Up close with a musician - T M Krishna - Page 2

T M Krishna: Interview

Saturday, 16 November , 2002, 04:24

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 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.