Aural pleasure
Marathon effort.
Live concert recording - O. S. Thiagarajan
Mudhra Music
Carnatic classical vocal
CD Volumes 1,2
O. S. Thiagarajan is perhaps one of the few male vidwans whose gifted voice is in complete alignment with the sruti, and whose oral expression effortless and without any physical strain, leaves the listener in an extremely comfortable zone.
The Bega varnam of veena Kuppaiyer and Krishnaswamy Ayya's "Namami Vigna Vinayaka in Hamsadhvani set to Tisra gati Adi Talam set the musical ball rolling with zest and power.
The Swara prastharas in the Hamsadhvani song and Tyagaraja's "Muddu momu" in Sooryakantham, because of the sarvalagu style of presentation are as welcome as a sharp drizzle on a hot, humid summer day.
Wholesome
Thiagarjan's interpretation of Pantuvarali is garnished with felicitous prayogas to which violinist Sriram Parasuram responds with a wholesome, aesthetic delineation. Dikshitar's "Ramanatham Bhajeham" is well defined, while the niraval for the lyrics "Kumaraguruguha mahitham" reflects an amalgam of talent, performing ability and accountability. The improvisation of swaras by the vocalist and the violinist rise to qualitative levels.
The expansion of Sriranjani is plotted with many melodic cogs. If, however, the alapana had been presented in the different kala pramanams — chowka, madhyama and dhurita — the listening pleasure would enhance considerably. The sustained karvais in the tara sthyai have a telling impact.
Sriram's description of Kambhoji synthesises tradition to a contemporary vogue that has the attention of the music buff totally riveted. "Rangam Srirangam" is a composition of Guru Surajananda that owes its imaginative, melodic apparel to T.M. Tyagarjan. The song rendition and the solfa chains meet expected levels of proficiency.
Sankarabharanam immediately following a lengthy display of Kambhoji is not a happy choice. It leaves one with a sense of déjà vu. "Edutanilachide," embellished with spick and span swara kalpanas, a gandhara kuraippu and a meticulous kuraippu are reflective of the musician's absolute grip on the levers of laya.
Sound percussion
Mannargudi Easwaran's percussive art has always been as sound as a bell, and his tani avartanam with Vaikom Gopalakrishnan on the ghatam, and Anirudh Atreya on the kanjira is a stylised presentation skilfully woven with dignified rhythmic arrangements.
The Ragam selected for the Pallavi segment is Keeravani. Thiagarajan's raga dissertation based on the well trodden path of tradition, the neatly sculpted tanam, the niraval of the lyrical statement "Kanjadalaya thakshi kamakshi kamala manohari Tripura Sundari". With its imaginative eduppu, the tri kala exercise and the fine tuned kalpana swaras are professional, productive efforts.
Sriram's accompaniment is a perfect foil to the vocalist's artistic achievement. The lighter session includes a javali in khamas by Dharmapuri Subbarayar, Papanasam Sivan's "Sivakamasundari" in Muukhari, Sadashiva Brahmendra's `Gayathri Vanamali" liltingly tuned in Durga and "Nadhupai" of Tyagaraja in madhyamavati that concludes this fulfilling concert on an auspicious note.
S.P.
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