Madurai T.N.S. Krishna provided a luxurious fare protecting intact all the mandatory classical components in his kutcheri. Though Krishna’s rendering of kritis mirrored the type of his father, the veteran musician Madurai T.N. Seshagopalan, he must be recommended for skilfully mixing the classicism with the doyen’s particular touches added on the proper junctures.
Krishna started with the favored Kalyani varnam ‘Vanajakshi’ . A fleeting contact of Darbar led to Tyagaraja’s ‘Yochana kamala’ with a catchy chittaswaram and a exact swara sequence. Hindolam was his subsequent alternative for elaboration. While one can really feel the additional dosage of akarams, Krishna balanced it with equal share of softer passages too. Dikshitar’s superior ‘Neerajaskhi kamakshi’ had not simply its alluring chittaswaram, however a wonderful strands of swarakalpana. Subbaraya Sastri’s Yadukula Kamboji oeuvre ‘Ninnu sevinchina’ got here as a easy interlude with its classically structured chittaswaram and sahityam.
Surfeit of swarakalpana
The centrestage was set for an exhaustive raga treatise of Thodi. Krishna constructed the raga with breathless phrases, in addition to soul-stirring akaras overlaying each phrase of this magnificent raga. Here additionally, Krishna’s choice was the inimitable Tyagaraja kriti ‘Kaddanuvariki’. The niraval and swaras at ‘Baddu tappaka bhajininche’ have been handled in an exhaustive manner adopted by surfeit of swarakalpana. The swara combines focussed on shadjam because the highpoint.
Beginning at a gradual tempo, the tani avartanam between veterans Mannargudi Eswaran (mridangam) and V. Suresh (ghatam) obtained accelerated with the feisty rhythmic exchanges and concluded with a bang. Their enthusiasm and vitality went a good distance in enhancing the general attraction of the live performance.
Soulful Ranjani was chosen for an in depth Ragam-Tanam-Pallavi. Krishna’s raga essay was fairly expressive with the mandatory frills interspersed cleverly and the tanam was shiny and brisk. The pallavi ‘Madhavan maruga mamayil muruga,’ carried many nice mixtures as the road was set within the Sankeerna Jathi Triputa talam. The ragamalika strands included Bahudari, Karna Ranjani and Surutti.
B.U. Ganesh Prasad’s impeccable enjoying on the violin added to the live performance attraction. His raga essays touched all of the nuances that the vocalist exhibited in his alapanas and swara passages.
The signing off items have been ‘Sundari en soppanththil’ in Khamas by Ramnad C.S. Sankara Sivam and Hamirkalyani thillana by T.N. Seshagopalan.
Krishna’s strategy and rendition reminds his mentor and father Vidwan TN Seshagopalan at many cases; however, they solely introduced smiles on the faces of the listeners as they exhibit the signature and legacy delegated to his son in addition to disciple by the good doyen.
The Chennai-based reviewer writes on Carnatic music.