TM Krishna's Concert for Nadha Brahmam

grsastrigal · Post by **grsastrigal** » 15 Jun 2015, 17:59

NAADHABRAHMAM was celebrating 14th year Celebration on last Saturday (13th June 2015) at PS High School, Dakshinamurthy Auditorium.

They were distributing “Duo Artistes Award”- sort of different concept (don’t whether some other sabha tried this !). The receipents were..

Narasimhachari-Vasanthalakshmi
Sheik Mahboob Subani – Kalasaheb Mahboob
Dr.K.Krishnakumar- Binni Krishnakumar
Rajamani Bhagavathar-Vasantha Rajamani
J.T.Jayaraj Krishnan - Jayshri jeyaraj
Dr.S.Thirumurugan – Bharati Tirumurugan
UP Raju – Nagamani

Kudo’s to NB Sabha for encouraging the artists with the awards.

The highlight of the function was TM Krishna-Dr.Hemalatha-Poongulam Subramanyam’s concert. They were sitting facing the audience marking a typical TMK’s concert. I expected an “usual” TMK’s concert, he did not disappoint me.

•Two Tanams, one in Nalinakanti and other one in Kamboji.
•Nalinakanti played by Dr first and Tanam by TMK followed by ‘manavyAla” Saint’s Kriti.
•Kambodhi rAgam followed by Tanam followed by “sarasIjanAbha varnam. This was the second last kriti of the concert.
•What is the last kriti of the concert ? any guess….. Come on rasikAs !!!…..yes you got it. It was mayamalava gowla- nAdhadhi guruguha…
•Starting with madhyamavati- Ragam followed by Rama kathA Sudha is another googly. He took swaram in two places besides neraval in one place.

All are happening here. TMK, notwithstanding his decision “not to perform” in December, he once again proved "come what may" I will continue to give lackluster performance."

After listening to his concert, I remember a scene in famous Kamal Hassan movie, salangai oli (in Tamil), Sagara Sangamam (in Telugu)…

Kamal, in that movie, aspiring to become a famous classical dancer approaches a film director for a good opening. He refers him to sing a duet song, which was a typical Telugu song with all “ingredients” of costumes and movements.

Kamal gets so frustrated after the song. He cries for “killing” his dance (classical) etiquette and goes to the nearest temple, where a huge siva statue is erected. He dances a “breathtaking classical dance”, sort of “Shiva Tandavam” in front of the statue to subside/cool his anguish.

I felt that pain after the concert.

Middle of the “Nadadhi”.. I came out and an old mama (with “kudumi”) sitting outside referring the good olden days of Madhyamavathi by Shri GNB and his rendering Rama Katha Sudha…

I came back and listened to the following songs before going to bed..
GNB’s madhyavathi Rama Katha suha ..
Swaram in Tatava bodhana in Gurulekha by Somu
MMI’s swaram in Gowda malhar-Sara samukhi…

to subside my anguish.

His music has debth but does not have any “attitude” to the audience. His MMgowla followed by Nadhadhi Guru, as the last kriti, was an assault on “Ariyakkudi” His Varnam preceded by Tanam that to at the end of the concert was an insult to any lover of Carnatic Music.

Sometimes, I feel he is doing it adamant and utmost disdain without even an iota of care for the audience. His devagandhari ragam followed by Sharade as the second kriti was the only solace in this whole concert.

People were clapping when he started “mana vyAla”. Kambodhi “Tanam” was very good.

Poongulam started his Tani and at the end stopped as he missed his Talam. I thought he also went to trans.. as TMK did during “Nadadi” kriti. Thanks.

Doctor’s Nalinakanthi was keeping our BP under control.

I wish he continues to give concert so that I can write some reviews too !!!

bhakthim dehi · Post by **bhakthim dehi** » 15 Jun 2015, 18:41

Bold and truthful review, especially in this crowd. Keep it up.

kvchellappa · Post by **kvchellappa** » 15 Jun 2015, 20:46

Gr(eat) Sastrigal. It looked like reading my anguish after attending his concerts (one paid for, yes I paid for it!). He sang a great chakkaniraja only to end it abruptly. I could not in the least understand what aesthetics and creativity was there in ending an epic song so abruptly. Then I went for an OC concert and left midway as it was not my cup of tea or TMK. There was a time I went to Chennai just for his concerts in the season and saw Margazhi ragam also.
Probably all of us will fall in line if everyone follows TMK example. Luckily for me (slow to adapt) that is not happening. ARI pattern will last my lifetime.

devan · Post by **devan** » 16 Jun 2015, 00:04

Grsastrigal.good honest review.one sane voice in this highly so called elite crowd.

vasanthakokilam · Post by **vasanthakokilam** » 16 Jun 2015, 01:13

grsastrigal, as others have mentioned above, it is a balanced and honest review. And you have livened it up with a bit of humor.

