T.N. Krishnan
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- Posts: 2631
- Joined: 03 Feb 2010, 09:02
I think if I could credit any single musician for drawing me into the world of carnatic music, I would point to TNK.
When I was a child, I used to detest carnatic music classes (my vocal teacher used to continually insult me in class
for my poor voice, and for a five year old child, it was not great fun), and although I was pulled along to several
carnatic concerts, I have only bad memories of being bored to death in each one. I particularly remember a Kadri
Gopalnath concert, which I slept through, and an L Subramaniam concert, which only leaves me with vague memories of
a bow swishing to and fro across the strings in excessive speeds, and lots of noise in a crowded hall. I hated those
two concerts. However, about 10 years later, during which period I had almost severed any ties I had with carnatic
music, I decided to attend a TNK concert (we were in San Diego at the time), after hearing everyone rave about his
talent. And it turned out to be a concert that really changed my perspective of a music form I had hitherto
considered to be dull, boring, and esoteric (what with 35 talas, hundreds of ragas everyone other than me could
identify).
During that concert, I remember being glued to TNK's every movement of the bow. It was a small concert hall, and a
very small, but attentive audience, and I remember TNK staring into each of the audience members' eyes throughout
the concert, and the music he created that day was so melodious I could not describe it in words (the concert is
uploaded on Sangeethapriya: T N Krishnan San Diego). There is just something about the way TN Krishnan brings out
the beauty of every raga, with so much nidhaanam, pausing so effectively between each phrase during raga
alaapanai's, to allow the musician as well as the listener to meditate on the last phrase... I think the aspect I
enjoy most about TN Krishnan's music is his ability to paint the picture of a raga during the aalapanai. That night,
I particularly remember being enchanted by his presentations of Anandha Bhairavi and the ragamalika RTP he presented
in the latter half of the concert. I still rememeber the intense focus he had that night while contemplating every
next bow... I also recall how encouraging and engaging he was on stage, prodding his son along during their duet,
generous with praise for his accompanists (Trichy Sankaran's thani that night was another exciting affair), and I
really enjoyed his humility when he spoke at the end of the concert and mentioned that his music is what it is
because he has accompanied so many great masters of the art, and has adopted the intricacies of each of their
musical styles into his own to produce such richness in melody that characterises his own playing.
A couple of months later, I attended TNK's brief concert in San Diego once again (after a concert by his disciple
Aishhwarya Venkatraman, discussed in great detail on this forum for her "prodigy"!) , attended by many Americans,
and I watched them glued to his violin in much the way I was. The bhavam so intricately woven into his music is what
attracts even lay people to his music. And I think it is this bhavam that really sums up the magic of his art. In
the few solo concerts of his, I have heard him play the same, hackneyed ragas and pieces, which surely would come
under criticism, but in my opinion, this devotion with which each piece is so carefully rendered more than makes up
for any lack of variety in has performances.
Now, I have only heard of TNK in solo, or in duet with his children. I was not alive when he was an accompanist to
the old time greats, and it would be wonderful if anyone who has attended his concerts in the 60's to 80's can offer
their perspective of TNK as an accompanying artist.
When I was a child, I used to detest carnatic music classes (my vocal teacher used to continually insult me in class
for my poor voice, and for a five year old child, it was not great fun), and although I was pulled along to several
carnatic concerts, I have only bad memories of being bored to death in each one. I particularly remember a Kadri
Gopalnath concert, which I slept through, and an L Subramaniam concert, which only leaves me with vague memories of
a bow swishing to and fro across the strings in excessive speeds, and lots of noise in a crowded hall. I hated those
two concerts. However, about 10 years later, during which period I had almost severed any ties I had with carnatic
music, I decided to attend a TNK concert (we were in San Diego at the time), after hearing everyone rave about his
talent. And it turned out to be a concert that really changed my perspective of a music form I had hitherto
considered to be dull, boring, and esoteric (what with 35 talas, hundreds of ragas everyone other than me could
identify).
