T. M. Krishna - Review - Part 2

Continued.....

Todi :

Krishna chose Syama Sastri's  "రావే,  హిమగిరి కుమారి"  [Raave Himagiri Kumaari]  as his 3rd piece. He maintained the trinity order - Tyagaraja, Deekshitar & Syama Sastri in the pieces he took.

He started it in an unhurried way, the typical way of Syama Sastri. The audience were enthralled by his crystal clear rendition of the mandra sthaayi "Ga" and anu mandra sthaayi "Ni" too. Specially, the children were absolutely amazed at his ease & capability. 

In his Todi alapana, he did not touch any madhya sthaayi swarams above "Ga" for the first few mins. He concentrated deeply on the mandra sthaayi which comforted the audience with lots of peace, serenity & composure. His voice, at the depths of Todi, sounded like mandra sthaayi Veena vaadyam. We could feel the vibrations within ourselves.

Soon, he approached taara sthaayi. Graha Bhedam phrases were also heard. Somehow I felt the high down pour effect of Sri Semmangudi garu on him in his Todi. Semmangudi is such a persona, who effects the mood, creativity, emotion & maturity of any artist. It is wonderful to see Sri T. M. Krishna, inhabiting the rich tradition of Semmangudi's Raga presentation, and presenting it in his own way.

Surprisingly, there was not even a single krithi of high tempo such as - Bhogeendra Saayinam (Kunthala Varali), etc. Yet, the concert captured audience with its balanced vigor. 

The krithi in Todi, started on a very slow note, as according to its mood. It melted the hearts of people with its pleasing saahityam especially at the sangathi in its pallavi where it goes as - himagiri kumari (n g r n d m) - in mandra sthaayi. When the mandra sthaayi "Ma" was touched, it became "A moment of high vibrations and goosebumps".

Krishna did not compromise anywhere in the aspect of "classicism" of Todi. The strong, shaky "Ga"was simply perfect. Krishna's Todi elevated the mood and listening maturity of the audience.

Krishna almost got himself lost into the rendition. Both Krishna & Sriram Kumar were like Sangeetham & Saahityam, the 2 children of Goddess Saraswati - inseparable, yet individually valuable & unique.

Nerav was performed at the place  "కళ్యాణి... కంచి కామాక్షి, నీ  పాదమే దిక్కు"  [Kalyani... Kanchi Kamakshi, nee paadame dikku - raave himagiri.....] 

Check the recording below..




Krishna also did 2nd kalam Neraval in it, where he showed a capturing continuity in the lines. Arvind's support on the Mridangam was very comfortable. His phrases were brisk but soft and got mixed in the galaxy of Syama Sastri's Todi (His way of Todi).

Krishna did not take up swara kalpana in this. But it did not appear to be a flaw or a loss. On the whole, it looked complete and made long lasting impression in the hearts of rasikas.


[continued in Part 3....]