I think you are up to the task for my challenge below. Feel free to challenge me back. It will be fun. To me this is not about TMK, but more about us Rasikas

>His music has depth but does not have any “attitude” to the audience.

Definitely.

What is more interesting to me as a curious person in general is this.
How about the 'attitude' of the rasikas? You grant that he sings music with depth. But the format bothers you ( and others who cant stand TMK or his format). Is it possible your attitude to 'what is right or not' with respect to format is spoiling the musical experience for you? Another word for 'attitude' in this context is 'what you are conditioned by/what you are used to' etc. That is, given that there is no divine sanctioned format, is there anything musically speaking, and strictly musically speaking why you can not fully enjoy a Rama Katha Sudha in the beginning of a concert, an elaborate RTV towards the end and MMG as the last piece. Think about it with a fresh perspective and not clouded by 'what is usually done', 'Assault on Ariyakudi' or 'insult to the lover of music' etc.

rajeshnat · Post by **rajeshnat** » 16 Jun 2015, 02:04

Devil is in details. It is not the shuffle that is comforting or discomforting - that is always a moot point ? It is how aesthetically he sang each of these puzzles in the shuffle, was there a completeness or non fragmentation of what he sang - i have no clue there - perhaps VK is in same boat as me

GRS ,
You perhaps listen to the song Mounamaana Neram Ila Manathil Enna Baaram and then hit out to your next concert . Tx for your review

Rsachi · Post by **Rsachi** » 16 Jun 2015, 17:09

Folks,
There is a 3 DVD set titled Rasikatvam of TMK (Swathi - Sanskriti series) copyrighted to TMK in 2012.
It is a very well produced DVD set wherein TMK takes great pains to articulate the concepts and structure of Carnatic music to "rasikas" so that they can understand and enjoy music concerts better. I am truly impressed that he has even attempted this. I would urge every new and experienced CM rasika to watch the set (nearly 8 hours). Starting from what is adhara shruti, TMK goes up to trikala pallavi, korvai and structure of a tani. He is ably assisted by Sangeetha Sivakumar, RKSK, Arun Prakash and Purushottaman. They are seated in a classical geometry.

TMK pays high tribute to Ariyakudi as the pitamah of 20th century CM. He explains the concert structure from varnam to main to RTP and lighter items as the robust concert structure of CM which significantly helps in a rasika's enjoyment.

I am beginning to believe that a vidwan of such calibre and commitment, who has done so much for CM, but is now venturing into a different formatting; and also taking bold steps like boycotting the Fest he has so many issues with, cannot be dismissed for any maverick attitude of disrespect for the quality of musical experience of a listener. For those willing to "suffer" his antics, I would recommend a "watch this space" patience. For those who have a dislike for TMK or his methods, the rich field of CM offers a wide enough choice of alternative listening opportunities.

rshankar · Post by **rshankar** » 16 Jun 2015, 17:55

RSachi - well said...and I have taken the liberty to mess with what you've said - to point something out using another quote purely for illustration....

Rsachi wrote:Group 1: For those willing to "suffer" his antics, I would recommend a "watch this space" patience.
Group 2: For those who have a dislike for TMK or his methods, the rich field of CM offers a wide enough choice of alternative listening opportunities.

devan wrote:Grsastrigal.good honest review.one sane voice in this highly so called elite crowd.

Actually, IMO, no one, (in Group 1 or Group 2) is insane (or sane) - we just happen to have different tastes and tolerabilities, and are equally honest with our reactions....

Rsachi · Post by **Rsachi** » 16 Jun 2015, 18:51

Ravi,
I would have said, "couldn't agree more" but I am not fond of such expressions!