During that concert, I remember being glued to TNK's every movement of the bow. It was a small concert hall, and a
very small, but attentive audience, and I remember TNK staring into each of the audience members' eyes throughout
the concert, and the music he created that day was so melodious I could not describe it in words (the concert is
uploaded on Sangeethapriya: T N Krishnan San Diego). There is just something about the way TN Krishnan brings out
the beauty of every raga, with so much nidhaanam, pausing so effectively between each phrase during raga
alaapanai's, to allow the musician as well as the listener to meditate on the last phrase... I think the aspect I
enjoy most about TN Krishnan's music is his ability to paint the picture of a raga during the aalapanai. That night,
I particularly remember being enchanted by his presentations of Anandha Bhairavi and the ragamalika RTP he presented
in the latter half of the concert. I still rememeber the intense focus he had that night while contemplating every
next bow... I also recall how encouraging and engaging he was on stage, prodding his son along during their duet,
generous with praise for his accompanists (Trichy Sankaran's thani that night was another exciting affair), and I
really enjoyed his humility when he spoke at the end of the concert and mentioned that his music is what it is
because he has accompanied so many great masters of the art, and has adopted the intricacies of each of their
musical styles into his own to produce such richness in melody that characterises his own playing.
A couple of months later, I attended TNK's brief concert in San Diego once again (after a concert by his disciple
Aishhwarya Venkatraman, discussed in great detail on this forum for her "prodigy"!) , attended by many Americans,
and I watched them glued to his violin in much the way I was. The bhavam so intricately woven into his music is what
attracts even lay people to his music. And I think it is this bhavam that really sums up the magic of his art. In
the few solo concerts of his, I have heard him play the same, hackneyed ragas and pieces, which surely would come
under criticism, but in my opinion, this devotion with which each piece is so carefully rendered more than makes up
for any lack of variety in has performances.
Now, I have only heard of TNK in solo, or in duet with his children. I was not alive when he was an accompanist to
the old time greats, and it would be wonderful if anyone who has attended his concerts in the 60's to 80's can offer
their perspective of TNK as an accompanying artist.
No wonder you call your self Bilahari.
That is a raga with which he mesmerises me, always.
On the eve of my travelling to Chennai for the first time to report for my first Job, I still remember my (Late ) Dad repeating a list of things that I should do in Chennai after settling down.
The last bit, as my Bus pulled away , was.
"Please do find out for my sake , If TNK does indeed dip his bow overnight in honey, before playing for a Concert."
That is a raga with which he mesmerises me, always.
On the eve of my travelling to Chennai for the first time to report for my first Job, I still remember my (Late ) Dad repeating a list of things that I should do in Chennai after settling down.
The last bit, as my Bus pulled away , was.
"Please do find out for my sake , If TNK does indeed dip his bow overnight in honey, before playing for a Concert."
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- Posts: 197
- Joined: 26 May 2005, 06:06
Kji
did u find out ?
what did TNK say about the sweetness in his playing ?
my favorite violinist.
first thing that comes to my mind is his wonderful accompaniment to Ariyakudi in the company of PMI, esp the chatur-raga RTP (sankarabharananai azahithodi vaadi kalyani darbaarukku). extraordinary concert.
ofcourse his accompaniment to MDR is sublime.
did u find out ?
what did TNK say about the sweetness in his playing ?
my favorite violinist.
first thing that comes to my mind is his wonderful accompaniment to Ariyakudi in the company of PMI, esp the chatur-raga RTP (sankarabharananai azahithodi vaadi kalyani darbaarukku). extraordinary concert.
ofcourse his accompaniment to MDR is sublime.
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- Posts: 78
- Joined: 04 Jan 2007, 09:35
Dear divakar,
I'm a new member on this forum. I'm excited to hear that there is a recording of Ariyakudi singing the Chatur Raga Pallavi -- I have heard the ones by KVN and the commercial TMK version (and they're both very good), but I didn't know there was an Ariyakudi version -- am now lusting for the Ariyakudi version. If you (or anyone on this forum) could share a non-commercial recording of Ariyakudi's Chatur Raga Pallavi, I'd be really grateful.
Thanks a lot,
Arvind
I'm a new member on this forum. I'm excited to hear that there is a recording of Ariyakudi singing the Chatur Raga Pallavi -- I have heard the ones by KVN and the commercial TMK version (and they're both very good), but I didn't know there was an Ariyakudi version -- am now lusting for the Ariyakudi version. If you (or anyone on this forum) could share a non-commercial recording of Ariyakudi's Chatur Raga Pallavi, I'd be really grateful.
