The power of T.M. Krishan’s musical notes

T.M. Krishna’s Vocal concert at The Music Academy.
| Photo Credit: SRINATH M

There was an air of impatience near the Music Academy as a huge crowd descended upon the roads surrounding the popular venue resulting in a huge traffic jam. Being one of the few venues in Chennai that is disabled-friendly, the Academy welcomed several wheelchair users and senior citizens that day. Mothers brought their infants; young grandchildren accompanied their grandparents and several members of the LGBTQIA+ community were in attendance. Many first generation music learners from marginalized castes and religious backgrounds also turned up to support this year’s Sangita Kalanidhi awardee. As the curtains opened, a thunderous applause engulfed the entire auditorium that was filled to the brim.

Krishna began the concert with an alapana that commenced powerfully at the upper rishabham, delving straight into Tyagaraja’s ‘Karubaruseyuvaru’ where the composer praises Rama for his governance of Saketa Nagara or Ayodhya. Interestingly, the word ‘Karubaru’ is derived from the Urdu word ‘karobar’ meaning dealings or transactions. His niraval at the line ‘Sadhu thyagaraja vinuta rama’ tastefully explored the various facets of Mukhari raga. The violinist R.K. Shriramkumar’s musical expertise shone when he handled the phrases from the upper rishabham descending into the daivatam. R.K. Shriramkumar, Arun Prakash and N. Guruprasad who have been Krishna’s constant companions played the violin, mridangam and ghatam respectively.

When Krishna commenced his Sahana alapana, he and Shriramkuamr engaged in a playful exchange.
| Photo Credit:
SRINATH M

When Krishna commenced his Sahana alapana, he and Shriramkumar engaged in a playful exchange. As Shriramkumar dwelled upon the dhaivatam that lends Sahana much of its effervescent character, he segued into good old Kamboji before handing it back to the vocalist. Krishna deceivingly sang some phrases that touched the Ni and Da from the upper shadjam going as far as the panchamam only to go back to the upper shadjam to make a swift landing upon the antara gandharam using the kakali nishadam as the launchpad, diving into Begada. At that moment, the violinist and vocalist stared into each other’s eyes with warm admiration. Shriramkumar during his turn twisted the Begada into a soulful Khamas at the upper shadjam resulting in Krishna presenting the all-time classic “Jaanaro”! This song is often requested by the audience both on and off the stage and Krishna renders it with a startling freshness each time. While presenting Jaanaro, Krishna builds a bhava of poignance during moments of silence and Arun Prakash’s presence is felt strongly when he quite appropriately refrains from playing. While many choose to express themselves with loudness and clamour, lessons of subtlety and poise can be learnt from Arun Prakash.

After a brief sketch of Salakabhairavi, Krishna rendered Tyagaraja’s composition ‘Padavi ni sadbhaktiyu kalgute’ at a stately pace. It would not be an exaggeration to state that Krishna is a rare musician who possesses the ability to sing three allied ragas (Mukhari, Salakabhairavi and Maanji) in the same kutcheri without losing his audience’s involvement.

T.M. Krishna accompanied by Arun Prakash (mridangam), Guruprasad (ghatam) and Shriramkumar (violin).
| Photo Credit:
SRINATH M

Arun’s mridangam and Guruprasad’s ghatam spelt out the melody beautifully during the anupallavi especially at ‘Chadivi veda sastropanishattula’. As the pallavi begins at the lower shadjam, there was ample opportunity for Krishna to exhibit his prowess with a stimulating set of descending kalpanaswaras. After this, a serene and slow ‘Jambupathe’ followed. As the song began, several rasikas listened intently with their eyes closed. As Krishna sang the line ‘ambudhi ganga kaveri yamuna’, the vision of these rivers that flow in a sinuous, snake-like pattern manifested before the listeners. When the line ‘Anirvachaneeya nada bindo’ was taken up, it made one question if the indescribable Nada or pure sound (that is as vast as the sea) could be contained and owned by a select few.

Embellishing his Thodi alapana with brigas and long-winded nagaswaram phrases, Krishna switched to a sweet Kalyani taking up Swati Tirunal’s ‘Pankajalochana’. This song used to be a favourite of his guru Semmangudi Srinivasa Iyer who sang it for his Music Academy kutcheri in 1988. That year also marked Krishna’s Music Academy debut as a 12-year-old in the “Spirit of Youth” series. A niraval at the line “kunda nibharadagovinda” employed the best of Kalyani’s phrases from the musicians.

However, the kalpanaswaras ended too soon and left the audience wanting more. However, Arun Prakash and Guruprasad played their tani avartanam at this time, immensely satisfying the eager rasikas.

T.M. Krishna rendered Perumal Murugan’s verses as a Viruttam in ragas Karaharapriya, Varali and Anandabhairavi.
| Photo Credit:
SRINATH M

Poet and writer Perumal Murugan penned a set of verses that begin with ‘Thappenna seidhen thavikka vidugindraai’ that express his anguish as he asks Mathorubagan (Shiva) what wrong he has done to not deserve his mercy. Emotionally rendered by Krishna as a Viruttam in the ragas Karaharapriya, Varali and Anandabhairavi, it finally concluded with an offering in Maand ‘Suthanthiram vendum’, a song that extols the constitutionally guaranteed right to freedom of speech and compares it with the flow of a river, the rays of the sun and so on. This song drew rousing 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 bless one with compassion towards all beings and a mind which always contemplates the supreme power. After describing the glory of compassion, Narayana Guru goes on to pay tributes to the embodiments of this compassion wondering if God takes the form of Krishna or Buddha, Adi Shankara or Jesus Christ, or Prophet Muhammad. Krishna took up some of these verses for a Viruttam in ragas Mayamalavagowla and Behag. Some of the other compositions sung by Krishna include ‘Lavanya rama’ in Purnashadjam and ‘Varugalamo’ in Maanji.

Krishna concluded the recital with a rare Marathi song “Dhava vibho karunakara madhava’ which was first sung by M.S. Subbulakshmi at a concert.

Many before T.M. Krishna have given importance to inclusion and many after him will do so by inviting a diverse set of people to the table. But there is a difference between inviting someone to the table and including them in the meal.