To give you an inkling of my environment of musical tastes (ie people who surround me and share my musical experiences), there are
1. Those who hate the violin, and those who hate all showy artistes
2. People who love Rama Varma and Aruna Sairam etc. (separate groups)
3. Bombay Jaishree and TMK crowd
4. "only Abhishek"
5. "only Lalgudi bani"
6. Give me SRJ or Dr RV any day!
7. How can you listen to this thing called CM!?
8. L Sub. Fusion rocks
9. Kathakali has the true CM quality
10. Whats a CM concert without some fabulous silk sarees?

Kalidasa said "bhinnarucir hi lOkah" but even that phrase has a popular variation.

rshankar · Post by **rshankar** » 16 Jun 2015, 20:25

Very true...

rajumds · Post by **rajumds** » 17 Jun 2015, 11:16

Innovation is one thing and reversing the order is another. Singing Madayamavati first, MM Gowla last and a varnam as last but one is not innovation. One may ask what is wrong in that?. Nothing wrong but don't call it innovation.

sankark · Post by **sankark** » 17 Jun 2015, 14:31

Rsachi wrote:Ravi,
1. Those who hate the violin

Hate violin? Would they like to have veenai or chitraveenai as an accompanying instrument or just have vocal/veenai/pullankuzhal concerts with just percussion support?

Rsachi · Post by **Rsachi** » 17 Jun 2015, 16:02

I am only paraphrasing their words ( I hope correctly. These are not my views):
- Violin mostly causes a nuisance effect when following a great vocalist, with imperfect imitations of gamakas
- Violinist lacks shrutishuddham/swarashuddham. This is aggravated when vocalist himself strays..
- Violinists overplay their turns and waste time
- Mike setting sometimes makes the violin sound too loud.

These "extremists" do not offer any alternative- perhaps they prefer vocal alone!

Remember what I said last: bhinnarucir hi lOkah!
भिन्नरुचिर्हि लोकः -Raghuvamsha 6.30- Kalidasa

Purist · Post by **Purist** » 17 Jun 2015, 18:03

Raschi on the question of violin haters , I am reminded of the practice of few in the days of ' costly tapes ' who would cut off violin replies to alapana, tanam, viruttam etc and we're cool with just the vocalist.

Rsachi · Post by **Rsachi** » 17 Jun 2015, 18:08

Purist!

I am myself guilty of such a heinous act once.

But never before or after that. I respect violinists more and more as days pass.

rshankar · Post by **rshankar** » 17 Jun 2015, 19:45

Sachi - as I thought more about what you've posted regarding the opinions of others on violinists, let me also join the mea culpa bandwagon - there are times when I have found the violinist's music, however beautiful and evocative, to be intrusive - they were almost, almost always in tapes and tracks of Sri MDR. In my defense, given the low Sruti he sang in, I find evenrything but his voice to be an intrusion.
On a tangential note, are you aware of his (Sri MDR) singing without anyone accompanying him - with just a Sruti box/tambUra, perhaps?

Rsachi · Post by **Rsachi** » 17 Jun 2015, 20:08

No, Ravi. I must tell you that both KVN and MDR were quite appreciative of the violinists and they used to say singing without a violin puts a huge stress on the singer.

I recall a concert of MDR billed as a lec-dem in 1972. It was in the Max Mueller Bhavan Hall on Mount Road. He sang and spoke very nicely and I remember the accompaniment to be very minimal. I was so moved that next day I "had to" go from IIT to Kalakshetra and pay the maestro my respects.

rshankar · Post by **rshankar** » 17 Jun 2015, 20:23

Do you know if that lec-dem was recorded?

grsastrigal · Post by **grsastrigal** » 17 Jun 2015, 20:35

As expected, the topic got diverted, yet interesting. Shriramkumar in vioilin is inseparable for TMK. He would feel bad, if he reads “bhinnaruchi”. He has only one ruchi, teaming up with TMK !!!!
Rajeshnat: After your “mounmAna nEram” comment, I was wondering how this film synchronizes well for this particular topic of TMK’s concert.

Five years back, TMK was giving a concert at MFAC where he took “nAdAdhi guruguha” as the first kriti with swaram. I think I reviewed this concert in this column. That kriti and swaram reminded me of SSI’s “deva deva” effect. Fully surcharged atmosphere. Breathtaking pudIs. Whole concert was top class.
Coming to another concert at MA, his kamboji – Mari mari ninE and swaram. In this present generation artists, I have never heard this kriti rendered better than TMK.

