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An inspired concert by T.M.Krishna
It was an inspired performance by T.M.Krishna for Karthik Fine Arts at Narada Gana Sabha on the evening of December 8, 2009. It was a houseful concert.

And, Krishna treated the audience to high quality music. Papanasam Sivan’s “Ka Va Kanda Va” was rendered with intense bhavam and melody. The Anandhabhairavi alap was done in Dikshitar’s tradition. In this tradition, according to Krishna, Anandabhairavi takes Suddha Daivatham instead of Chatusruthi Daivatham. Krishna went on to render “Kamalamba Samrakshathu,” the first of Kamalamaba navavarana kritis of Dikshitar. As he delivered it excellently in an unhurried way, the audience was transported to an elevation. The rendition in vilambha kalam as prescribed by the Dikshitar sampradaya made the listening of this kriti lot more enjoyable.

Krishna shifted gear and took up the fast-phased “Sarasa Mukhi Bhagyade Sri Chamundeshwari” (Gaudamalhar) of Harikesanallur Muthiah Bhagavathar. He was all pepped up and full of enthusiasm. In the process, he aroused the expectations of the audience. Krishna’s Kamboji alapana was elaborate and laden with brighas. As he was deeply involved in the alap, he almost got himself lost into it.

Krishna was incredible that evening. “Kana Kann Koti Vendum Kapali” of Papanasam Sivan gave a good listening experience. His niraval at “Adikara Nandi Sevai Tanai Kana Kann Koti Vendum” sent the audience into a trance, as he improvised it in a breath-taking way. Semmangudi’s patanthara was all palpable. Krishna gave the Tamil composition a grand treatment. H.K. Venkataraman on the violin measured up to Krishna extremely well.

Poongulam Subramaniam and Ghatam Karthick electrified the hall with their brisk playing for speedy niraval and also during taniavarthanam, which added to the excitement in the auditiorium. “Irakkam Varamal Ponathen” in Behag was lovely. A soft and melodious piece, Krishna brought the essence tellingly in a poignant rendering.

Krishna then went on to experiment “Chinnanchiru Kiliye” of Subramanya Bharathi, as he sang it in ragas such as Chalanata, Hamir Kalyani, Bhupalam et al. This ragamalika composition is usually sung in Kapi as the main raga. Krishna was at his creative best and delightful to listen. His voice was mesmerizing and the audience was overwhelmed by his rendition of this number. After “Ksheera Sagara Shayana Vibho” (Bagyashree), the audience was anxiously guessing what would follow next. Krishna surprised every one and began to sing mangalam, sending laughter all around. Krishna, as usual, was confident personified that evening. He played a captain’s role to perfection, leading all from the front.