T.M.Krishna, with his rich endowments of a powerful sareera, tight kala pramana and intuitive appreciation of their finesse, the Swarajatis constitute a fertile hunting ground for deployment of his God given skills. In these renderings, he has transcended the scope of mere musicianship. He flavours every raga literallty that a Syama Sastri alone is capable of and he dissolves his hearers with ecstasy, bringing the Goddess Kamakshi in front of our minds as the melody hovers between Heaven and earth.
To quote Nabakov : his ?phrases melt upon the tongue in lemony sweetness, growing, as they do so, even more translucently pure?. In these classical pieces, Krishna?s abundant talents are matched supremely well to the task.
As an art form the Swarajati is hardly 100 years old. It occupies a position midway between the Krithi and the Geetham and Prabhandam, which were called ?lakshana? compositions designed by Venkhatamakhi primarily for musical training and exercise.
Giants like Pachimiriam Adiappayya (author of the immortal Viriboni Varnam) Syama Sastrigal, Sobanadhri, Chinnikrishna Dasar and Merattur Venkatarama Sastri have composed Swrajatis of astonishing appeal and complexity making them fit to be rendered in concerts.
Sri Syama Sastri eldest of the Trinity, was greatly attracted to this musical feature and has composed pieces like ?Rave Himagiri? in Todi, ?AmbaKamashi? in Yedukulakambodi and ?Kamakshi? in Bhairavi making them specialty pieces