Violin: T.N. Krishnan
Viji Krishnan
Mrudangam: Rohan Krishnamurthy
Kanjira: Bangalore N. Amrit
Approximate Songlist:
(01) Makelara - Ravichandrika
(02) Rama Ninne - Huseni
(03) Nidhi Chala - Kalyani (R,N,S)
(04) Orajoopuchu - Kannadagowla (brief S)
(05) Paridana Michithe - Bilahari (R, brief N, S)
(06) Mamava Sadha - Kanada (R)
(07) Mokshamu Galada - Saramathi (R,S,T)
(08) Madhava Mamava - Neelambari
(09) ? - Ragamaliga
(10) Surutti Ragam
(11) Mangalam - Sowrashtram and Madhyamavathi
My maiden season experience commenced auspiciously with T.N. Krishnan's
beautiful concert last evening in spite of the two and a half hours I
spent waiting at Chennai immigration in the morning.
Huseni provided a sweet start to the concert. Kalyani ragam was elaborated
in three octaves, with TNK and daughter taking turns weaving beautiful
phrases (although Viji had some minor trouble with shruti alignment in
tara sthayi). The neraval was good, and several rounds of swaras were
presented in two speeds. It was a complete presentation.
Viji rendered Orachoopuchu independently since one of the strings in
TNK's violin had ruptured suddenly, and he waited until after the rendition
to replace it. The krithi and swaras were customarily pacy, though in hindsight
turtle-like in comparison with the Bilahari bullet train that followed.
Bilahari raga was presented at astounding pace, with both violinists
zipping up and down the raga's scale, and this did detract from the beauty
of the raga at times. The krithi was presently quickly, with about three
rounds of interesting neraval, and then round after round of swaras
rained, each quicker than the last, culminating in some Chembai-like
"GRS,ND RS,ND GRS,ND R" type swaras, concluding a truly electrifying
(and sometimes electrocuting) presentation that left me marvelling at
TNK's energy at this age.
The change of pace that accompanied Kanada was welcome and appropriate.
TNK always does justice to Kanada, and his dwelling in the higher
octave was wonderful. TNK's talent in raga presentation is his efficient
use of the three octaves, and his raga alapanais yesterday attested to
this musical sense. The Saramathi that followed was definitely the
highlight of the concert, with a really moving 10-minute alapanai of the
ragam, bringing out all its beauty with some interesting phrases. The
krithi was rendered with plenty of devotion.
Rohan and Amrit presented their thani here, and from a laya dummy's
perspective, they did a wonderful job. Amrit was sedate throughout the
concert, except in the thani where he came out full-force, leading
TNK to comment: "You (to mrudangam artiste) have two sides, but you (to kanjira
artiste) have only one, so you are really great!" Rohan Krishnamurthy
plays with great clarity and anticipation, and modulates the volume of
his playing effectively. A great job by the percussion department.
Surutti ragam provided a fitting finale to the concert. TNK complimented
both percussion artistes profusely and also complimented the late S.V.
Krishnan, and his daughter for continuing her father's good work.