T N Krishnan, Viji Krishnan, Sriram Krishnan - Thiruvarur Baktavatsalam - Vaikom Gopalakrishnan
Music Academy
25 Dec 2011. 9:15 am
maguva ninnE - nArAyaNagauLa
evarani - dEvAmrutavarshiNi
dEva dEva - mAyAmALavagauLa (RNS)
sukhi evvarO (R)
gaNanAyakam - rudrapriyA
RTP - tODi - Adi (2kaLai)
rAgamAlikA tAnam in sahAna, kApi, bEhAg
tani
eppo varuvArO
vanga kaDal kaDaindha - suruTTi
nI nAma rupamulaku
T N Krishnan, Music Academy
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Ragjay
- Posts: 208
- Joined: 12 Oct 2006, 17:10
Re: T N Krishnan, Music Academy
I think it was Srimanini in Poornashadjam and not Gananayakam.Please correct me Bharat
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bilahari
- Posts: 2631
- Joined: 03 Feb 2010, 09:02
Re: T N Krishnan, Music Academy
This was a beautiful concert, as usual.
TNK's one line sketch of nArAyaNagowLa identified the raga as early as the second note, which is one of the truly awe-inspiring features of his music. After the immaculate two speed presentation of the entire varNam, TNK described NG as a raga that's "soon disappearing", and said old greats like Tirukkodikaval Krishnayya and Semmangudi Narayanaswamy Iyer (from whom he learnt this varNam) and SSI, amongst others, used to sing this varNam and ragam frequently. He went to dedicate this concert to all the greats with whom he has played and said he would not be announcing the specific dedication for each item but that "you should know".
EvaraNi is one of those compositions that stands alone without any need for an alapanai or neraval or swaras - it is so elegant and beautiful and I never tire of hearing it. Surprisingly, I have only ever heard it live on the violin. I suppose this was a dedication to ARI. The dEva dEva that followed could only be in SSI's memory. There was a beautiful madhyama kAla alapanai without much tAra stAyi delineation, and TNK's use of the nishAdam beautifully hinted at the composition to follow. The neraval had all of SSI's intensity, and the kalpanaswaras continued in the same vein with Viji and Sriram playing the extended concluding round.
TNK then played an emotive kAnaDa alapanai that had unusual touches including some almost Hindusthani-esque glides to the dhaivatam, reminding me of his duets with Dr. N. Rajam. Sukhi evarO was played neatly but I think this whole trio format almost forces a rather stylised presentation of kritis. Indeed, even during alapanais, there is this jostling for airtime by the accompanying violinists that detracts from the usually deeply contemplative manner of TNK's playing. I guess sukhi evarO could have been a dedication to ARI and MMI.
The pUrNashadjam item was indeed gaNanAyakam, I think. It was a sweet filler before the tODi pallavi. The tODi ragam was shared by all the violinists and Viji played some beautiful passages. It was a really elaborate alapanai, and TNK's trademark panchamam oriented phrases won appreciation from the audience. Similarly, TNK played an intense pa-anchored tAnam passage later that drew spontaneous applause from the audience. The tAnam was presented with great verve, and the way TNK suddenly started sahAna was stunning and beautiful. His sahAna tAnam was moving. Viji then played kApi and Sriram rounded it off with bEhAg. I wish the pallavi's sAhityam had been announced, and the pallavi was pretty crisp. The kalpanaswara finale shared by Viji and Sriram featured yet another one of those fast cut-bowing passages running up and down the scale...
TNK announced eppO varuvArO as a dedication to MMI, and announced that 2012 would mark the centenary of MMI, PMI, and Brindamma.
Bhakthavathsalam played sensitively for much of the concert, embellishing sangatis beautifully and anticipating swara and neraval patterns well. The tani could have been similarly measured. Vaikom Gopalakrishnan played nicely throughout the concert as well.
TNK's one line sketch of nArAyaNagowLa identified the raga as early as the second note, which is one of the truly awe-inspiring features of his music. After the immaculate two speed presentation of the entire varNam, TNK described NG as a raga that's "soon disappearing", and said old greats like Tirukkodikaval Krishnayya and Semmangudi Narayanaswamy Iyer (from whom he learnt this varNam) and SSI, amongst others, used to sing this varNam and ragam frequently. He went to dedicate this concert to all the greats with whom he has played and said he would not be announcing the specific dedication for each item but that "you should know".
EvaraNi is one of those compositions that stands alone without any need for an alapanai or neraval or swaras - it is so elegant and beautiful and I never tire of hearing it. Surprisingly, I have only ever heard it live on the violin. I suppose this was a dedication to ARI. The dEva dEva that followed could only be in SSI's memory. There was a beautiful madhyama kAla alapanai without much tAra stAyi delineation, and TNK's use of the nishAdam beautifully hinted at the composition to follow. The neraval had all of SSI's intensity, and the kalpanaswaras continued in the same vein with Viji and Sriram playing the extended concluding round.
TNK then played an emotive kAnaDa alapanai that had unusual touches including some almost Hindusthani-esque glides to the dhaivatam, reminding me of his duets with Dr. N. Rajam. Sukhi evarO was played neatly but I think this whole trio format almost forces a rather stylised presentation of kritis. Indeed, even during alapanais, there is this jostling for airtime by the accompanying violinists that detracts from the usually deeply contemplative manner of TNK's playing. I guess sukhi evarO could have been a dedication to ARI and MMI.
The pUrNashadjam item was indeed gaNanAyakam, I think. It was a sweet filler before the tODi pallavi. The tODi ragam was shared by all the violinists and Viji played some beautiful passages. It was a really elaborate alapanai, and TNK's trademark panchamam oriented phrases won appreciation from the audience. Similarly, TNK played an intense pa-anchored tAnam passage later that drew spontaneous applause from the audience. The tAnam was presented with great verve, and the way TNK suddenly started sahAna was stunning and beautiful. His sahAna tAnam was moving. Viji then played kApi and Sriram rounded it off with bEhAg. I wish the pallavi's sAhityam had been announced, and the pallavi was pretty crisp. The kalpanaswara finale shared by Viji and Sriram featured yet another one of those fast cut-bowing passages running up and down the scale...
TNK announced eppO varuvArO as a dedication to MMI, and announced that 2012 would mark the centenary of MMI, PMI, and Brindamma.
Bhakthavathsalam played sensitively for much of the concert, embellishing sangatis beautifully and anticipating swara and neraval patterns well. The tani could have been similarly measured. Vaikom Gopalakrishnan played nicely throughout the concert as well.
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carnatricks
- Posts: 68
- Joined: 27 Jul 2011, 13:21
Re: T N Krishnan, Music Academy
i attended his 25th concert last year and he played jingle bells. it was very enjoyable. no repitition this time? i thot it was sort of his tradition.
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srikant1987
- Posts: 2246
- Joined: 10 Jun 2007, 12:23
Re: T N Krishnan, Music Academy
carnatricks,
"I never plan what I would play for my audience. It comes to me spontaneously and I decide it right on the stage"
-- TNK
http://www.hindu.com/2011/02/22/stories ... 750200.htm
"I never plan what I would play for my audience. It comes to me spontaneously and I decide it right on the stage"
-- TNK
http://www.hindu.com/2011/02/22/stories ... 750200.htm
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carnatricks
- Posts: 68
- Joined: 27 Jul 2011, 13:21
Re: T N Krishnan, Music Academy
thanks for that srikanth1987