T.M.Krishna - His music is his passion statement
Violin: R.K.Shriramkumar
Mridangam: ArunPrasad
Ariyakudi Ramanuja Iyengar set standards by devising the kutcheri format for Carnatic music which is followed religiously even today. T.M.Krishna is redifining the classicism in carnatic classical music.
Krishna breathes a new air of professionalism and adds a new aura into the concert stage. Not easy to imagine and not easily sung phrases and prayogas, crisp and relevant details, subtle nuances but not redundant rendition. He will take a phrase or raga neraval to a beautiful korvai and drop it to a spell. Such appropriate pauses fills the silence and gives more life to the music.
Enormous respect for the music that he practices and an easy humour to connect with the audience. The music that scintillated the hall that day touched the consiciousness of the audience. Only T.M.Krishna could pull a packed hall of disciplined audience despite Memorial Day longweekend.
Missed the first few minutes of the concert and also didn't stay around after the concert to enquire what I missed (the usual post-kutcheri discussion). To complete the grand picture, I would conveniently assume that he must have started with a varnam. I could not enter the hall in between the song. Strict orders from the singer, again a noteworthy trait in his professionalism. So waited outside listening to the Saraswati Manohari.
2 - enta vEDukondu O Raghava in Raga Saraswati Manohari - Lower octave prayagas at Chintha theerchuta
3 - Kannada bangala is not malahari - dikshitar kriti.
Some quips from Krishna:
Grahaswara is a unique attribute of this piece. Anupallavi followed by Swara sets, Sahityam, next set of Swarams that appear like out of place. That is, Swaras misplaced in their positions.
3.1 - Renuka devi samrakshitoham aneesham - only pallavi and anupallavi.
4 - chEDE buddhi maanuraa in raga aThaaNaa. Tyagaraja kriti.
5 - Nadamaadi thirindha umakku in Kamas. Composition of Papavinasha muthaliyar, kanda chapu.
6 - RTP in Rudrapriya, Chatusra jaathi jumpa thalam.
Pallavi composed by violinist R.K. Shriramkumar - paradevathey pahi lalithae siva priyae shubathey.
Other ragas following Pallavi - Kapi without the anya swaras, Bahudari, xxx
Audience at this point in concert requested for some bhajans, not heavy classical!
7 - Oruthi maganai piranthu Thiruppavai - response to audience request for any song in Behag
8 - Saravana bhava ennum thirumanthiram - response to audience request for any song in Shanmukhapriya
9 - Ranga baaro pandu ranga baaro
Ranga baaro narasingha baaro - Purandara dasar kriti in Mandu.
A mesmerizing and captivating number from Krishna's bouquet. Krishna's handling of Mandu deserves a special note. His earlier song from albums Aarumo Aval in Mandu adds beauty to the raga.
10 - Thiruppugaz in Chakravaham (not sure about the raga)
11 - Sriman narayana in Bowli.
12 - Nadha vibho prabho in Yamankalyani.
Yamankalyani is a raga lightly sung by artistes towards the end of concerts.
when Krishna sings Yamankalyani, it's a whole different story. His earlier song from albums Jambupathae transcends all that we know of Yamankalyani. It took me to another plane of consciousness. Nadha vibho is another chapter unfolding the transcendal capability of this raga. Ippadi kooda paada mudiyum endru paadi kaatinaar Krishna.
In short, Krishna's music is his passion statement.
P.S - I typed the initial notes in my HTC Inspire handset. I didn't realize what the built-in spelling genius did to my notes until I opened it for the first time after many months. I am able to spend time on the summer concert review only in winter. Credit goes to family.
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