The power of musical notes of TM Krishna

Vocal concert of TM Krishna at Music Academy. , Photo Courtesy: Srinath M

There was an atmosphere of impatience near the Music Academy as a huge crowd gathered on the roads surrounding the popular venue, resulting in huge traffic jams. Being one of the few disabled-friendly places in Chennai, the Academy welcomed many wheelchair users and senior citizens that day. Mothers brought their infants; Young grandchildren came with their grandparents and many members of the LGBTQIA+ community were in attendance. Many first generation music learners from marginalized castes and religious backgrounds also came to support this year’s Sangeet Kalanidhi Award winner. As soon as the curtain opened, the entire packed auditorium echoed with thunderous applause.

Krishna began the concert with Alapana, which began powerfully in the upper Rishabh, leading directly into Tyagaraja’s ‘Karubarusayuvaru’, where the musician praises Rama for ruling Saket Nagar or Ayodhya. Interestingly, the word ‘Karubaru’ is derived from the Urdu word ‘Karobar’ which means transaction or transaction. In the line ‘Sadhu Thyagaraja Vinuta Ram’, his Niraval interestingly explored various aspects of Mukhari raga. The musical expertise of violinist RK Sriramkumar shone when he brought the words of the upper Rishabh to Daivatam. RK Sriramkumar, Arun Prakash and N. Guruprasad, who has been Krishna’s constant companion, played the violin, mridangam and ghatam respectively.

When Krishna began his Sahana recital, he and Sriramkumar engaged in a playful exchange. , Photo Courtesy: Srinath M

When Krishna began his Sahana recital, he and Sriramkumar engaged in a playful exchange. As Sriramkumar concentrated on the Dhaivatam that gives Sahana its euphoric character, he argued with good old Kamboji before handing it back to the singer. Krishna deceptively sang a few phrases that touched Ni and Da from the upper Shazam and went up to Pancham, only to return to the upper Shazam and descend sharply on the Antara Gandharam using the Kakali Nishadam as a launchpad and the Begada. Used to dive in. At that moment, the violinist and the singer looked into each other’s eyes with warm admiration. Sriramkumar during his turn turned the Begada into a soulful Khamas in the upper Shazam, resulting in Krishna rendering the all-time classic “Janaaro!” This song is often demanded by the audience on and off stage and Krishna delivers it with a surprising freshness every time. While presenting Janaro, Krishna creates a sense of poignancy during moments of silence and Arun Prakash’s presence is strongly felt when he refrains from playing proper. While many choose to express themselves with loudness and fanfare, lessons of subtlety and grace can be learned from Arun Prakash.

After a brief sketch of Salakabhairavi, Krishna presented Tyagaraja’s composition ‘Padavi ni Sadabhaktiyu Kalagute’ at a graceful pace. It would not be an exaggeration to say that Krishna is a rare musician who has the ability to sing three companion ragas (Mukhari, Salakabhairavi and Manji) in the same Kachhi without losing the involvement of his audience.

TM Krishna was accompanied by Arun Prakash (mridangam), Guruprasad (ghatam) and Sriramkumar (violin). , Photo Courtesy: Srinath M

Arun’s mridangam and Guruprasad’s ghatam beautifully expressed the raga during Anupallavi especially in ‘Chadivi Veda Shastropanishattula’. As the pallavi begins with the lower Shadjama, there was ample opportunity for Krishna to demonstrate his power with an exciting set of descending Kalpanaswaras. This was followed by a quiet and slow ‘Jambupathe’. As soon as the song started, many lovers listened attentively with their eyes closed. As Krishna sang the line ‘Ambudhi Ganga Kaveri Yamuna’, the vision of these rivers flowing in serpentine, snake-like shapes appeared before the audience. When the line ‘Anvirchaneya Naad Bindo’ was raised, it raised a question whether the indescribable Naad or pure sound (which is as vast as the ocean) could be contained and owned by a select few.

Embellished his thodi alapana with brigas and long-winded nagaswaram phrases, Krishna switched to a melodious Kalyani take on Swathi Tirunal’s ‘Pankajalochana’. This song used to be a favorite of his guru Semmangudi Srinivas Iyer, who sang it for his music academy Kucheri in 1988. That year Krishna made his music academy debut as a 12-year-old in the series “Spirit of Youth”. In the line “Kunda Nibhardagovinda” a Niraval used the best phrases of Kalyani from the musicians.

However, Kalpanaswara ended very quickly and left the audience wanting more. However, Arun Prakash and Guruprasad played their Tani Avtaranam at this time, much to the satisfaction of the eager Rasikas.

TM Krishna rendered Perumal Murugan’s verses as Viruttam in ragas Karaharapriya, Varali and Anandabhairavi. , Photo Courtesy: Srinath M

Poet and writer Perumal Murugan has written a set of verses that begins with ‘Thappena Seidhen Thavikka Vidugindraai’, which expresses his anguish as he asks Mathorubagan (Shiva) what wrong he has done that he should seek his mercy. Are not worth it. Emotionally rendered by Krishna as Viruttam in raga Karaharpriya, Varali and Anandabhairavi, it finally ended with Manda offering ‘Suthanthiram Vendum’, a song praising the constitutionally guaranteed right to freedom of expression. And compares it to the flow of a river. , sun rays etc. The song received loud applause and ended with loud cheers from almost every section of the auditorium.

Narayana Guru composed a set of ten verses on compassion (Anukampa Dashakam). The verses request the Almighty to bestow the blessings of compassion towards all beings and a mind that always contemplates the Supreme Power. After describing the glory of compassion, Narayana Guru pays homage to the incarnations of this compassion whether taking the form of Lord Krishna or Buddha, Adi Shankaracharya or Jesus Christ, or Prophet Muhammad. Krishna took some of these verses for Viruttam in ragas Mayamalvagaula and Behaga. Some other compositions sung by Krishna include ‘Lavanya Rama’ in Purnashadjam and ‘Varugalamo’ in Manji.

Krishna concluded the recital with a rare Marathi song “Dhav Vibho Karunakara Madhav”, which was first sung by MS Subbulakshmi in a concert.

Many people before TM Krishna have valued inclusion and many after him will do so by inviting a diverse range of people to the table. But there’s a difference between inviting someone to the table and joining them for a meal.