Like this, all of us can give many instances of TMK’s prowess.

Yes, I was musically "in love" (!) with TMK on those golden days and was singing “mounamAna nEram”.
Suddenly, someone stole that “golden moments” from me and so, presently, I am dancing on the well (takida tadhimi takida tadhimi tandhA nA)……

Aesthetics – You lose aesthetics when a varnam is sung followed by a long tAnam. Artistic taste, as the definition of aesthetics, completely gets killed when “mukhAri is sung thrice in a row, in a concert.

Artistic taste gets killed when “target audience” is disrespected. In this concert, the average age of the audience is above 50. There were 6 youngsters, 4 sitting behind TMK including Rithvick raja, two sitting in the audience. So, the audience, surely, would have been following CM for at least 20-25 years.

A slow-mana vYala is not doing any good for them. What is there in singing swaram (madhyamavathi) in two places where the song itself, he took 25 minutes ?

AT is killed when a ragam, Tanam and kriti is sung in three different rAgas. Varali ragam followed by chinna nAde (kalanidhi)…. Is it a good taste ?

Mahakavi bharati’s famous poem- “nalladhOr Veenai seidhE…….erivandundO”. He has thrown the beautiful veena in dust. Only parashakthi could give an answer..

I could not stop praising of yesteryear artists, while writing this column.

Attitude is “singing second time, the same kalyani, when the “Board mail” came late and the Rasikas who came in the train, yearning to listen, kalyAni, by the time, artist has already finished kalyani, knowing their interest, he sings the same ragam second time.

Running a high temperature, Vembu Iyer requests him not to go to Mylapore kapaleeshwar concert, the artist was adamant to sing at least one hour and finishes a 5 hour concert only because of the Rasikas and their love.
You know who is this great artist ?

My father uses to tell about Madurai Somu, he will get the chit in the second kriti itself. He will not miss even one and complete the chit before he finishes the concert.

Maharajapuram’s tukkadAs are there for us to know.

For me, even singing rama katha in the beginning and Mayamalavagowla as last. Why did he, himself, change the format in the last 4 years ?

I will give you another example of Trichur Brothers and his attitude to the audience

We had arranged a Tarangini Utsavam at varagUr, a small temple between Tirukkattupalli and Tiruvaiyaru, place where Saint Narayana Teertha rendered his Tarangams, a la Narayana bhattatri and guruvayUr.
This was the two day festival, where various artists were performing from 8AM to 8PM, the condition is –they have to sing only Tarangams.

Trichur Brothers were called last time to perform. They were allotted two hours. Started with two kritis and third, they Mohanam, kapi, Sindhur bairavi, behag and started singing the ragas one after the other. They took one full hour for completing the third kriti (sang Kshemam kuru gopAla).

The target audience mostly from the nearest villages did not know what is happening. They were present to listen to good Tarangam kritis, not a lengthy rAgams.

This was the attitude I refer. Target audience and the deliverables to them is important.

I don’t know whether I answered VKM. Great Rsachi can help me more on this.

pattamaa · Post by **pattamaa** » 17 Jun 2015, 20:51

GRS - The artist mentioned here (aka arvind kejrival of carnatic) doesn't claim this to be innovation. This kind of musical experience is expected only. If one doesn't like, better to stay away.. this type of music has its own customers...(like ever star has a following)...

Did all vidwan's honored stayed for the concert and appreciated the music ? Keen to know !!

Agree with you that artist need to know audience pulse and then deliver the concert... poor delivery by trichur brothers.. in such occassions, better to sing only keerthanas/tharangams..

Rsachi · Post by **Rsachi** » 17 Jun 2015, 21:26

This was the attitude I refer. Target audience and the deliverables to them is important.

I don’t know whether I answered VKM. Great Rsachi can help me more on this.

Sastrigal,
I would venture that most people in the audience and especially the old-timer artistes honoured would have been disappointed by the mixed up "reels". So your review and reaction would be the pulse of the audience.

vasanthakokilam · Post by **vasanthakokilam** » 17 Jun 2015, 21:42

rajumds wrote:Innovation is one thing and reversing the order is another. Singing Madayamavati first, MM Gowla last and a varnam as last but one is not innovation. One may ask what is wrong in that?. Nothing wrong but don't call it innovation.