Thanks a lot,
Arvind
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- Posts: 9944
- Joined: 03 Feb 2010, 08:04
For me it is absolute bliss whenever I hear Prof TN Krishnan playing the keeravAni rAgam. His technique and style just fits so well for keeravAni, that I think no one has come close? Does anyone else have an opinion(particularly any violinists from beginners to performing vidwans) in particular with keeravAni and TNK?
Last edited by rajeshnat on 08 Apr 2007, 23:26, edited 1 time in total.
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- Posts: 380
- Joined: 14 Oct 2005, 17:38
There used to be a 78 rpm of TNK playing the Thyagaraja Krithi in KeeravAni. I am not able to lay my hands on it. AIR Chennai is definitely having it.
TNK excels in the following ragas: Surati, Todi, Sindhu Bhairavi, Keeravani and of course Bilahari.
His power of concentration is something unique and whatever he delivers has depth and effectiveness. If he is crisp and short, well, you may conclude that he follows the Ariyakudi style. If he searches and and brings out the nuances of a raga, he is Chembai in action. If he is soft, sedulous and takes you to a new world, you will find GNB haunting him. If his kalpana-swaras are captivating, take it from me that he proves to you that he is a worthy disciple of SSI.
My brother used to comment that he explores and digs the Tiruparkadal to get the divine nectar.
[On the lighter side however, ONGC has to learn from TNK to locate an oil well{find}!].
TNK excels in the following ragas: Surati, Todi, Sindhu Bhairavi, Keeravani and of course Bilahari.
His power of concentration is something unique and whatever he delivers has depth and effectiveness. If he is crisp and short, well, you may conclude that he follows the Ariyakudi style. If he searches and and brings out the nuances of a raga, he is Chembai in action. If he is soft, sedulous and takes you to a new world, you will find GNB haunting him. If his kalpana-swaras are captivating, take it from me that he proves to you that he is a worthy disciple of SSI.
My brother used to comment that he explores and digs the Tiruparkadal to get the divine nectar.
[On the lighter side however, ONGC has to learn from TNK to locate an oil well{find}!].
Last edited by kaumaaram on 09 Apr 2007, 15:40, edited 1 time in total.
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- Joined: 14 Oct 2005, 17:38
Please visit the dedicated page of Chembai in www.sangeethapriya.org. "Srkris" has uploaded an excellent concert where TNK plays the Bilahari in his inimitable style. Also, do try this one:bilahari wrote:I think if I could credit any single musician for drawing me into the world of carnatic music, I would point to TNK.
...
Now, I have only heard of TNK in solo, or in duet with his children. I was not alive when he was an accompanist to
the old time greats, and it would be wonderful if anyone who has attended his concerts in the 60's to 80's can offer
their perspective of TNK as an accompanying artist.
http://www.sangeethapriya.org/Downloads/vvv/vvv.html
Elsewhere in this forum, Coolkarni had posted his duet with MC.
Kaumaaram
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- Posts: 197
- Joined: 26 May 2005, 06:06
sorry arvind, it is a commercial recording available in 3 cassettees. the third volume contains the chatur-raga malika RTP. I guess now it must be available in CDs as well. dont miss it. PMI literally sings with Ariyakudi.If you (or anyone on this forum) could share a non-commercial recording of Ariyakudi's Chatur Raga Pallavi,
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- Joined: 05 Jun 2005, 14:32
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- Posts: 146
- Joined: 05 Jun 2005, 14:32
TNK also supported the younger artistes. For instance he had accompanied TVS and TVR a lot during their intial period of their music career.
Actually he accompanied TVR when he sang in the afternoon though TNK had been accompanying the senior vidwans during the evening slot for more than a decade.
In those days MA used to offer only two concerts for the accompanists. By accompanying TVR he had to forego one of the evening slots that year. This surprised many people and even drew an oblique reference from subbudu.
Actually he accompanied TVR when he sang in the afternoon though TNK had been accompanying the senior vidwans during the evening slot for more than a decade.
In those days MA used to offer only two concerts for the accompanists. By accompanying TVR he had to forego one of the evening slots that year. This surprised many people and even drew an oblique reference from subbudu.
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- Joined: 26 Mar 2005, 17:01
SANGEETHARATNA AWARD TO PROF. T.N. KRISHNAN
http://starofmysore.com/main.asp?type=s ... &item=2440Star of Mysore wrote:]Violin wizard Prof. T.N. Krishnan will receive Bharatha Ratna M.S. Subbalakshmi Memorial "Sangeetharatna" award during the Geethanjali 2007 2nd annual music festival of Mysore-based Sri Lalithakala Academy Foundation in Bangalore.
