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Marked by character and calibre
IT WAS the natural flow of the voice, its pace and variety combined with infectious passion which contributed to the distinctive style of T. M. Krishna's performance for Nadopasana. The sancharas in his delineation of Ananda Bhairavi and Bhairavi moulded themselves naturally to frame beautiful shades of the ragas. They were not haunting, but engrossing. More than Krishna's exposition, the finesse in his abhinaya was such that Balasaraswati would have envied him if she were alive today.
To a large extent, the list of songs dictated the standard of his performance. The Nattai pancharatnam ``Jagadaananda Karaka'' lifted his effort to a higher level even at the start and the Poornachandrika kriti ``Sanka Chakra Gada'' and ``Marivere Gati Evvaramma'' (Ananda Bhairavi) laid strong foundation for both voice and manodharma to embark on a tour de force of Bhairavi in which he injected tonal fervour into the tara sthayi sancharas with spontaneous response from the violinist R.K. Sriramkumar. The kirtana ``Raksha Bettare'' of Tyagaraja was a diadem in his performance.
Throughout there was character and calibre in the interpretative solo versions of Sriramkumar. The radiance of rhythms rippled reverberatingly in the dazzling tani avartanam of Easwaran. The manner in which he laid out the patterns was astounding. Krishna was scattering "balay balay" right and left to the violinist and the senior mridangist effusively. Of course he stopped short of saying ``Balay balay Tyagaraja, the Bhairavi song is beautifully composed''.
Melodic influence
It is a characteristic and sublime aspect of veena music, that in exposition there is an irresistible combination of tenderness and melody, provided the artiste has an intuitive understanding of the joys of sangita. When once such an artiste is gifted with the sensitive seduction of meettu, the inspirational potential is vast. It is the purity of tone with cadences that makes veena music beguilingly charming and the notes seep into the listeners' heart. Exposition on the veena of ragas and songs is much more than mere jingle-jangle sound production, which confers petty gains and ephemeral satisfaction. Sublimity of music reveals itself readily to an earnest and aspiring artiste and the accepted divinity associated with veena music is a springboard to such a vainika.
Revathy Krishna's performance for Krishna Gana Sabha proclaimed her deep intimacy with the feel of the graces of veena music and what melodic influence she could offer to the rasikas. There was engaging lyricism in her interpretative technique and her tonal caresses on the strings were exceptionally feminine contributing to the slimline elegance of the raga alapanas of Shanmukhapriya ("Siddhi Vinayakam"), Mayamalavagowla ("Tulasi Dalamula") and Dhanyasi ("Nee Chittamu"). With soothing soft steps the sancharas of the ragas brimmed with beauteous emphasis on their relevant swaroopa.
The kirtanas were well cherished and nourished within sampradaya guidelines. The cutcheri provided perennial delight with primacy to meettu felicity. The mridangam support from Mannarkoil J. Balaji was tellingly tuneful. The tani with the ghatam artiste Guruprasad was brief.
SVK
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