Agree 100%.

I recall now that TMK himself said these are not innovations. So it looks like his distracters are the ones who put on that label and then smack him for it

vasanthakokilam · Post by **vasanthakokilam** » 17 Jun 2015, 22:04

GRS, you wrote eloquently making a good case that artists should take into account the nature of the audience. But I am also afraid that someone else more conservative will blast the artist for 'singing to the gallery'. In reality though, the artist can not do either one and at the same time need to do both. What! Yes!! That is why he is an artist and not some scientist to operate in much less fuzzy boundaries. I think it is a great topic in itself which we can pick up later. But it is not an unsolved problem. Several artists have done that and struck a good balance that carried the audience with them.

While your point holds in general, given your characterization of the audience, it is perfectly reasonable to assume that most of them know what a typical TMK concert is. I think that is the point Pattamma is saying as well.

Where does that leave us Rasikas? My thinking is, music is more important than personalities, their quirks and the format. I don't want the artist to know my expectations and sing to that. That is what recorded music and playlists are for. I want the musician to be honest in what they say and what they do ( in music related matters ). It is for us to take it or leave it.

Rsachi · Post by **Rsachi** » 17 Jun 2015, 22:17

VKM,
What's with the spelling?
TMK is causing a lot of collateral damage!

distractors

chactrrizzation

rshankar · Post by **rshankar** » 17 Jun 2015, 23:08

vasanthakokilam wrote: But I am also afraid that someone else more conservative will blast the artist for 'singing to the gallery'. In reality though, the artist can not do either one and at the same time need to do both. What! Yes!!

I have a sneaking suspicion that this falls under my mother's 'ErinAl kuTRam, iRanginAl aparAdham' constraints....

vasanthakokilam · Post by **vasanthakokilam** » 17 Jun 2015, 23:13

Rsachi wrote:VKM, What's with the spelling? TMK is causing a lot of collateral damage!
distractors
chactrrizzation

Ha..ha

I wrote that on my iPhone while traveling in a train. Writing on glass while on a moving train is not an ideal combo! I fixed quite a few of those myself later but still missed a few. Thanks for pointing them out.

music1234 · Post by **music1234** » 18 Jun 2015, 07:35

The only surprising thing is that he continues to maintain the sequence of ragam, thanam, kriti or pallavi

That is yet to change to thanam kriti and ragam or swaram, thani, kriti, thanam and ragam. May be in future...

What I like about TMK is his conviction and audacity to change and still have a considerable fan following. Or is that people come to check what more changes he brings in (curiosity)...

G R Sastrigal - I have read before your reviews on TMK and his eccentricities but you continue to attend his concerts and write reviews. Perhaps the attending is to go and find how much more format changes are introduced or the scope for further changes.

music1234 · Post by **music1234** » 18 Jun 2015, 08:52

TMK lamenting about the Dec Festival being dominated by NRIs, music becoming non (less) musical, Sabhas giving opportunities based on strength of Sponsors somehow seems to be true !!!

harimau · Post by **harimau** » 18 Jun 2015, 09:54

music1234 wrote:TMK lamenting about the Dec Festival being dominated by NRIs, music becoming non (less) musical, Sabhas giving opportunities based on strength of Sponsors somehow seems to be true !!!

About 8 years back, Hamsadhwani had a vocal concert by some Hindusthani musician.

The tup-tup artist was enraged that while Carnatic musicians were paid in the low thousands, the Hindusthani musician was paid Rs 100,000. So he wrote an open letter to RRC, the founder of Hamsadhwani.

RRC replied that some sponsor requested for that specific Hindusthani musician to be featured and, when told about the inability of Hamsadhwani to meet the financial demands, the sponsor said he would underwrite the entire cost of the concert; so when the tup-tup artist would find himself a sponsor willing to pay Rs 100,000, RRC would hand over the sum in its entirety to the tup-tup artist.

The tup-tup artist did not sing at Hamsadhwani for the next 5 years. Not that he is now getting Rs 100,000 for a concert at Hamsadhwani or any other Sabha in India for that matter.

