T M Krishna's Musical "offerings"

[grsastrigal]

TMK performed a concert in P.S.Higher Secondary School, Mylapore on 26th October 2013.

Accompanied by Dr.Hemalatha on Violin, ArunPRAKASH and Purushottaman.

Note: I did not mention the instrument they played, because they did not play that instrument !!!

The invitation had a unique wordings- “Musical offering by T.M.Krishna”. I was awestruck by the word. This raised two questions within myself 1) whether music rendered by TMK till the previous date was not an “offering” 2) He has been so much “unique” in his approach of CM, so what will be “new” in his offering.

When I came out of the concert at about 8.50 PM, when thani was being played, I had two questions (again 2 questions ?)-

Why did people, so called rasikas, still stand and listen to this concert ? (Few people left)
What will be TMK’s next offering in the forthcoming December season ?

Three statement, he had made during this concert
1) “Till what time, can I sing ?”
2) “This is not the concert, Iam telling you” – This he has made before the main, No !-before RTP, No !- before Violin, No !- before Neraval. (Actually, I got confused)
3) “Are you in a hurry to go” pointing to the rasiaks at 8.15 PM.

I “unfortunately” entered the hall half-way through when Doctor was playing harikambodhi in her instrument. I had to come all the way from Broadway (my office) to Mylapore, swimming in the Diwali traffic.

Harikamodhi is one of the ragas, some may not like. But, Maharajapuram’s “undedhi” and SSI “enduku nee daya” and dinamani vamsa are indelible in my heart. TMK, being Disciple of SSI, I expected a beautiful HK from him.

After she finished, TMK,(that is TMK), took behag and after a brief alapana started sAramaina mAta- Javali of STs.

Next- He asked Dr to play Todi. Todi was always a beauty even if played in saxophone or jaladarangam. It was very good. Then TMK started “tAnam”. It was those 15 minutes, TMK proved his genius. Beautiful sanchArama, nice flow of tAnam and able return by Dr.

Then, as usual, I started expecting a Pallavi in the same rAgam. He started Kedaragowla ragam (That is again TMK) and after a brief flow, started saraguna pAlimpa, famous “Poochi” kriti.

Neraval as usual “varaguna”. Then tani started.

Interesting points in the podium are:

Two new faces holding Tampura moving forward/backward.
One girl was sitting next to these people wondering whether to follow TMK or not. Poor girl, she did not know what was TMK upto. Octogenerians, septo, nano sitting as “rasikas” did not know what was TMK’s offerning, how come she knew.

Rithvik raja was sitting as if he came to the stage after watching “the conjuring” (those who do not know this movie, may watch this immediately)
I left during tani, unfortunate to have missed TMK’s post tani “offering(s)”

TMK did/does not know the law (may be “forgotten”), of contract. In order to be a successful contract, there needs to be an an “offer” and “acceptance”. If there is no acceptance, only an offer (ing), it is not a contract. The same applies to this concert also.

I just talked to few rasikas when I was about to leave. I always have this complex whether Iam bad in viewing TMK or I have partners. They are very optimistic that TMK will come back and render a beautiful, full fledged, kambodhi followed by “divineful” mari mari ninne, as he did two years back in MA

I too.

Before I sign off, I pity ArunPRAKASH and congratulate him for not playing mridangam but pretending to play. That is an art only he has got.

[harimau]

I too saw the "Offer" and decided not to "accept" it.

I went to Arkay Convention Center and listened to Vyasarpadi Kothandaraman on the nagaswaram.

The unwritten "contract" was fulfilled to the acceptors' expectations.

[rajeshnat]

grs
Is the mrudangam artist arunkumar or arunprakash?

[harimau]

I left during tani, unfortunate to have missed TMK’s post tani “offering(s)”

I left during tani, fortunate to have missed TMK’s post tani tantrums.

Now, now. I have fixed that for you.

Before I sign off, I pity Arunkumar and congratulate him for not playing mridangam but pretending to play. That is an art only he has got.

If only other drummers follow this, the decibel levels in concerts would come down and we would actually be able to listen to the music. :p

[harimau]

grs
Is the mrudangam artist arunkumar or arunprakash?

So long as it is not Arun Prasad, who cares?

I am totally bugged by the number of Prasad's floating around!

[semmu86]

I pity ArunPRAKASH and congratulate him for not playing mridangam but pretending to play. That is an art only he has got.

ROTFL ) ) He exhibits that in most of the concerts in which he plays in the name of enhancement of music. [-(

[Rsachi]

In order to take the discussion further, I give below some dictionary definitions:

offering1
— noun

something offered in worship or devotion, as to a deity; an oblation or sacrifice.
a contribution given to or through the church for a particular purpose, as at a religious service.
anything offered as a gift.
something presented for inspection or sale.
a sale: our spring offering of furniture.
the act of one who offers.

Even a highly disheartened grsastrigal has a word of appreciation for the Tanam. I find TMK excels himself in Tanam. It seems it all comes together for him then. His Tanam in the Margazhi Raga movie also, in Varali, was for me spectacular.

[arasi]

Sachi,
A spectacular offering of gAnam in tAnam, you say

[tiruppugazh]

On many occassions I have noticed his taanam sounding as 'dahanam dahanam'

[kanchi perivaa]

Before I sign off, I pity ArunPRAKASH and congratulate him for not playing mridangam but pretending to play. That is an art only he has got.

Very well said! Maybe he should listen to some of Palghat Mani Iyer's recordings and understand how to truly enhance a concert. What does one find in his playing, really?

