Doing justice to a rich legacy
LALITHAA KRISHNAN
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An instinctive grasp of the nuances of the Maharajapuram tradition was evident in the concert of Ganesh Vishwanathan.
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GANESH VISWANATHAN Photos: V. Ramamurthi
There is always one moment in childhood when the door opens and lets the future in. For Maharajapuram Ganesh Vishwanathan, grandson of Maharajapuram Santhanam, the door must have opened that much wider in view of the rich musical legacy he has inherited.
He exhibited an instinctive grasp of the finer nuances in his elaboration of Pantuvarali, also reflected in the Tyagaraja krithi, `Saaramegaani,' highlighted by his facile negotiation of the descending glides in successive jaarus and easy execution of speedy passages. There was intelligent usage of swarakshara in the sahitya `Saamagaana' (sa ma ga) during neraval while the kalpanaswaras employed apt and characteristic janta swara patterns.
D.S. THIAGARAJAN
The audience eagerly awaited their favourite tukkadas popularised by Maharajapuram Santhanam's unique style. They were not disappointed. `Bho Shambo' in Revathi concluded the concert with a flourish.
Particular mention must be made of Melakkaveri Tyagarajan on the violin and Konerirajapuram V. Varadarajan on the mridangam who at every turn provided the support and encouragement necessary for the young performer to give his best.
O. S. Thiagarajan's penchant for presenting uncompromisingly classical fare was evident in his choice of ragas as the Begada varnam "Inta Chalamu." This was followed by two Tyagaraja krithis, ``Ilalo" in Atana (Adi) and ``Isha Pahimam" in Kalyani (Rupakam), both embellished with a felicitous flow of swaraprasthara. There was rakthi in the Sriranjani alapana, which unfurled initially through freewheeling phrases. The unhurried pace of Tyagaraja's ``Bhuvinidasudane" conjured up a laid-back ambience where appropriately, clock-watching was not the primary activity.
The main raga Sankarabharanam was an affirmation of serendipity. No high-decibel histrionics marred the leisurely exploration of the tarastayi simply because there was no attempt to dazzle.
T. K. V. Ramanujacharyalu is one artiste who fully deserves to be heard more often. Remaining faithful to the vocalist's intention at all times, his violin accompaniment was an aural treat. An absorbing thani avartanam with intricate laya permutations was on offer with K. V. Prasad on the mridangam and Papanasam S. Sethuraman on the kanjira.
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