The fact remains that money talks.... In all spheres of activity.

PS. All of this was documented in the website that was run by the artist in question so redacting this post is a meaningless exercise of editorial authority.

ramamantra · Post by **ramamantra** » 18 Jun 2015, 15:41

grsastrigal wrote:Doctor’s Nalinakanthi was keeping our BP under control.

That's a good one !

grsastrigal wrote:His music has debth but does not have any “attitude” to the audience. Sometimes, I feel he is doing it adamant and utmost disdain without even an iota of care for the audience.

This was in '98 when I was in Boston and visiting Chennai on my annual dec season hols. TMK sang in a well-known Sabha. I went backstage to congratulate him after his concert (then he was just a budding artist with practically no one in the audience). His expression was one of disgust and arrogance. There was not even a nod or a smile or a thank you. An awkward pause and I tried to fill it up with more praise. He just acted distracted. Feeling embarrassed, I hurried away.

Rsachi · Post by **Rsachi** » 18 Jun 2015, 16:11

Ramamantra,
I can understand how off-putting such indifference can be.
By the way, I just recalled what someone who was at REC Trichy in 90s told me. TMK was performing early morning in Tiruvarur festival. My friend started from Trichy well before daybreak and hopped buses to reach juat before the concert. TMK saw him, jumped down from the stage and hugged him with true warmth.

Mystique or mystery indeed.

kvchellappa · Post by **kvchellappa** » 18 Jun 2015, 21:31

I read in a report that a member of audience asked for the name of a raga and he replied, 'Have you made out the names of other ragas?' The hugging incident must be the exception proving the rule.

vasanthakokilam · Post by **vasanthakokilam** » 19 Jun 2015, 07:39

Yeah, such things are quite infuriating. I always try to keep non musical things from affecting my enjoyment of music as a rasika but such disrespect for rasikas would make such principled stand difficult to keep with. I am saying this with a bit of hesitation as well because the other extreme of appearing pseudo respectful for public consumption is also bad since the honesty is lost in that case. But what everyone should strive for as acceptable behavior is to smoothen out the sharp edges of any instant reactions and thoughts that occur (including knee jerk sarcasm and put downs) but without getting into the territory of pseudo respect just to appear as an all around nice person. I heard similar things myself from him in after concert chit chats which was totally unnecessary. Since it was too weird, I chalked it up to him not knowing how to deal with a stranger on a one on one basis. There is a line he need not cross while at the same time not simply nodding with a forced smile. When provided two extremes people think the sweet spot is 'somewhere in between'. But that 'in between' is not a point but a big zone which we rasika typically accommodate. So it is not something superhuman we ask for. Not showing respect by default to an unknown rasika falls outside of that big zone of acceptance in my way of thinking.

Who is a good role model for striking that balance well? Smt. Vedavalli comes to mind. Her sarcastic wit is second to none but she knows where that big zone is.

kvchellappa · Post by **kvchellappa** » 19 Jun 2015, 08:07

Smt. Vedavalli commands respect for her singing, stage presence and dignity. When she talks, it is as sweet as her music. The tributes paid to her by Gopal Gandhi are classic.

grsastrigal · Post by **grsastrigal** » 19 Jun 2015, 10:48

VKM- Iam with you. I stay away from those things which upset me. Like giving chit and clapping hands after he finishes a song. Asking to sing a raga (sort of yelling form audience) irriated him once. I too stopped that.

In a lighter way, I thought who will lose/gain because of TMK's "theory of absence" during Dec festival ..

The first person, comes to my mind, is R K Sriramkumar. He and TMK are sort 'made for each other". Like Varadarajan/Sanjay. We will surely miss his bow's sunAdham.

"To be or not to be" Arunprakash. His mridhangam was reviewed as "unobtrusive" in The HIndu. "His" rasikas will miss his "Tani"

The foreign lady in a "saree-clad"- we will miss her. Rarely you see Foreign national sitting in the podium in CM Concert. I think after John Higgins, she must be the "second" person to take a seat in a concert. (not from musical angle, of course)

Sabha Catering- After his morning concert, the Catering had a great "vasool" day. All of them, invariably skipped cooking and tried to have lunch in the "JnambAL" or kaRpagAbal". TMK made them poorer.