[Rsachi]

Sir
I am reminded of what PG Wodehouse says about Lord Emsworth. I dearly wish I could dig out the exact quote (mot juste) but it goes something like:
Lord Emsworth was a great traveling companion on a train journey.
The reason was that he went off to sleep as soon as the train chugged off from the platform.

Those amongst us who constantly quibble about decibel levels should learn to appreciate when there is a Silent Zone on the stage.

[arunsri]

I am in Mumbai - did not attend TMK's concert. But I would like to add a couple of lines on KAP's accompaniment. He played for Smt. R. Vedavalli and Smt. Sumithra V at Mumbai on 19th and 20th October.

While accompanying the veteran - KAP showed a high level of musical acumen. How he played for the neraval of nannu maravatagunA raghuvara... or a meditative raksha bETtare, or a brisk rAmAbhirAma in darbAru, each of it went to show that his musical ideals were lofty. He cared for what was being sung rather than bang the vessel for the tAlam. There is something called playing for the song, and playing for the talam. Silence at the appropriate places enhances the listeners experience of the music, so that the audience connects with what is being conveyed by the main artiste. When the artiste is expounding the line 'nannu maravataguna, raghuvara nannu maravatagunA, maravatagunA...' soaked in raga bhavam, banging the instrument is nothing short of insensitivity. How many times - we have been to a programme where we end up saying wish there was some soukhyam with the pakkavadyam. KAP played very little during OsOsi [mukhAri padam] that Smt. Vedavalli sang - but that actually heightened the pathos of the padam. Subdued playing during the build up of the anupallavi and aggressive during the last sangati of the same.. just adds to the experience.

If he is the preferred accompanist for Smt. Vedavalli, is she ignorant about all this to fix him?

I have nothing personal with KAP, but I do understand and appreciate his philosophy on music and accompaniment. So, I respect him for that.

[Rsachi]

I clicked the quick reply button here. Let me say I also love his sense of music and accommpaniment on many an occasion. You can read my comments elsewhere.
But there are also many moments of uncomfortable inactivity or missing sounds when he plays. I think he knows this feedback already but has his swadharma.

[pperumal]

I agree completely arunsri's post.
Whenever arun prakash plays i find myself appreciating what is being sung more easily.
But then - we have become so accustomed to a particular "sound" from the mridangam that accepting sensitivity may take time IMO.
I remember my grandfather (who had hosted Palakkad Mani Iyer once) telling me that even Mani Iyer had mentioned that it took lot of time for musicians as well as listeners to get used to his own style of playing

- PP.

[gardabha_gana]

I am in Mumbai - did not attend TMK's concert. But I would like to add a couple of lines on KAP's accompaniment. He played for Smt. R. Vedavalli and Smt. Sumithra V at Mumbai on 19th and 20th October.

Concert List/Report please?

[anandasangeetham]

I along with my son was in the concert. I totally agree with grsastrigal. Atleast Arunprakash did touch the instrument but all Purushothaman did was to sprinkle water and wet the instrument.

I found it very irritating for TMK to constantly scratch his head and keep pounding his head (thalaila attinchundu ???) He was brilliant in the Thanam but in initial "offerings" I found that he was always shy of the "PA" and upper "SA" in the middle octave. It was never sharp and always a little shy of the perfect position of the swaras. The saraguna palimpa also had lots of sruti lapses. He had two tanpuras and one sruti box and still could not get it right.

I too left during tani.

[Sivaramakrishnan]

On many occassions I have noticed his taanam sounding as 'dahanam dahanam'

Thanks tiruppugazh for pointing out a 'burning issue'!!
A 'must avoid taana sahityam'
Everyone to note.

[Nick H]

Very well said! Maybe he should listen to some of Palghat Mani Iyer's recordings and understand how to truly enhance a concert. What does one find in his [Arunprakash's] playing, really?

Realyy, a great deal. Gentleness, modesty, musicality; accompaniment that is always appropriate and proper to each and every moment. Utterly capable of all the maths, he never puts numbers before music, just as he never puts his own sound before that of those he is accompanying. He is also fully capable of robust play, and, being so used to seeing him play for Smt RV, I have to admit that he can surprise me with that play when in a concert where robustness is the order of the day. Appropriate is the keyword for Arun Prakash's play. It stands as an example to others.

Of course, if all people want is mathematical noise, then just make sure that the sound guy puts too much volume for mridangam. It won't take much encouragement, sadly, they are all too willing to do this --- and enjoy.

[varsha]

What one approves , another scorns
And thus his nature each discloses :
You find the rosebush full of thorns ,
I find the thorn bush full of roses.
Arthur Guiterman

[advaitin]

Nick
Not sure what you meant by "mathematical noise", during support / accompanying for the kriti
How does this clip sound to you?

http://www.mediafire.com/?9dihncw62lznz ... 774if9f8s7
for me it is a favorite

[Nick H]

On of those throw-away remarks, perhaps spoken a little hastily, as one realises when asked for explanation!

I know that some mridangam accompaniment sound more musical than others. Obviously, the closer it is to sarva laghu or to following the song (and the two may well coincide), the easier it is to listen to.

On the other hand, a mridangam artist might put 5s, 7s 3s, anything but 4s, into a chatusra adi line --- and bring it off magnificently and beautifully. The proof is in the listening.

So, permit me to climb down several rungs on the ladder of dogma


ps... enjoyed your sample.

[advaitin]

glad you enjoyed it Nick. yep, the proof lies in the listening. that clip is pretty exquisite in my opinion