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T.M.Krishna
is a star in his own right, having made a mark for himself in the carnatic
music field at a young age. It is difficult to classify him or his music.
There is tradition and novelty in both his music and approach to music. His
voice carries a rare vibrancy and strength, which coupled with his adherence
to patanthram and method of presentation, has earned him a good many fans.
This year, T.M.Krishna has been chosen to receive the Isai Peroli title from
the Karthik Fine Arts. Meet T.M.Krishna in an interview for
carnaticmusic.com.
How did
your interest in carnatic music come about in the first place?
My mother used to learn music and from a very young age I used to sit in her
classes and apparently showed interest. It was from the age of 5 ½ that I
started to learn music formally from my guru Bhagavathula Shri Seetharama
Sarma.
Can you
recall for us the concert/concerts that gave you the proper break into the
carnatic music arena? Was your entry a smooth one or did you have to fight
your way in?
After my first concert in 1988 for the Music Academy
during their Spirit of Youth Series, I did not sing much for the next 4
years; may be just a few concerts a year. I used this period to learn a lot
more and listened to a lot of concerts. It was from 1992 that I started to
sing regularly. Even after I started performing on a regular basis I never
thought I will take to carnatic music as a full time profession till 1995. In
that year I got a couple of concerts that served as good breaks in the music
field. One of them being a special ‘varnam’ concert for YACM during our 10th
anniversary celebrations. I will not say that I really had to fight my way in
the profession but at the same time it was not a cakewalk either.
Was the
choice to be a full time musician an easy one to take? What factors helped
you take the leap?
When I was in school I had thought that music would be only one of my
professions. I wanted to get into economics or branch off in management. This
was basically because I was not sure whether I could make it in the music
field and be successful. It was only in the second year of college that I
realized it was not possible to handle two professions and I had to choose
one.
As one of
the youngest star musicians now, do you at any time at all regret the choice
you made?
NEVER
How has
been your learning experience under the Pitamaha?
I started learning from my guru Shri B.Seetharama Sharma from the age of 5
and continue to learn from him. In 1998 after listening to one of my concerts
Semmengudi Mama asked my father to send me to him. This was a real privilege
for me. Learning from him is a real memorable experience. He is a very patient
and caring teacher. Even spending time with him talking music is very
refreshing as he continuously comes up with new ideas. His values and
approach have really enriched my approach to music.
Do you
belong to any particular school or is a TMKrishna school being evolved?
I think I have drawn a lot from many great musicians. I cannot say that I
belong to any specific school. About my own school I do not know. Banis do
not evolve overnight; they take a lot of time to take shape.
Have you
started teaching yet? If not what is your plan?
I have started teaching and enjoy doing it. But I do not have too many
students as I think I may not have the time to give the attention they should
get.
Just 27 and
several world tours for experience and awards too for encouragement, where do
you see TM.Krishna 10 years from now?
I just want to continue to grow as a musician. By this I mean I need to
continue to develop artistically. I do not have targets that I have set for
myself to achieve. I also want to do much more for the propagation of
carnatic music in the world. I think all of us musicians need to work on this
front. Our music is probably one of the most sophisticated classical forms
and it is unfortunate that many people around the world have no clue about
it. It’s up to us to put it up there.
While a lot
of artistes stress on the bhakthi element in carnatic music, you have always
sounded a variant tone? What exactly is carnatic music to you?
I just have a different concept of bhakthi. I believe that bhakthi and bhavam
can come from just the music and you need not have to feel the gods and
goddesses in the krithi. Bhakthi in the thodi, begada or dhanyasi is as
powerful and elevating as the bhakthi to Rama or Krishna. So I think
spirituality in carnatic music goes beyond the Gods and Goddesses that form
the content of our music. I need not be a religious person to feel the
bhakthi in our music. Of course people can feel very deeply towards the gods
that we sing about. I do understand that but I feel that there is another
angle to this.
You have at
times been criticized for excessive use of body language in your concerts,
often being compared to a dancer. Do you give any serious thought to such
criticisms?
I do know that some people have a problem with my body language on stage.
Well that’s me!!!! It is something that comes naturally when I sing and its
part of who I am and I do not intend to change it. I would rather spend my
time in learning another 50 krithis. I just have one thing I want to raise.
People seem to have no problems when Hindustani musicians have a lot of body
language on stage. But when a carnatic musician does the same there is a
problem. I find this really funny.
How do you
foresee the future role of YACM in the carnatic music scene, having been an active
member and also its past president?
I think YACM needs to rethink its agenda for the next 10 years. Between 1985
and 1992 YACM set out to give opportunities to talented young artistes and
this was its primary focus. Then from 1992 the focus shifted to creating more
rasikas. I think a lot more can be done in this respect. I think YACM needs
to think of ways of spreading its wings to interior parts of Tamil Nadu and
other states. There is a lot of work that needs to be done. I also think YACM
has to create small youth groups in various colleges and cities that will
work to get new projects going in various cities. YACM has to move from being
only a Chennai centric organization.
In your
experience do you see a healthy and professional working environment in the
carnatic music world? What ails it, if at all?
I feel that the overall work environment is very good in the carnatic music
field. But I do feel that main artistes, accompanying artists, and organizers
need to work much more closely as a community to help the growth of the art.
We need to understand each other’s problems and work as a family to help each
other.
What are
your other interests and passions?
I love cricket, tennis, dining out and the movies.
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