It was the last concert of MITHAS’s spring series but one that will last forever in minds of the Boston listeners. Vidwan T.M.Krishna, accompanied by Vidwan R.K Shriramkumar on the violin and Vidwan Arun Prakash on the mridangam presented 4 hours of vintage music at the MIT-STATA center on May 22nd 2011.  Krishna started the concert with Dikshitar’s “Ananda Natana Prakasam” in the ragam Kedaram. Krishna’s unhurried and meditative approach to the composition kept the audience in a trance. This was one of Dikshitar’s Panchalinga Kritis, songs he composed on the five elements. The composition “Ananda Natana Prakasam” represents the element ether or space (Akasham), which signifies consciousness. Dikshitar beautifully describes the Lord Narataja and subtly etches the raga mudra and the place Chidambaram in the composition. Krishna’s neraval and swarams were phenomenal and Shriramkumar matched him note for note.

Krishna then launched into a fabulous Dhanyasi covering almost three octaves and Shriramkumar’s reply was equally beautiful. Krishna presented Subbaraya Sastri’s “Dalanachinavaru”, a rare composition popularized by the Dhanammal School. Subbaraya Sastri was the son of Shyma Sastri and the only person to have learnt from all the three trinities and this is reflected in his heavy-duty compositions.  Krishna’s presentation was filled with bhavam and rich gamakams, which the ragam Dhanyasi and the composition rightly demand and he took further with mind-boggling neraval and kalpanaswarams. Arunprakash’s anticipation in this piece was noteworthy.

Krishna then shifted gear to deliver Thyagaraja’s “Dinamanivamsa” (Harikambojhi) in all its grandeur; with the different sangatis in the Semmangudi style, Krishna’s vocal range and Arunprakash’s mridangam this was a high-energy piece and an absolute treat. The main piece of the evening was in the ragam Shankarabharanam and Krishna’s presentation of the ragam was stamped with pure classicism. Gifted with a great voice, an envious vocal range and a rich imagination Krishna showcased the grandness of Shankarabharanam to all its glory. It is not an easy task to follow, after Krishna has just beautifully dismantled Shankarabharanam but Shriramkumar put a show that was equally good. The synergy between Krishna and Shriramkumar was treat to watch.  Many among the audience were thinking that the main piece is going to be either “Sri Dakshinamoorthee” or “Akshayalinga Vibho” and Krishna even teased the audience with some phrases from the former during his alapanai. He then announced that it is not going to be either of compositions and presented a less heard composition of Dikshitar “Sada Shivam Upasmahe”. This is yet another gem of Dikshitar adorned with swaraksharams (where the words of the composition match the corresponding notes). The composition was exquisitely presented and was followed by a breathtaking neraval. Arunprakash’s taniavartanam was the icing on the cake, just brilliant and graceful.  

Krishna then transitioned into a lilting javali, “Marubari” a composition of Dharmapuri Subbarayar in the ragam Khamas. Ragam Kamavardhini was taken for RTP and Krishna presented a mellifluous apalanai soaked with bhavam. He then asked Shriramkumar to take up the tanam, which was beautifuly done.  The Pallavi was rendered for the very first time since its birth at an airport a few days earlier. It was romantic pallavi composed by Arunprakash “Parthadhum manam mayangineen paavayin paarvaiyai” in Adi talam 2 Kalai (1/2 Eduppu). A loose translation of the Pallavi would be “My heart melted as when I saw her eyes”.  The execution of the Pallavi was brilliant. For a change, Krishna asked Shriramkumar to start the ragamalika swarams and he followed. Both Krishna and Shriramkumar would start on a ragam the other has finished and change to a new ragam half way through. The swarams were rendered in Atana, Devamanohari, Sahana, Kamboji, Mukhari, Shyama, Neelambari, Nalinakanthi, Kapi and SindhuBhairavi.

A virutam “Shanthakaram Bhujagashayanam” was rendered in Malavagowla, Kalyani, Kanada before presenting Purandaradasa’s “Ninyako”. Krishna then brought the audience to their feet with Subramania Bharathi’s Aaduvome in the ragam Maand. The penultimate piece was Dikshitar’s Nottuswaram, “Vandemeenakshi” and the four-hour bliss concluded with mangalam “Ramachandrayaka” by Bhadragiri Ramadas.

It was a packed hall with visitors from near and far. Among them was the legend Pandit Jasraj who spoke after the concert. Jasraj remarked that Krishna's music is brilliant and electrifying, especially the raagamaalika swaras. He said this was the second time he had heard Krishna sing, the first time being in Bangalore. He said 'this man's music will make you go mad (“yeh shaks pagal banadega”). He also mentioned that he has heard Semmangudi several times and Krishna is an illustrious student of an illustrious master.

It was a perfect innings and a display of absolute mastery and class, adhering highest standards of classism. The chemistry between Krishna, Shriramkumar and Arunprakash coupled with their individual brilliance and vidwat made this day very special for the listeners.  Deepti Navaratna and Anand Subramony accompanied them on the Tambura.

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