T.M. Krishna — the artiste and the person

The Krishna we know

The affable and the argumentative

R.K. Shriramkumar

To be a musician with amazing skill and to receive worldwide recognition are laudable. But beyond all this lies the realm of svanubhuti (internalisation). When this happens, the music and the performance transform into sheer bliss where every element exists but also disappears. The music of T.M. Krishna has taken many an ardent rasika to this state.

Krishna’s dedicated engagement with the art form has opened up several queries for him. It is this path of inquiry that has shaped him as a musician, and more.

Krishna never sheds the characteristic Carnatic tone. His ragam tanam pallavi renditions, in particular the Ragamalika swara segment for the pallavis are quire delightful.

Encouraging his violin accompanist to change ragas, keeping in mind similar gamaka contours, picking up from where the violinist finishes and changing another raga from there is something that Krishna does with finesse. Krishna’s love for the tambura is well known. His concerts sound well-rounded by the sheer nada of the instrument.

Krishna’s quest for knowledge — in any facet of life — is noteworthy. The trait of acquiring and absorption comes naturally to him. From his gurus, peers and friends to even the next generation, Krishna has imbibed immensely. His renditions of many kritis of Sri Muthuswami Dikshitar is testimony to his intense study and internalisation of the colossal Sangita Sampradaya Pradarshini. Several Dikshitar kritis saw the light of the day, thanks to Krishna’s renditions.