TRIPUNITHURA Narayana Iyer Krishnan alias Padmabhooshan T N Krishnan is synonymous with the violin. The music from his magic bow has been enthralling music buffs from all over the world for the past seventy-five years. Even at 82, the maestro mesmerises his listeners with unparalleled command over the instrument. The maestro shared his invaluable musical experiences, with expresso.
When T N Krishnan spoke about the stalwarts with whom he performed, it turned to be a documentation of a golden era of Carnatic music. “I inherited my musical skils from my grandfather Appa Durai Bhagavathar and from father Tripunithura Narayana Iyer.” Along with systematic learning I could also listen to great musicians like Chembai Vaidyanatha Bhagavathar, Raja Rathinam Pillai and others during the Vrischikolsavam (annual festival) of the Sree Poornathrayeesha Temple. In those days there was no sound system or electric illuminations even during the festive occasions. I still remember the nightly walks I took with my father from my ancestral house with a country torch to light the royal streets.” But even without light and sound, the maestros could impress the listeners.
From his teenage days onwards T N Krishnan started to accompany great maestros. “Those concerts helped me mould a style of my own.” He got the opportunity to accompany the icons of carnatic music like Ramanuja Iyengar, Chembai and later legendaries like G N Balasubrahmanyam, Madurai Mani and M D Ramanathan. “Each of those concerts virtually turned to be a research study for me. While playing with GNB, I totally merged the violin with his voice and poignant application of brigaas. Madurai Mani’s boldness to present the higher octave notes always energises. Fortunately the dynamic presentation of the maestro’s famous presentation of eppo varyvaaro was documented along with my violin,” Krishnan said with much pride in his voice.
From the early 1970s onwards, he gradually withdrew from accompanying vocalists. “Yes, that is true. I have no doubt about the immense talent hidden in the new generation. However most of them follow a rigid frame work for their concerts. Such a charted structure always poses a threat to creative music. Music should flow spontaneously and as per the manodharma (creativity) and mood of the singer. This is applicable to the accompanying artists too.”
Another problem he has with upcoming singers and accompanying artists is that most of them try to become overnight celebrities with just two or three concerts and public performance. "There is no shortcut or back door to attaining fame and recognition.”
Even at 82, he is an enthusiastic performer who is eager to explore every specific note. How? “Nothing but the whole-hearted blessings of gurus and the mercy of Sree Poornathrayeeshan, before whom my grandfather, father and myself offered the garlands of music,” the maestro concludes.