Governor T.N. Chaturvedi will in-augurate the festival and confer the award on the inaugural day of three-day music festival at Mangal Mandir Swami Vivekananda Yoga University. This will be followed by Violin concert by Prof. T.N. Krishnan.
Lalithakalaratna Vidwan Vidyabhushana, Padmabhushna T.V. Shankaranarayana and Dhanya Madushudan from USA will give the concerts on the following days. A memento dedicated to 18th century artiste "Bhairavai Kempegowda" who was known for his dedication and rendition of raga Bhairavi will be given to Vidwan Vidyabhushana by G. Kumara Naik. Tourism Commissioner.
I.M. Vital Murthy, Principal Secretary, Department of Kannada and Culture, will deliver the key-note address.
H.S. Mahadevaprasad Minister for Kannada and Culture, will release a multicolour brochure "Why M.S. Subbulakshmi Great" with rare collection of her achievements and simplicity.
Jayakumar, Joint Secretary, Department of Culture, New Delhi, will release the 2nd edition of the VCD on M.S. Subbulakshmi's "Journey through Images." The festival is scheduled from May 6 to 8, according to a press release from the Secretary B.S.S. Rao.
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- Joined: 24 Oct 2006, 04:18
Prof. Krishnan is giving a series of violin concerts to raise funds for Sankara Netralaya. The cnocerts are being held throughout the US as follows:
1. Los Angeles - TBD
2. San Diego -TBD
3. Atlanta - August 18, 2007
4. Phoenix, AZ - August 24, 2007
5. Houston, TX - 26th August 2007
6. Dallas, TX - 1st September 2007
7. Buffalo, New York - 7th September 2007
8. Chicago - 22nd September 2007
9. Washington, DC - 29th September 2007
10. San Jose, Bay Area, CA - 30 th September 2007
Watch for furhter details
1. Los Angeles - TBD
2. San Diego -TBD
3. Atlanta - August 18, 2007
4. Phoenix, AZ - August 24, 2007
5. Houston, TX - 26th August 2007
6. Dallas, TX - 1st September 2007
7. Buffalo, New York - 7th September 2007
8. Chicago - 22nd September 2007
9. Washington, DC - 29th September 2007
10. San Jose, Bay Area, CA - 30 th September 2007
Watch for furhter details
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- Joined: 03 Feb 2010, 08:04
nice writeup in the hindu. One line of special interest to me was "Curiously, he never went through the traditional learning process of Alankaram, Sarali, etc".
http://www.hindu.com/fr/2007/07/27/stor ... 550300.htm
http://www.hindu.com/fr/2007/07/27/stor ... 550300.htm
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- Joined: 09 Aug 2007, 22:12
After reading the posts by tnk rasikas, I thought I could share a few incidents out of
my aquaintance with him. I live in Chennai and after reading an article about him in
Adyar Times early this year, I called him up to find out if he would teach me and my
daughter. When I called, I was sure that he was either going to say that he doesn't
teach beginners or may be say that one of his sishyas would teach the beginners or
something like that. It is still hard for me to believe that such a great artist can
be so humble and polite to a nobody like me. It has been a great pleasure learning from
him from April to July and am eagerly waiting for his return from his US trip. I can
probably write a few pages with all the details. But, to make the long story short,
here are bits and pieces....
- I believe the violin he plays with, is about 150 years old!
- On my first class, I was sitting on the mat, but, my feet was extending on to the
floor. He insisted that I move back a little and completely sit on the mat. Any
guesses why?.... "slip aayiduthuna tharayila adi pattudum" (if the violin slips, it
will be hurt by the floor)
- And when I was keeping the violin back in the well cushioned case after the class one
end was not kept properly and the violin slided smoothly into place with quite an
inaudible level of sound. He was immediately like, 'acho paathu!' (oh, careful!) and it
took a couple of seconds for me to realise why he was alarmed!
- it is simply a pleasure to watch, how softly he picks up the violin and the bow from
the case and how he puts them back.....
I realised that day the reason behind the gentle, pacifying magic of his music .....he
treats the violin more gentle than a new born baby!
