Music Career - Hindustani Classical Music

For his classical music presentations, Master Krishna would decide what to sing at a concert, after getting a feel of what kind of audience he was performing for. He always wore a pleasant expression, neat traditional dress, and the signature bukka or holy ash on his forehead. He sat with great composure, without any contortions of his face or body, and with no undue strain or ‘acrobatics’ to his voice. Only his hands would move a little, in keeping with the notes and rhythm. This composure he had learnt at a very young age, from his guru Bhaskarbuva Bakhle. He sang in pandhri/safed teen, which is the E scale, and mainly in madhya taal, the medium tempo.

Master would oblige his fans when they asked for an encore or ‘once more’, by repeating what he had just sung, but embellishing it differently each time, so that the audience got to hear something new in every rendition! His audience rapport and connect was excellent at all times. All of this contributed to his concerts being of a very high standard indeed.

He would present traditional compositions on which he had gained mastery, and would also delight listeners with a new bandish that he had composed in a popular raag, or present rarely sung ones, or the composite-raags or jod-raags that he would compose himself, afresh. Being a friendly and easy-going person, he would often interact with his accompanists and with his audience, while singing. Sometimes he would even speak something humourous as an aside, and yet deftly return to the ‘sam’ or main beat of the cycle, and resume his singing! Given his winning personality, and his ability to cater to the requests of his audience, each person felt almost like he was singing exclusively for him or her.

At his concerts, he would also sing stage and film songs, devotional abhangs and bhajans; this kept his performances fresh and interesting for everyone. He would often end his concert with his beloved Vande Mataram, that he had composed in raag Jhinjhoti. With this level of proficiency and variety, his concerts were always imbued with a joyful and energetic atmosphere. Master Krishna performed classical music concerts all over undivided India during the pre-independence period. At some places, he continued to accompany his guru Bakhlebuva on the tanpura, and also performed independently. In Punjab, he was fondly called 'Baje Jhanan Master Krishna' – as he had popularized this composition in raag Jaunpuri everywhere. Another great favourite of his and of his listeners, was Dekho Mori Churiya Karke Gaiyya, a traditional Bhairavi that he sang in thumri style. He composed many new songs and compositions in raag Bhairavi, which he presented in his concerts, earning him the title 'Bhairavi Ke Badshah' – the Emperor of Bhairavi. Every composition in the raag was unique, each one with its own character, soulful, passionate, melodious in its own way. A fine example would be the three Bhairavi songs in Natyaniketan’s plays: Bola Amrit Bola, Haas Haas Re Hridaya, Ka Re Aisi Maya. He set them in the classical mould in raag Bhairavi, but gave them a contemporary colour; each one expresses a distinct mood and creates a different atmosphere, according to the situation in the play.