Vocal Krishna’s Sahana was subtle while his Bhairavi was compelling.
That over-stretched alapanas of ragas speak of high quality of music is an obsessive faith with T.M. Krishna. In his concert in the Gokulashtami series at Sri Krishna Gana Sabha, his Sahana and Bhairavi shared this manobhava. If it did not create weariness, it was because of the way he applied melodic surfacing to the sancharas.
The subtleties of Sahana that sprang from his voice spread in mellow decibels. The development of the raga was remarkable for the ease with which it reached classical heights. What made it outstanding was the sensitively aesthetic qualities that enriched Sahana’s shades. It represented a combination of elegance and élan.
The alapana, in essence, was not so much constructed, but sculpted, lyrical and precise with fluent creative bent. As sancharas soared he conferred on them gentleness and gracefulness. The charm lay not in the lines his manodharma framed the raga, but on the ravishing way the sancharas evolved. The kirtana was ‘Emaana Dichchevo.’
Giving the interpretation a felicitous flavour he showcased a good perspective of the sahitya’s emotion particularly when he clung fondling the line ‘Naa Maatalu Vinavo Rama.’ The kirtana’s picture in his mind and its emotional contours found bent in telling expression and this faculty was linked to artistic finesse. His vocal eloquence respected melodic modulation. His interpretative scholarship served the purpose of rasikas’ appreciation of the musical beauty of the composition.
Fluent and expressive
Pretty profundity in arranging strands of compelling sancharas took him to the peaks and poise of Bhairavi vinyasa. He displayed fantastic creative energy to illuminate Bhairavi’s facets. There was fluency in negotiating tara stayi sancharas with cadences and expressive amiability.
The Syama Sastri kirtana ‘Sari Evvaramma’ was rendered with lyrical intensity and poignancy. His rendering style indicated a meticulous musical mind. Krishna had the good sense not to submerge the kirtanas in a flood of garrulous kalpanaswaras.
The violin accompanist was R.K. Sriramkumar. His solo versions of Sahana and Bhairavi were aural delights, brilliant in content, exposition and depth. His Sahana in particular was poetic, radiant and rhapsodical. Hearing his play it was heartening to see Sriramkumar upholding music’s nobility. There was a unique combination of voice and strings.
Srimushnam Raja Rao on the mridangam and Sundara Kumar on the ganjira waited for the thani to drown the auditorium with reverberating sound. From Srimushnam Raja Rao’s fingers sprang sparks of criss-cross korvais punctuated with resounding beats. The artists together exemplified loyalty to the loftiness of a Carnatic music concert.
Keywords: T.M. Krishna