- One day, I was watching his vocal class to a couple of small girls. The girls' mother
was sitting by the side. He was teaching them practice swarams in Jaganmohini. He was
teaching something like, SGM-GMP-MPN-PNS-RSN-SNP-.... the mother intervened and asked,
how come R is coming after S. One should be there to believe how politely he explained!
I can't even imagine any other great artist, first, personally teaching ordinary small
children, second, letting the accompanying guardian sit right by the side, third
letting them intervene the class, fourth, facing a question like that, fifth, answering
politely without an iota of irritation or ego and finally, making the following few
exercises for the kids with similar prayogams!
- For those who are puzzled reading 'The Hindu' lines, "Curiously, he never went
through the traditional learning process of Alankaram, Sarali, etc" ...... That is
exactly how he teaches his students too. On an average he took about 5 to 6 classes a
month; he says 'that is enough; you need that much time in between to do saadhagam
before you come to the next class'. In the first two classes, he taught me how to hold
the violin and bow, and simple bowing and fingering lessons....then within the next 10
classes he completed teaching me Sami Ninne varnam in Shankarabharanam! And everytime I
played it after that, as my fingering was getting better, he would introduce better
ways of playing the song with more gamakams, etc. I have completed Mohanam
Varnam and Shobbhillu in Jaganmohini so far. For the first 20 years of my life, I literally grew up in an environment
that was like, "Sangeethama?....kilo enna vilai?" ("Sangeetham? how much does it cost
per kilogram?). After that, listening to a lot of
music over the last 20 years and learning veena, on and off, put-to-gether for about 5
years is my exposure to Carnatic music. When a great guru (great is not the word really......I may need a couple of pages to write about his teaching skills and techniques!) like him can bring so much
within 4 months, out of an ordinary person like me, it is probably not surprising that
his father was able to make a born genius like TNK mama play Hamsadhwani varnam as the very first lesson when he was only 4 and Bhairavi Ata thaala varnam when he was merely 5 year old.
I cherish a few more incidents which have puzzled me and touched my heart during my classes, about this
great, wonderful person. Since this posting has gotten quite long already, I am forcing myself
to close it now.....
Probably, artists capable of producing pure music like him could have lived before him
or may also be born in the future. But, I sincerely believe that, the goodness and
purity in his heart and soul is what gets reflected in his music which makes it so
divine and special....and 'That' component can never be matched....
my aquaintance with him. I live in Chennai and after reading an article about him in
Adyar Times early this year, I called him up to find out if he would teach me and my
daughter. When I called, I was sure that he was either going to say that he doesn't
teach beginners or may be say that one of his sishyas would teach the beginners or
something like that. It is still hard for me to believe that such a great artist can
be so humble and polite to a nobody like me. It has been a great pleasure learning from
him from April to July and am eagerly waiting for his return from his US trip. I can
probably write a few pages with all the details. But, to make the long story short,
here are bits and pieces....
- I believe the violin he plays with, is about 150 years old!
- On my first class, I was sitting on the mat, but, my feet was extending on to the
floor. He insisted that I move back a little and completely sit on the mat. Any
guesses why?.... "slip aayiduthuna tharayila adi pattudum" (if the violin slips, it
will be hurt by the floor)
- And when I was keeping the violin back in the well cushioned case after the class one
end was not kept properly and the violin slided smoothly into place with quite an
inaudible level of sound. He was immediately like, 'acho paathu!' (oh, careful!) and it
took a couple of seconds for me to realise why he was alarmed!
- it is simply a pleasure to watch, how softly he picks up the violin and the bow from
the case and how he puts them back.....
I realised that day the reason behind the gentle, pacifying magic of his music .....he
treats the violin more gentle than a new born baby!
- One day, I was watching his vocal class to a couple of small girls. The girls' mother
was sitting by the side. He was teaching them practice swarams in Jaganmohini. He was
teaching something like, SGM-GMP-MPN-PNS-RSN-SNP-.... the mother intervened and asked,
how come R is coming after S. One should be there to believe how politely he explained!
I can't even imagine any other great artist, first, personally teaching ordinary small
children, second, letting the accompanying guardian sit right by the side, third
letting them intervene the class, fourth, facing a question like that, fifth, answering
politely without an iota of irritation or ego and finally, making the following few
exercises for the kids with similar prayogams!
