Charting a own course in Carnatic music
T.M.Krishna’s concert for Sri Parthasarathy Swamy Sabha on the morning of December 28, 2014 was fascinating. He was totally immersed into music, as the capacity audience listened to him in rapt attention. He looked completely oblivious to the assembled audience around him. Krishna had the measure of his music, and had a complete sway over the audience. Perhaps, he wanted to explore music to its fullest extent without any agenda. The Todi alap was a striking. He sang “Valachi Vachi” of Patnam Subramanya Iyer Navaragamalika varnam. Indeed, it was an inspiring presentation. His Sankarabharanam alap was brilliant, as he sketched the finer hues of the raga to tranquilizing delight. Prior to this, he asked Shriram Kumar to play Varali. As rasikas were listening with rapt attention as to what would follow next, Krishna went into an expansive alapna in Sankarabharanam, and Dikshitar’s “Akshakya Linga Vibho” followed in all its glory. The programme came to a finish with a Sri Ram bhajan in Yamuna Kalyani. Krishna also rendered a Viruttam “Thanthai Thayum Ni” (Thayumanavar)in Anandha Bhairavi in the middle of the concert. Krishna was in his element, and he appeared set on creating a new idiom to the Carnatic music. And, he has no qualms in redefining the traditional format with his revolutionary approach. Purushottam on Kanjira gave a good support to Krishna. Violinist Shriram Kumar proved a perfect foil to Krishna. Krishna is bent on chalking out a new course for himself in the world of Carnatic music. Not surprisingly, Krishna has become a subject matter of animated discussion in the world of Carnatic music.
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