TMK saved people from standing in the queue for two hours to get a free ticket. My personal experience in NGS, for a morning concert, I was in the queue for almost two hours. At the counter, they gave only two tickets per head. I wanted three. This could be avoided. Standing in a queue for two hours on a "beautiful" sunday is a curse.

TMK saved many rasikas life. Many of them were listening his live concert as if "watching a horror movie" like which ragam is going to sing ? Which Tanam (ragam), which kriti. After what ? Will "PavamAna" come as pallavi (in a RTP) etc., Most of them old and running a high BP because of this. Now, the rasikas need not "cross the fingers".

Of course, he will be deprived of GRS' coveted award...

music1234 · Post by **music1234** » 19 Jun 2015, 11:24

grsastrigal wrote:V.

In short what you say will CM will gain

sukumar · Post by **sukumar** » 19 Jun 2015, 12:27

Dear All,
Its interesting to read all the postings about MTK or TMK or KTM or MKT ( or whatever, since order does not matter anyways

) i am very much eager to attend his concert, if you allow to term it as 'concert' (

). Just want to kown whta is haepping there

...... why so much fuss, what we expect, miss, gain, etc.

I too will write a review or a plain report, as a beginner. Any takers?

kvchellappa · Post by **kvchellappa** » 19 Jun 2015, 13:29

I barged in here without asking anybody's approval!

Nick H · Post by **Nick H** » 19 Jun 2015, 17:08

grsastrigal wrote:VKM- Iam with you. I stay away from those things which upset me. Like giving chit and clapping hands after he finishes a song. Asking to sing a raga (sort of yelling form audience) irriated him once. I too stopped that.

In a lighter way, I thought who will lose/gain because of TMK's "theory of absence" during Dec festival ..

The first person, comes to my mind, is R K Sriramkumar. He and TMK are sort 'made for each other". Like Varadarajan/Sanjay. We will surely miss his bow's sunAdham.

"To be or not to be" Arunprakash. His mridhangam was reviewed as "unobtrusive" in The HIndu. "His" rasikas will miss his "Tani"

Surely you do not forget how many other artists these people accompany? For starters, they are the regular team for Smt Vedavalli. Their virtuosity and flexibility extends all the way from "innovation" to deep tradition. Likewise, Varadarajan, who plays wonderfully for many. Varadarajan and RKSK also have growing solo-performance careers: a tough achievement for violinists.

mahavishnu · Post by **mahavishnu** » 20 Jun 2015, 10:57

grsastrigal wrote: The foreign lady in a "saree-clad"- we will miss her. Rarely you see Foreign national sitting in the podium in CM Concert. I think after John Higgins, she must be the "second" person to take a seat in a concert.

The lady you speak of (Emanuelle Martin) is a very talented vocalist. See her performance here: https://www.youtube.com/watch?v=EsNlMIf3CYg

kvchellappa · Post by **kvchellappa** » 20 Jun 2015, 12:17

Thanks. Enjoyed listening to it.

vasanthakokilam · Post by **vasanthakokilam** » 20 Jun 2015, 23:20

Mahavishnu, thanks for the link. She is pretty good. I asked a few people around me to listen to it without looking at the video. 'Did they sense anything different?' They said the singer is good, quite classical and sounds seasoned. Then I showed them the video... 'Oh!'. They were quite pleasantly surprised.

I did not know she has graduated to this level of performance. Her swarasthana suddham is quite sparkling. All the best to Emanuelle Martin.

arasi · Post by **arasi** » 21 Jun 2015, 02:39

Interest (actually, loving CM), good vazhi (school), hard work...
After seeing her on the stage playing the tambura for several years, it's a revelation to see how much she has progressed. I had imagined her to be a pretty serious and reserved person. She is warm and friendly! How she helped me when I struggled with my cell phone outside Ragasudha, making the call herself, spending quite a bit of time on it.

Back to her music: it is happy and heart-felt. A strong and appealing voice too. Bonne chance, Emanuelle

Sivaramakrishnan · Post by **Sivaramakrishnan** » 21 Jun 2015, 05:27

Arvind Kejriwal of Karnatic music? Good find!

mahavishnu · Post by **mahavishnu** » 21 Jun 2015, 10:48

arasi wrote:Interest (actually, loving CM), good vazhi (school), hard work...
After seeing her on the stage playing the tambura for several years, it's a revelation to see how much she has progressed. I had imagined her to be a pretty serious and reserved person. She is warm and friendly! How she helped me when I struggled with my cell phone outside Ragasudha, making the call herself, spending quite a bit of time on it.

