Mari mari ninné - Kāmbhōji - Tyagaraja - Track 5 of 10 - Dr. M Balamuralikrishna - MMA 1976

Mari Mari Ninne - Kambhoji, Adi, Thyagaraja
A narration by Smt. Kamini Dandapani.
With this song we are finally treated to a full-blown alapanai. Balamurali’s voice is pure satiny lustrousness. He begins with Ga, repeats it, holds it, lets it suffuse the air. Such serenity with that one note! Then: ri sa, ri sa, oh-so-gently ripple into that peaceful oasis. Only Balamurali can pull this off, imbuing so little with so much.
The lower sthayi is explored leisurely before he traverses the upper registers. It is the smoothest of transitions into the faster passages which are sung effortlessly, with an ethereal lightness that belies the complexity of the phrases. And then it is over. It is a short alapanai - just about 5 minutes long but Kambhoji’s majestic beauty is fully revealed in this time. And in just a couple of minutes Annavarapu Ramaswamy, in his alapanai, sketches out the outline of Kambhoji and fills it in with beautiful phrases that make the ragam shine.
Thyagaraja must have felt such melancholy, such bleakness of spirit, to write a song like Mari Mari Ninne in which he laments that, despite all his entreaties, Lord Rama doesn’t feel mercy for him. Balamurali captures this mood perfectly with his gentle, unhurried rendering of this lovely song. Excessive gamakas and overpowering violin and mridangam accompaniment would have ruined the song - Balamurali, Ramaswamy and Dorai complement each other and the music so harmoniously.
The kalpana swarams, that are sung after the song is done, keep the mood going. This is yet another example of Balamurali’s aesthetic and musical sensibility. Far too often, the kalpana swaram section is quite disassociated from the rest of song and is appreciated as a separate entity. Not so here: Balamurali achieves a seamless transfer of aura from song to swarams. And I like to think that with the fast section, there is a note of hope, that perhaps the singer will receive the lord’s mercy, after all.
oOo
Please read the detailed narration of the concert by Smt. Kamini posted in the Description section of Track 1.
I would like to express my special thanks of gratitude to the following for their contribution in the restoration project of this concert.
1. Smt. Kamini Dandapani, who was actually present in the concert on that evening of 27th December 1976, reminiscences through a stimulative and absorbing narrative of the concert.
2. Sri. Ravi Joshi, who has tirelessly worked with a ‘never give up attitude’ to find, locate and source the spool tapes of the concert and for investing his time and effort in digitising the spools to get an excellent audio quality.
3. Sri. Palghat Ramaswamy, an avid music collector, who was generous enough to kindly donate the spools for our posterity project of Murali-gānam.
4. Sri. Scott Dorsey, a German reel to reel technician at San Jose, California who was able to fix some technical issues with the player and calibration of speed.
Sreenivasa

[@vsnarayanapalakodeti7124]

💐💐💐💐💐🙏🙏🙏🙏🙏🙏

[@gowrishrikantha9916]

very nice kaambhodi

[@sumskind]

So much of work had gone behind the scenes...Really a great work by sri.srinivasa garu...Hearing another classic of guruji is always a gift to ordinary mortals like me

[@nagarajankrishnamoorti8745]

Pallavi:
mari mari ninnE moralida nI manasuna dayarAdu
Anupallavi:
kari moravini saraguna chana nIku kAranam Emi sarvAntaryAmi
Charanam:
karunato dhruvuni kEduta nilchina kathA vinnAnayyA suraripu tanayunikai
nara mrugamau sUchana lEmayyA marachi yunna vana charuni brochina mahima
delupuvayyA dhAranu velayu thyAgarAja sannuta taramuga Adika nE vinAnayyA