- For those who are puzzled reading 'The Hindu' lines, "Curiously, he never went
through the traditional learning process of Alankaram, Sarali, etc" ...... That is
exactly how he teaches his students too. On an average he took about 5 to 6 classes a
month; he says 'that is enough; you need that much time in between to do saadhagam
before you come to the next class'. In the first two classes, he taught me how to hold
the violin and bow, and simple bowing and fingering lessons....then within the next 10
classes he completed teaching me Sami Ninne varnam in Shankarabharanam! And everytime I
played it after that, as my fingering was getting better, he would introduce better
ways of playing the song with more gamakams, etc. I have completed Mohanam
Varnam and Shobbhillu in Jaganmohini so far. For the first 20 years of my life, I literally grew up in an environment
that was like, "Sangeethama?....kilo enna vilai?" ("Sangeetham? how much does it cost
per kilogram?). After that, listening to a lot of
music over the last 20 years and learning veena, on and off, put-to-gether for about 5
years is my exposure to Carnatic music. When a great guru (great is not the word really......I may need a couple of pages to write about his teaching skills and techniques!) like him can bring so much
within 4 months, out of an ordinary person like me, it is probably not surprising that
his father was able to make a born genius like TNK mama play Hamsadhwani varnam as the very first lesson when he was only 4 and Bhairavi Ata thaala varnam when he was merely 5 year old.
I cherish a few more incidents which have puzzled me and touched my heart during my classes, about this
great, wonderful person. Since this posting has gotten quite long already, I am forcing myself
to close it now.....
Probably, artists capable of producing pure music like him could have lived before him
or may also be born in the future. But, I sincerely believe that, the goodness and
purity in his heart and soul is what gets reflected in his music which makes it so
divine and special....and 'That' component can never be matched....
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- Posts: 16802
- Joined: 22 Jun 2006, 09:30
latagautham,
A touching narration about the veteran.
I am not surprised on reading your account. The reason for his being all the things you say can be summed up simply: it is his enthusiasm for life and art; the youthfulness of his personality and his thinking. I knew him when I was a child and meet him very rarely (having lived away from India for a long time). When he sees me (once, even after twenty years or so) he greets me with the same enthusiasm and friendliness as he did sixty years ago! A lively soul, his great art does not distance him from his rasikAs or students.
Even now, when I get to listen to him in a concert, I still see him as Master Krishnan ( we called him masterkrishnan in one go, as if it were his given name!) Such is his spirit, his music and manner, to this day. Age cannot wither him...
A touching narration about the veteran.
I am not surprised on reading your account. The reason for his being all the things you say can be summed up simply: it is his enthusiasm for life and art; the youthfulness of his personality and his thinking. I knew him when I was a child and meet him very rarely (having lived away from India for a long time). When he sees me (once, even after twenty years or so) he greets me with the same enthusiasm and friendliness as he did sixty years ago! A lively soul, his great art does not distance him from his rasikAs or students.
Even now, when I get to listen to him in a concert, I still see him as Master Krishnan ( we called him masterkrishnan in one go, as if it were his given name!) Such is his spirit, his music and manner, to this day. Age cannot wither him...
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- Posts: 1529
- Joined: 09 Feb 2006, 00:04
Here are links from a recent concert.
Mahaganapathim and Swara raga sudha
http://podbazaar.com/view/144115188075856913
http://podbazaar.com/view/144115188075856916
Mahaganapathim and Swara raga sudha
http://podbazaar.com/view/144115188075856913
http://podbazaar.com/view/144115188075856916
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- Joined: 03 Feb 2010, 09:02
Really wonderful jugalbandhi concert of TNK-N.Rajam uploaded to Sangeethapriya: http://www.sangeethamshare.org/manjunat ... Looru1980/
The music just flows so beautifully. What sowkhyam!
The music just flows so beautifully. What sowkhyam!
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- Joined: 10 Jun 2007, 12:23
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- Joined: 26 Jul 2008, 01:48
Posting on behalf of the T. N. Krishnan Foundation for Performing Arts:
In celebration of the centennial birthday of the "sangeetha pitamaha," Sri Semmangudi Srinivasa Iyer, the T. N. Krishnan Foundation is proud to offer a podcast featuring Sri T. N. Krishnan and Sri Palai Ramachandran, two of the great master's illustrious disciples. Both musicians fondly remember the life and music of their beloved guru, and share their gurukula experience with him.