Back to her music: it is happy and heart-felt. A strong and appealing voice too. Bonne chance, Emmanuelle

Arasi: I'm happy that you have had a chance to interact with the talented and lovely Emanuelle. I think the world of Mme. Martin. It is impressive how far she has come in her quest. In addition to her musical prowess, she is a wonderful person (as your rightly point out). Krishna has certainly done well in terms of preparing high-quality shishyas.

I think Krishna should win the award for the most misunderstood artiste of his times, and he should take full credit for the "misunderstood" part. I think he is trying to make changes from within the system (laudable indeed), in a manner that is way more difficult than being an outsider. Iff only he knew what those changes actually were.

I feel for him and his general position, yet I find myself surprised by his seeming immaturity and lack of vision with respect to getting anything reasonable done with his heterodox views.

So. 1) He is unhappy with the kutcheri format. 2) He is not going to sing in the upcomingmusic season. So, what?

Unless he can provide a suitable alternative, he is just like the millions of mamas that can't quite say what is wrong with the sambhar, without being able to make one themselves (your truly being a notable exception; you are all welcome to my sambhar challenge. I have learned to make sambhar from the great chef and caterer Sri Rama Iyer himself).

The more I think about Krishna, the more I am reminded of the term "rebel without a cause", often used to characterize folks like James Dean.

arasi · Post by **arasi** » 21 Jun 2015, 19:31

Mahavishnu,
Yes, I agree with you on TMK's being a very good guru in imparting music to Emanuelle Martin.

As much as I want to see him in a better light, TMK dims it with a motley of his expressions. I watched his tamizh interview, and though the interviewer was very contained, TMK's intensity in his trying to put across his points of view made me feel uncomfortable. He wasn't helping his causes in any way, it seemed. He was polite, don't take me wrong, but his words came out as if he was trying to chase away demons. The ills in our society we are well aware of, came out tragi-comically, in his flaying and in his accusations (many of them legitimate, alas!).

Yes, what you say resonates in me...

vasanthakokilam · Post by **vasanthakokilam** » 22 Jun 2015, 06:40

Very interesting to read your views, mahavishnu and arasi. You both seem to see something good in what he is trying to do while being uncomfortable with his methods and lack of coherence. I am quite conflicted about all this as well. When I am in a good mood, I look favorably a bit on the 'strayers' compared to 'stayers'. That is, when in such reflective frame of mind, I try to afford some extra allowances for those who stray from the path. Because staying on the path is much easier. But to have more of a following, one needs to strike an emotional chord with people that resonates. I am not sure if TMK is doing that or capable of doing that. That is something he has to work on.

But on his concert format, people do not seem to have any major issues, quibbling aside. That itself is an interesting phenomenon. An interesting feedback that can only come from those who do not overanalyze things is this. I asked a person about TMK format. He is a knowledgeable and traditional minded rasika but not theoretical about music. His succinct three words were 'AnA nallA pAdarArE'. ( translation loses a lot of flavor but it is 'But he sings well' ). If that is indeed the reason in the minds of people, CM is in good hands (rasikas hands, I mean) because they know what is important.

kvchellappa · Post by **kvchellappa** » 22 Jun 2015, 07:43

I am not so sure staying on the path is much easier.

kvchellappa · Post by **kvchellappa** » 22 Jun 2015, 07:46

TMK does not stray from classicism anyway. He calls himself a purist and rightly so.

vasanthakokilam · Post by **vasanthakokilam** » 22 Jun 2015, 08:15

kvc, right. That is the whole thing about Lakshyam and mArgam, keeping them separate is always a good thing, not just in music. Yes, from the Lakshyam perspective he claims to be not a strayer.

But on mArgam why straying is difficult is, there are infinite mArgams there and only a few can get you there. That uncertainty carries a lot of risk to the extent of total disaster. So those who take that risk need to be given some slack. What you say about the difficulty of 'staying' is true. That difficulty is different, it is about curbing one's natural inclination to stray and put in the necessary energies to stay within boundaries of the path.