Author: Narayana Vishwanath

A true musician is one, who stands for its conservative values and yet be an original artist; and so, when the base of the vidwat is broader, higher is the peak of performance.

Hearing vocalist T.M. Krishna, who performed for Tamil Isai Sangam at Rajah Annamalai Mandram, in an ambience, suited for music, was certainly a musical delight. All the Tamil compositions rendered in the Sampradaya mould, and the beautiful swara pattern, twained with the lyrics, replete with precision, gave a charming glory to his rendition. When he opened the concert, (Kalai Thooki Aadum) in Yadukula Khambodi of Marimutha Pillai with abundant swaras, was an eye opener to young artists, as to how to understand, the depth of spirits of the composer.

‘Thillai Chidambaram Enru’ in Raga Poorvakalyani of Gopalakrishna Bharathy that followed with an extensive alapana tinged with layam, was exceptionally of high merit and his elaboration of the composition reflecting the mood of the composer Bharathi was marked by copious musical imaginary. When he transcended to Raga Bahudari, which was soulful, when the raga’s emotive facets, embedded in the kriti (Anbae Jeevadaram) composed by ‘Spencer’ Venugopal was portrayed.

Towards the end, when he explored the potency of the Khambodi Raga, within the confines of Sampradaya, and total repose in his rendering with voice modulation, in a modulated style of his own, the ‘Dhaanam’ and took up ‘Natanamadum Thirintha Unathu Idathukal’ composed by Papavinasa Mudaliar, his explorative instinct was evident.

On the whole, by all standards, the concert of the day, revealed his musical consciousness with bhava laden music, adding gracefulness to the presentation, but yet, since the exuberance of delivery was wanting, we could appreciate the entire presentation with lessened exhilaration.

R. Hemalatha on Violin, was extremely good and her rendition of the ragas, particularly Bahudari, had impressive creativity and as usual was a very accommodating violin accompanist. Poongulam Subramanian’s (Mridangam) soft feather like touches reminded me
of the Thyagaraja’s kriti ‘Soga Suga Mridanga Talamu’ while Chandrasekara Sharma (Ghatam), also kept well the rhythmic section.