has 12.5 beats. The pallavi set to this thalam is really simple and yet charming, and UKS sir plays a brilliant thani to this new thalam, with his usual razor control. I didn’t upload it because my Soundcloud account is getting full, but it is circulating among collectors. On an interesting side note, I also heard that M. G. Ramachandran (the Chief Minister for Tamil Nadu at the time) was in attendance at that concert!

This is the same pallavi from a different concert with B. V. Raghavendra Rao and Bangalore V. Praveen.

BMK has explored this concept, and sung pallavis in the related trimukhi Adi thalam and navamukhi thalam – in fact, he sang an RTP with the latter in Gamanashrama (53rd melakartha) in the Music Academy in 1980. Gamanashrama is an extraordinarily difficult ragam to sing, as it only came about with the invention of the melakartha scheme in the 17th century. The janya ragams associated with it (Hamsanandi and Purvikalyani) predate it by a long time, and so it is difficult to sing the ragam and maintain its identity unique to Purvikalyani.

EDIT: As pointed out to me yesterday, Hamsanandi is probably younger than Gamanashrama, and upon reflection, this makes sense; the trinity (Thyagaraja, Muthuswami Dikshitar, and Shyama Sastri) did not have any krithis in Hamsanandi. Most of the popular krithis we know in that ragam are actually from more recent composers, such as Harikesanallur Muthaiah Bhagavathar, Papanasam Sivan, and others.

I had mentioned earlier that BMK had acted in a few movies; his Wikipedia page has the complete list (and the fact that his wiki page is so long and detailed is a testament to his fanbase). This song, Oru Nal Podhuma (“is one day enough?”) is one of his hit Tamil cine songs from the movie Thiruvilayadal. This recording is from a concert on 15/2/1985, in Bahrain, and the mrudangam is by none other than Thanjavur Upendran sir. BMK and Upendran sir were extremely close friends, and they had performed thousands of concerts together, including a tour to the US in the 80s. Upendran sir was also one of the people who convinced Balamurali early on to settle in Chennai in other to further his career in Carnatic music.

I’ll leave it here for now. I realized that I had not written any posts on the broad topic of Carnatic music (excluding me making shameless plugs of my clips/concerts) in a while, and this sad news prompted me to write something.

September 28, 2016

Another clip!

Filed under: Carnatic Music — sankirnam @ 10:29 pm

Just found this clip on Youtube of a small performance I did in Irvine last year:

June 28, 2016

Next concert, 7/10/2016

Filed under: Carnatic Music — sankirnam @ 12:14 pm


EDIT (9/29/2016): Videos of the concert.

May 31, 2016

Next concert, 6/12/2016

Filed under: Carnatic Music — sankirnam @ 1:09 pm


As always, if you are in town, please do come! All are welcome.

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