More details at: http://www.tnkrishnan-foundation.org/20 ... enary.html
In celebration of the centennial birthday of the "sangeetha pitamaha," Sri Semmangudi Srinivasa Iyer, the T. N. Krishnan Foundation is proud to offer a podcast featuring Sri T. N. Krishnan and Sri Palai Ramachandran, two of the great master's illustrious disciples. Both musicians fondly remember the life and music of their beloved guru, and share their gurukula experience with him.
More details at: http://www.tnkrishnan-foundation.org/20 ... enary.html
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- Joined: 03 Feb 2010, 09:02
Stunning RTP in Simmhendramadhyamam; the pallavi rendition is electrifying:
http://www.sangeethamshare.org/sl/T_N_K ... _29_12_02/
A really nice concert overall with a soulful Amba Kamakshi as well. The Sahana alapanai has a curious beginning, sometimes appearing to verge on Devagandhari and makes for interesting listening!
http://www.sangeethamshare.org/sl/T_N_K ... _29_12_02/
A really nice concert overall with a soulful Amba Kamakshi as well. The Sahana alapanai has a curious beginning, sometimes appearing to verge on Devagandhari and makes for interesting listening!
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Thanks for that treat, Kaumaaram. Have you had any luck finding that old Keeravani recording everybody raves about?
BTW, for those who are curious, here are some solo tracks from son Sriram Krishnan's concerts: http://sriramkrishnan.net/
The Cheta Shri reassures me that the sowkhyam that epitomises TNK's music has not diminished much in its inheritors.
BTW, for those who are curious, here are some solo tracks from son Sriram Krishnan's concerts: http://sriramkrishnan.net/
The Cheta Shri reassures me that the sowkhyam that epitomises TNK's music has not diminished much in its inheritors.
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An excellent interview by Prof TN Krishan,particularly I am so impressed by his view point about Sound Monitors, I hope all of the musicians take that viewpoint and implement it.
http://www.hindu.com/fr/2009/01/09/stor ... 980100.htm
http://www.hindu.com/fr/2009/01/09/stor ... 980100.htm
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Guruji: Here are the links. Please bear with me for poor recording.
http://rapidshare.com/files/181290487/0 ... m.MP3.html
http://rapidshare.com/files/181290489/0 ... a.MP3.html
http://rapidshare.com/files/181290487/0 ... m.MP3.html
http://rapidshare.com/files/181290489/0 ... a.MP3.html
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Kaumaaram, that Kiravani alapanai was just excellent and concise. Thanks so much. And rajeshnat, thanks for the link to that good interview as well. You're right- his views are very refreshing! And nice to see him praising the talent level in current day violinists as well where it may be easy to brush everybody off as inferior compared to the good old days! Coolji, downloading the MMI TNK clip now- one of my fave combinations!
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Attended the Maestro's 80th b'day bash today (sathabhishekam) at the Ananthapadmanabhaswamy Temple, Adyar. The roster of attendees was awesome and a remarkable example of the Carnatic fraternity turning out in united love & respect for one of its greatest vidwans. I was touched especially by the presence of almost all the great violin maestros: LGJ (represented by his son GJR), MSG, VVS, MSA and his two sons, MC. N Ramani was there. Among contemporary violinists I could spot only Shriramkumar, Sriram Parasuram and TNK's disciple Charumati. Percussion vidwans aplenty: UKS, TVG, Dorai, Bhakta, Easwaran, Sankaran, Vasan, Vaikom, Prasad, Mali, etc. Vocalists: Trichur Ramachadran, Alpy Venkatesan, Sowmya, Suguna Purushottaman, Ranjani-Gayathri, Anooradha Sriram, Brindamma's grandson Girish... Many Sabhanayakas: Prabhu of KGS, Venkatraman of MFAC, Sivakolundu of Rasika Fine Arts, Cleveland Sundaram. Violin virtuosos from the maestro's family were there of course: N Rajam, Kala Ramnath, Sangeetha, Sriram & Viji
Long live the Maestro!
Long live the Maestro!
Last edited by jnaanasoonyam on 11 Jan 2009, 00:16, edited 1 time in total.
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I had the good fortune of being invited to this function and attended the same and sought his blessings in person. All top ranking musicians attended the event and there was a good crowd and we were all treated to a fabulous lunch May TNK Sir lead happy and long life. I did see N.Murali and Nalli Kuppuswami along with Cho.Bye Ragjay
Last edited by Ragjay on 10 Jan 2009, 21:21, edited 1 time in total.
