T.M.KRISHNA FOR MAHARAJAPURAM SANTHANAM RASIKAS TRUST

[CRama]

Maharajapuram Santhanam Rasikas Trust spearheaded by Dr.Ganesh, the disciple of Sri Santhanam organised the 24th remembrance day of Sri Santhanam, who was snatched away by the cruel hands of fate on 24 June 1992. The function was held in Infosys Hall, Bazulla Road, Chennai. Because of long speeches which morphed into Pravachanam, concert etc, the concert of T.M.Krishna started at 7.30 P.M. (The organisers had not announced the time of the concert, though). But the concert of T.M.Krishna was worth the waiting and enduring the speeches that preceded the concert. The selection of the songs were nice and he followed an appropriate kalapramanam for the songs- there was nothing too vilambam as he does many times. I will write about the function later. TMK was accompanied by R.K.Sreeramkumar on the violin, Melakkaveri Balaji on the Mridangam and B.S.Purushothaman on the Ganjira. List of songs.

• Sree Gananadham- Eesamanohari- MD (S)
• Ilalo Pranatharthihara-Athana-T (R,T,S)
• Nandagopala-Yamunakalyani-MD (R)
• Karubaru-Mukhari-T (R)
• Raa Raa Rajivalochana- Mohanam- MV (R,S)
• Tani
• Tunga teera virajam- RM-Kamalesa Vittal
• Lokavanachatura- Begada- T (N)
• Mangalam

There was a pleasant surprise for the audience when TMK started the concert with a Ganesa Kriti. It has been ages that TMK ever started a concert with a kriti on Ganesa. (But I will say that he is not loner in this respect. I have observed some senior musicians have followed TMK and have continuously skipped remembering Ganesa at the start of the concert.) I appreciate his choice of this song- for this is rarely heard in the concerts. Dr.S.Ramanathan used to sing this frequently. The two kala swaras were icing on the cake. He rendered first kala swaras at Akhila deva poojitam which was truly meditative and again electric second kala swarams at Raagadveshadi rahita. An excellent start of a luminous concert to follow.
Now he started an alapana hovering around mel ri of Athana. This was a hide and seek game for a few minutes, for the raga do not reveal itself at the mel rishabham. The raga came out after a few seconds. But once the raga was revealed, it was a revelation where the sojourn though each swara revealing its umpteen inner layers was magical.The raga seamlessly merged to tanam. The swaras may have fixed placement in the scale, but the hues and colours TMK created with the swaras in this journey were astounding. The kriti Ilalao pranatharthihara was rendered well with the standard sangathis and in the correct kalapramanam and the elaborate first kala swaras hovering on the key swaras was a testimony to his vidwat and manodharmam. The next alapana was Yamunakalyani, may be as a tribute to Maharajapuram, for both Santhanam and his father were great exponents of this ragam. And the kriti was Nandagopala- a favourite of Santhanam.

The ragam of the day, Mukhari came next. Mukhari and TMK are synonymous- for he sings the ragam in most of his concerts. I have heard many Mukharis from him and from others. But what he presented in this concert was something unique. He made sancharams mostly around mel ri- very few sangathis in the lower range. Long akara passages with appropriate glides and brighas bringing out the subtle nuances of the ragam in all profundity, never compromising on the innate beauty of the ragam. The alapana which lasted about 10 minutes was out of the world experience for those who witnessed. TMK is blessed with a voce having a range from lower Sa to higher Pa (2.5+ octaves) and he can sing anything he wishes. And we are there to enjoy. The kriti chosen was Karubaru which was perfect T for the ragam presented. I have not heard this song in any live concert for decades and hence happy for the inclusion. The song was presented with its myriad sangathis in tact and bringing out the inherent bhavam of the song in a highly aesthetic manner. There was no swarams.

He started Mohanam and signalled RKSK to continue. I expected Mohanam to be the main- as Mohanam and Maharajapuram are inseparables. But a tad disappointed that TMK opted out in the alapana. I have rarely heard any Mohanam from TMK nor in my collections. But RKSK presented a brilliant alapana of Mohanam for 5 minutes. The song was presented well and further decorated with swaras in two kalams at the pallavi. There was no neraval. Each phrase of the swaras was dripping with raga bhavam. The second kala swaras were really cracker swaras following the pattern of his Guru SSI- highly energetic swaras without giving karvai. But it was rather short. Only two rounds. Disappointing in that respect. The entire alapana, song and swaras finished in 15 minutes. Probably curtailed due to time constraints.

After the tani which lasted for 15 minutes, TMK took up Tunga teera virajam in Salagabhairavi, another Santhanam favourite. But TMK presented the charanam in Yamunakalyani whereas Santhanam used to sing that in Ahir Bhairav. All other schools sing that entire song in Salagabhairavi only. Or is there another school which sings that in Yamunakalyani. I can’t recollect now. It was presented well. Now TMK asked Dr.Ganesh, Shall I sing one more song. Here people will expect a Tillana or slokam etc. I expected a Tillana of Santhanam which will be most appropriate for the function. But TMK treads a separate path of his own. I know he used to conclude his concert with a heavy number. So not surprised when he started Lokavanachatura in Begada. The song as presented in all its grandeur- never mind it is the last song- with a grand neraval at Sripathe Varada Paalitha Tyaagarajaarchita. There was no swaras. The song led itself to the Mangalam also in Begada.

RK.Sreeramkumar, his violin partner, remained a solid support for TMK. His vidwat combined with long experience and sweetness of bowing was evident in the amazing alapanas and also during the swara returns. His bowing soaked in honey and his vidwat and imagination combined to present a atimohanamana Mohanam The alapana of Mohanam had appropriate thick and thin shades, meditative as well as engaging phrases which TMK greatly appreciated and enjoyed. Melakkaveri Balaji highly embellished the concert with his deft strokes and power packed drumming. The volume was appropriate- not caressing or banging. His anticipation was good, his filling of gaps was always interesting and he received lot of appreciation from TMK. BSP also partnered with Balaji in embellishing the concert significantly. The thani of 15 minutes had many exciting moments and was much appreciated by the audience.

Krishna has proved in many concerts that he is unimaginably brilliant and his musical genius is unquestionable. Most of his concerts do give a highly exhilarating experience for the listeners, so intense, so peaceful and very much majestic. Unperturbed by the delay in starting, Krishna presented an excellent musical experience for two hours without a minute of sagging. The concert ended at 9.30 PM. The audience sat till the end and presented a well deserved standing ovation.

[Rsachi]

Krishna has proved in many concerts that he is unimaginably brilliant and his musical genius is unquestionable.

+1

[shibi]

A beautiful review befitting a beautiful kutcheri.

[thanjavooran]

Thanx for the beautiful review. Were there two T s. Just curious.
Thanjavooran
25 06 2016

[CRama]

Thanjavooran, There was only one tanam- for Athana. Thanks for your post.