Gentle grandeur prevails
SVK
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T.N. Krishnan delved deep into his decades of experience to make his alapana elaborations outstandingly rakti-laden.
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Photo: R. Shivaji Rao
AESTHETIC: T.N. Krishnan
In his concert at the Music Academy, Chennai, every aspect of T.N.Krishnan's solo, stamped with classic vision, reflected the passionate inter-relationship between music's moods and melodic aesthetics. His sensitive interpretative style cast its gentle grandeur on every item he played.
Encased in exquisite equanimity, Krishnan delved deep into his decades of experience to make his alapana elaborations outstandingly rakti-laden.
Uniform gracefulness
Particularly, it was the uniform gracefulness and the composure it generated that spurred him to scale great heights in the delineation of Kanada.
As the sancharas in clipped phrases flowed it looked as if he was conversing with the charms of the raga.
The kirtana was `Sukhi-Evvaro' which was in essence his personal experience externalised. There was fullness of enchantment in his dulcet notes.
What stood out most prominently was the ragamalika suite of Simhendramadhyamam, Dvijavanti, Behag, Dhanyasi, and Begada. There was a high level of sophistication in handling the Dvijavanti raga marked by light and shade, gana-naya and a bewitching lyrical lilt.
The kutcheri gained in substance by the judicious selection of songs — `Deva-Deva-Kalayami' (Mayamalavagowla) `Enduku-Nirdaya' (Harikhambodi) with a brief alapana and `Hechchariga' (Yadukula Khambodi) with soft elegant fluency, the kirtanas contributed to tranquil exhilaration for the rasikas.
The concert moved on an exalted note clothed in tenderness and terseness that marked Krishnan as a top-class violinist embodying melody and maturity.
In the tani by Tiruvarur Bhaktavatsalam, the subtle variations in jatis spoke of his elite handling of the mridangam.
It has almost become his habit to present spectacular patterns, the basic composition of his style. It must be said to his credit that the sound was soothing. Vaikom Gopalakrishnan, on the ghatam, responded well with beats — quiet, correct and tuneful.
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