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A write-up from 'The Hindu'.
Date:17/02/2009 URL: http://www.thehindu.com/2009/02/17/stor ... 330500.htm
Date:17/02/2009 URL: http://www.thehindu.com/2009/02/17/stor ... 330500.htm
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Just found an old DD concert of TNK on Youtube:
http://www.youtube.com/watch?v=vI5VneaW9A0
Vandanamu in Sahana is an unusual entry in the playlist (never heard him play anything but Giripai in Sahana before), and Manavyala is main (good half-hour). Haven't watched it yet.
http://www.youtube.com/watch?v=vI5VneaW9A0
Vandanamu in Sahana is an unusual entry in the playlist (never heard him play anything but Giripai in Sahana before), and Manavyala is main (good half-hour). Haven't watched it yet.
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Some great vintage photos of TNK:
http://picasaweb.google.com/tnkrishnan. ... toArchive#
A couple of Bangalore concerts:
http://sangeethamshare.org/prasad_badar ... gh_School/
[Sowkhyam personified- a really excellent vAthApi and a really good bilahari ragam in item 3]
http://sangeethamshare.org/prasad_badar ... Centenery/
[Nice rItigowLa and lovely hari nEnenDu]
http://picasaweb.google.com/tnkrishnan. ... toArchive#
A couple of Bangalore concerts:
http://sangeethamshare.org/prasad_badar ... gh_School/
[Sowkhyam personified- a really excellent vAthApi and a really good bilahari ragam in item 3]
http://sangeethamshare.org/prasad_badar ... Centenery/
[Nice rItigowLa and lovely hari nEnenDu]
Last edited by bilahari on 18 Mar 2009, 12:08, edited 1 time in total.
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A video of TNK's disciple - Charumathi
http://ishare.rediff.com/video/entertai ... ram/543090
http://ishare.rediff.com/video/entertai ... ram/543090
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Yes Mr Diwakar,divakar wrote:sorry arvind, it is a commercial recording available in 3 cassettees. the third volume contains the chatur-raga malika RTP. I guess now it must be available in CDs as well. dont miss it. PMI literally sings with Ariyakudi.If you (or anyone on this forum) could share a non-commercial recording of Ariyakudi's Chatur Raga Pallavi,
You are correct. Ariyakudi's cm renderings are available in 3 volumes in audio cassetes as well as in CDs.
You can try in all leading shops like Raj Video Vision, Thousand Lights, Chennai-6 and Giri Trading Co.
The chatur raga RTP is in the third volume and one should not miss it.
Swaminathan S
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There's a Saveri RTP by MDR and TNK accompanies him. In his response to MDR's alapana, TNK plays in the mandra sthayi for a few minutes transporting everyone to an entirely different world. This is one of the most dangerous things to listen to while driving as the first instinct is to close one's eye and soak in the music. Unfortunately, I lost the recording and haven't able to find it since. If anyone has it, can they please upload it?
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Wow, thanks for that link, shripathi. Easily one of the best sAvEri alapanais I've ever heard, both by MDR and TNK. MDR uses some lovely rare repetitive phrases in his essay and TNK's response centered around the mandra panchamam is just outstanding. He uses the DP... DP...DPMPDP.... DPMPDPM..... DP... type phrases that he's generally quite fond of and uses more often in bhairavi. The thanam in varying kalapramanams is excellent. And MDR's kalpana swaras at the close of the pallavi gliding gently to the madhyamam are so lovely with Pazhani anticipating well. This is music at its best. Thanks again!
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Curious about what happened at 4:38 where TNK starts to play the charanam in 'Vandanamu.' Why did he restart? Was ghatam vidwan not ready?bilahari wrote:Just found an old DD concert of TNK on Youtube:
http://www.youtube.com/watch?v=vI5VneaW9A0
Vandanamu in Sahana is an unusual entry in the playlist (never heard him play anything but Giripai in Sahana before), and Manavyala is main (good half-hour). Haven't watched it yet.
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it is here:shripathi_g wrote:Found it - http://sangeethapriya.org/gvr/Saveri/RT ... ri-MDR.mp3
http://sangeethamshare.org/gvr/Saveri/R ... ri-MDR.mp3