Experimentation by Krishna

T.M. Krishna’s vidwat and new musical ideals moved hand-in-hand in the interpretation of ragas

Updated - May 28, 2016 09:33 am IST

Published - November 07, 2013 04:56 pm IST - chennai:

T.M. Krishna  Photo: S.S. Kumar

T.M. Krishna Photo: S.S. Kumar

The mark of our time in musical expressions is a new approach to aesthetics to impact on the appreciation level of listeners. In this respect it has travelled far from the Trinity culture. These thoughts crossed the mind as T.M. Krishna sang for the Carnatica presenting his preferred technique.

It was a shift from mechanical rendering to a lethargic format. For him exposition had to reveal new musical values as an intense excellence of sangita. It was a part of his intellectual self-indulgence, a self-belief in the valiancy of his style. It was meant to cast a fascinating spell on the image of raga’s beauty, sahityas and swaras which Krishna sought to impress.

His earlier training and practice of concert content and planning in traditional pattern with a gifted voice stood him in good stead in his new avatar. So ragas were developed in fits and starts without compactness. In kirtanas the movement of sahityas was heard, but not the words. That was the way he tempted listeners to understand his musical impulses. This aspect contributed to superficial excellence.

Krishna rendered just three songs in one-and-a-half hour duration before a ragam, tanam, pallavai in Chatusra jati matya tala.

Graceful Dhanyasi

At the start the Dhanyasi composition of Syama Sastri ‘Meena Lochani’ was taken up. Though the sahitya was blurred the solid graces of Dhanyasi built into it were well respected. His vidwat and new musical ideals moved hand-in-hand in the interpretation.

The Sahana raga (‘Emaanadichchevo’) was developed in spasmodic spirits. The inherent musical niceties of the raga were elusive. There was no inner guidance in getting an insight into its defining shades. The other song that he handled was ‘Chate Buddhi Maanura’ (Atana).

What compactness was lacking in Krishna’s raga delineation was set right by the violinist Vittal Ramamurthy. He directly transferred his accompanying experience to the raga lines in his solo in brevity.

For the Bhairavi and Surutti vinyasa for the RTP Krishna and Vittal Ramamurthy shared the interplay of karvais and cadences to highlight the picture of the ragas.

Manoj Siva (mridangam) and Anirudh Athreya (ganira) in lucid, gentle strokes carried the thani to a pleasing level in ear-friendly decibels.

Organised by Carnatica during the Bharat Sangeet Utsav held at Narada Gana Sabha on Monday.

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