O.S. Thiagarajan's concert for the Music Academy with Ramanujacharlu on the violin, inimitable Umayalpuram Sivaraman on the mridangam, and the popular ghatam vidwan, T.V. Vasan, was a resounding success. A pleasant voice totally aligned to the sruti, effortless singing and an authentic traditional background have all helped in the vidwan's growth. "Birana Varalichi" of Syama Shastri in Kalyani with kalpana swaras laid the foundation for an imposing performance. Tyagaraja's "Sanathana" in Phalamanjari was a felicitous rendition. The introductory raga phrase could have been avoided since it gave an impression that it was a prelude to a song in Kannada.
Tyagarajan began his Sankarabharanam alapana with karvais and slow, aesthetic prayogas creating an atmosphere of peace and tranquillity. It was obvious that the artiste has redefined his approach to raga delineations by concentrating more on bhava-laden prayogas imbued with depth and relevance, instead of moving through the octaves in hurried fashion. Sowkhyam was the bottom line of the lustrous elaboration. The violinist toeing the line of the vocalist came up trumps.
"Edutha Nilachithe," with neraval of optimum quality, ushered in a mood of contemplation because it was not reduced to the ritualistic. The swara improvisations reflected the artiste's performing capabilities. How does one find words to describe Sivaraman's laya vidvat? His sterling anticipatory support, his sensitive fingers responding to every move of the singer, the "apoorva nadham" in his araichapu that keeps the audience attention riveted, and his adaptability deserve immense praise. Vasan, who has created a niche for himself in the art of percussion, shared the tani avartanam with the maestro. It stood testament to the maxim that rhythm is but an extension of oral melody. The pallavi in Bhairavi in Roopaka talam found all the performers lifting both the item and the programme to levels of excellence.
In terms of audience appreciation Neyveli Santhanagopalan was quite a success. After the Reetigowla Varnam and ``Janakiramana" in Suddhaseemantini, ``Manasa Guruguha" of Dikshitar was a rendition full of poise and grace. ``Palukavadhemira" in Purnachandrika with Chittaswaram and a few sprightly swara sequences with Vellore Ramabhadran on the mridangam enhancing the momentum with his pleasing Sarvalagu support, was engaging and entertaining. Santhanagopalan is never in a hurry in his raga development. It is expanded methodically with uncomplicated, pertinent prayogas and pronounced karvais.
His Bhairavi delineation was a sincere analysis of the raga bhava, although he felt constrained to put in a full throated effort in the tara sthayi because of vocal limitations. Vittal Ramamurti's interpretation on the violin was to the point, suave and sweet. Balagopala, another vintage kriti of Dikshitar, the niraval for ``Neela niradha sareera" and the swara kuraippu wre professional outputs. The bottom line for niraval is percentage lyrical clarity and it should not become a casualty even in the dhurita kala phrases.
Ramabhadran's percussive art is mild and gentle without the propensity to indulge in fire and brimstone displays. The soft rhythmic beats right on track in his interlude with well-known ghatam artiste was as soothing as a lullaby. Maha vaidyanatha Sivan's ``Sri Sankara Guruvaram" in nagaswaravali embellished with an athletic Chittaswaram was a forerunner to the Ragam, Tanam, Pallavi segment in Dwijavanti. The ragam,tanam and the pallavi in simple Adi talam and the ragamalika swaras in Ranjani and Kanada drew handsome applause. Yet, there was a nagging feeling that when there is a galaxy of ragas in the Carnatic repertoire, why choose Dwijavanti that is neither fish nor fowl in our system for the most important section in a classical Carnatic concert . Yet another Dikshitar song ``Mamava Pattabhirama" in Manirangu and the Khamas javali ``Marubari" were included in the post-pallavi agenda.
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