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At a high artistic level
THE TYAGARAJA aradhana concert of T.M. Krishna for the Music Academy had a full measure of imaginative gift well allied to expressive expansionism. The raga alapanas of Dhanyasi and Sankarabharanam were replete with rich and copious imagery with still some scope to shed flabbiness here and there. The raga Sankarabharanam was placed with great vividness and consistency. His manodharma stimulated by flexibility and smoothness brought out fully the consummate success of his vocal ability. His music was a delightful mix of tempo and temper. How well the adventurous sancharas in the tara stayi in Dhanyasi and Sankarabharanam would have sparkled had he resorted to controlled tonal volume!
What struck most in the handling of the alapana technique was his heightened talent to consciously tap the core of the journey of the two ragas without making it an intellectual exercise. The lavishness was achieved in the main by his vocal mobility. He seemed to have realised that a good voice management is the bedrock of excellent music.
The two main kirtanas he rendered had a relevant connection as to what a musician has to ponder over. ``Dhyaname-Varamaina- Ganga-Snaname'' (Dhanyasi) and ``Swararaga-Sudarasayuta-Bhakti- Swargaapa-Vargamura'' (Sankarabharanam) — meditation on Rama Nama clothed in honeyed music — ensures salvation is the true objective to which a performer has to fasten his mind while rendering them. To a great extent Krishna was able to communicate the serenity of the Dhanyasi song and the expository truth of the Sankarabharanam kirtana. But in the concluding neraval portion of the latter song for the line ``Moola-Dhara-Nada-Merugude'' Krishna, motivatedly worked himself up to compel rasika response. So also was the crowning swarakalpana. The other items he sang were ``Paripoornakama'' (Poorvikalyani) ``Vidajaala Dura'' (Janaranjani) and ``Samugana-Nilva'' (Kokila Varali).
The violin accompaniment by S. Varadarajan in the solo session of the two ragas was brightened up by the interplay of karvais and sancharas. The beauteous niches of Sankarabharanam were emphasised and this helped to endow his play with the solid graces of the raga. The alapana progressed with emotional overtones.
The high artistic level of the concert as a whole seemed to have influenced Melakkaveri Balaji (mridangam) to discard loudness or just robustness. His support in the company of Madipakkam Murali (ghatam) was sensitised to rhythmic resonance.
— SVK
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