T.N. Krishnan’s recital, with his daughter Viji Natarajan, was a rare combination of melodic style and performing vigour.
Custom does not state the concerts of T.N. Krishnan as highly sensitive interpretation of Carnatic music’s depth and grandeur. In the recital with his daughter Viji Natarajan, the violin solo of Krishnan provided a morning of joyous experience. Their harmonious play had an electrifying effect. With Tiruvarur Bhaktavatsalam on the mridangam and Vaikom Gopalakrishnan on the ghatam the performance progressed in a manner that surpassed mere appreciation.
The excellence was laid at the very beginning with the Arabhi Pancharatnam ‘Saadinchene.’ The lilting swaras and sahityas sounded in the twin-violin with exuberant musicality and helped the rasikas strengthen their appreciative abilities and get a true insight into the soul of saint Tyagaraja.
The Devamritavarshini kriti ‘Evarani,’ highlighting Krishnan’s maturity, reflected his inherent refinement in the art. The ease and liveliness, the base of his bani and style of play, conveyed the extreme nobility and message of the kirtana.
If a musician has to examine the direction of his creativity and implementation in the light of the years of kutcheri anubhava to reach higher levels of accomplishment, Krishnan’s Bilahari ragaalapana was just a sample of his prowess. The sancharas dotted the subtle grace of the raga. The deep-toned notes on the violin defined the course of Bilahari’s development.
Constant rendering of Tyagaraja compositions has generated a lofty frame of mind as the kirtana ‘Tolijanma’ established. It was a rare combination of melodic style and performing vigour. The sangatis of the song spread cheer and charm.
Krishnan’s alapana of Purvikalyani (‘Ninnu Vinaga’) came through the play of light and shade, sensitive and convincingly persuasive. The rakti of the raga was imaginatively conceived and laid out in lyrical patterns. It was not only the quality of play that held the listeners’ attention but also his clever bowing manipulation. The kirtana interpreted in slow tempo tickled Tiruvarur Bhaktavatsalam to take up jawab and savaal.
Viji Natajaran presented exclusively Kharaharapriya alapana on the lines of her father. The song was again Tyagaraja’s ‘Chakkani Raja Margamu.’ Not much need to be said about what deep impression it created at the hands of such an artist as Krishnan.
The thani avartanam was in contrived, muffled sound effect. It underscored the intricacies of laya richness, fascinatingly dense in tekas and gamakas, emphasising the command over the mridangam and ghatam by Gopalakrishnan.