TN Krishnan Concert at Music Academy

[aishuv]

TN Krishnan, Viji Krishnan Natarajan, Sriram Krishnan: Violin Trio
Thiruvarur Bhakthavatsalam: Mridangam
Vaikom Gopalakrishnan: Ghatam
Date: December 25, 2013
Venue: Music Academy
Time: 9:15AM-11:45AM

Dear Rasikas,

I am writing this post, not as a review of my great guru, Shri TN Krishnan, but with the purpose of sharing my perspective as Krishnamama’s student.

This morning at Music Academy, Mama played the following:

1. maguva - narayanagowla – Ata Talam – Veena Kuppaiyer
2. gajaananayutam – chakravakam – Adi Talam - Dhikshitar (R K S)
3. niravadhi sukhada – ravichandrika – Adi Talam - Thyagaraja (N S)
4. marivere gati – anandha bhairavi – Misra Chapu – Shyama Shastri (R)
5. brOva bhAramA – bahudaari (S)
6. jingle bells - shankarabharanam
7. madhava maamava – neelambari (N)
8. padavi nI – saalaghabhairavi (R)
9. RTP – Behag (Kapi, Kedaragaula, Mohanam in the Tanam) (T)
10. ? - Sindhu Bhairavi (R)
11. Mangalam

The concert opened with a quick narayanagowla outline leading into one of Mama’s favorite ata tala varnams. I remember when he taught me this varnam, he mentioned that it was taught to him by his own father. This was one of the most difficult varnams Mama taught me. To master the gamakas in the sangathis, my fingering hand pinky finger would somehow manage to point directly towards the heavens. Mama, frustrated, at how aesthetically unpleasing that looked, would take his bow and gently but firmly tap it back down to its rightful position, right next to my ring finger. Finally, when I was able to control my fingering hand and keep all the fingers in their proper position, Mama threw yet another curveball my way. He insisted that I play narayanagowla varnam in three speeds, but not at the comfort of the tip of the bow but at the discomfort of the bottom 2 inches of the bow. That is when I understood what it meant to have complete mastery of the instrument and when I realized I definitely did not have it quite yet.

Within minutes of the varnam, Mama was able to show that even at 85, his dexterity is likely greater than that of a very fit 30 year-old. The 2nd speed of the varnam was rendered with the famous Krishnamama-style tanam bow, allowing him to play each phrase cleanly and beautifully. Upon return to the varnam’s first speed pallavi, he had already won over the audience who greeted the return with a warm applause.

From my very first class with Krishnamama, I was always given two pieces of advice. The first was that the beauty in a violin’s sound comes from a clean bow, parallel to the bridge, held with strength and played with conviction. The second was that I was always expected to have full control over my instrument. Krishnamama controls his violin and wields his bow as the great Arjuna wields his bow and arrow. This was evident during marivere gati. Krishnamama explored the mandira-sthyayi in both his alapana as well as the kirtanam chittaswaram. During these moments, Mama turned his violin a good 90 degrees to his right such that it was practically perpendicular to the ground. This is not only an aesthetically beautiful choice by Mama, but is something he swears by in producing a deep, roaring mandira sound.

When Mama began teaching me how to develop a ragam, he insisted that the ragam should be evident within the first few phrases. True to his word, in each ragam rendered, Mama was able to bring out the soul of the ragam instantly, a hall mark of his style. In the behag alapana, Mama needed only to play for about 5 minutes to show all facets and shades of the ragam.

And of course, Mama is not only a wonderful musician but just as excellent a performer. He knew how to bring the audience to their feet with songs and ragams that were instantly recognizable and easily appreciated. Mama rendered sindhu bhairavi with ease, and I was eagerly awaiting eppo varuvaro or a thillana, but he surprised me and played a song I have neither learned from him nor heard him play before. Any help in the song name would be appreciated!

Able support was provided by both Sriram Mama and Viji Mami as well as Bhaktavatsalam Sir and Gopalakrishnan Sir. The mridangam sound was delightful. The sound of the thopi was magnificent, and complemented Mama’s playing wonderfully.

Finally I’d like to conclude by saying that, any ounce of musicianship and any ability I have today is all because of Krishnamama’s careful, loving and unrelenting teaching style. As a student of Carnatic music, particularly a student of the great TN Krishnan, I will continue to strive to produce a sound similar to his. It is my dream that when I am in my 80th year of performance, as Mama is now, I will be able to render a performance as inspiring as his was this morning.

Aishu Venkataraman

[kssr]

If I am not mistaken, the Sindhi Bhairavi is the tiruppavai, Andri ivvulaham aLandaai Adi potri., of course not the song of today!!

[vs_manjunath]

Aishu-Thanks for your write up.Narayana Gowla is supposed to be a difficult raga even during Maha Vaidyanatha Sivan days! TNK's magic playing is well known to one & all !!!
TNK mama's Kiravani LP record way back 40 years or so still lingers in me!!!

[Nick H]

Aishu, I am almost as sorry to have missed seeing you and your father again as I am to have missed the TNK concert...

[rshankar]

Aishu - awesome! Thank you for taking us (vicariously) on the journey with you!!

[Enna_Solven]

Aishu, you write in a delightful way. Wish you all the best in your music journey.

[SrinathK]

I made to Chennai just in time for the 2nd half of the concert. I was stunned by the fact that at 85 (which makes him one of the oldest violin virtuosos of all time), TNK mama has retained all his tone and the strength in his bow arm (very few world class violinists have achieved this) well as his sruthi shuddham and finger dexterity and he was able to outplay his children even at that age! He retains that youthful vigour off the stage as well.

What a concert it was! I was very fortunate to be there today.

[ramanathan]

A moment of pure joy from today's concert! Feeling blessed

[vasanthakokilam]

Aishu, that is the best piece of writing I have read of a disciple writing about one's guru's concert. Perfect coverage of the concert with the most appropriate personal anecdotes. Thanks.

I can imagine the kind sternness with which TNK would have tapped your pinky with the bow. I am sure he has found one of the most able students in you to impart his great sangeetha gyanam and violin techniques acquired and perfected over those many decades.

[PUNARVASU]

Aishu, what a beautiful write up! Shri Ramanathan, what a beautiful picture!
I can very well visualise how vibrant and full of energy the concert would have been!

[rajeshnat]

Great review very crisp and to the point - Aishu. keep it up

[ranjanimalavi]

Anri Ulagam Sindhubhairavi Andal Thiruppavai

Raman

[CommonMan]

The ananda bhairavi and neelambari are still fresh in my ears!!!!!!

[mahavishnu]

Just beautiful. Great pic, Ramanathan.