Dazzling and delicate
SVK
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While Krishna was passionate, Ramanujacharlu was lyrical. Karaikkudi Mani was breathtaking on the mridangam.
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PHOTO: K. V. SRINIVASAN.
FIDELITY TO LINEAGE: T. M. Krishna.
The inclination these days is towards relentless pressure-packing of tarasthayi negotiations and maze-like swaraprastharas sidelining delicate sensitivities of expression. Concerts are rated more by the dazzles it provides than the tranquillity it confers. T.M.Krishna's performance for Nada Brahmam was impeccable in presenting both aspects. At the very start, he was in a combative mood with the Kalyani song in Tisra nadai, "Biraana Brova Ide" for which a veteran of yesteryear had set the tantalising tempo. Credit goes to Krishna for his abiding fidelity to his newly acquired lineage.
Sparkling style
The song, neraval and swaras for the line "Neepada Pankaja," were sparkling in style and glamour. With his fingering fecundity, Karaikudi Mani added a new percussive dimension to song accompaniment.
This atmosphere prevailed even in the next song, "Bhuvini Dasudane" in Sriranjani. The raga alapana both by Krishna and Ramanujacharlu (violinist) progressed on prosaic lines with rakti of the raga not getting enough attention. The kirtana and swarams were of the same brand as that of the Kalyani piece.
The main item was Begada (Nadopasana). Krishna delineated the contours of the raga at all levels capturing the trappings of the scale - to give it an extraordinary image. He was passionate in presenting the length and breadth of Begada through meandering sancharas in the top octave. What a contrast was Ramanujacharlu's picturisation! Poetic and lyrical, tender and terse, reflective and gentle, his solo was a montage of the raga's shades in clipped short phrases punctuated with pauses. The significant divide between Krishna's popular Begada and Ramanujacharlu's aesthetic Begada was clearly defined. The kirtana was well rendered. Like sparks from the forge, Karaikudi Mani unleashed breathtaking laya patterns attractive and erudite. The tani with V. Suresh (ghatam) was a document of inspirational dexterity.
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