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Music Season
BRAHMA GANA SABHA
The Santhanam effect
Ganesh Viswanathan
Maharajapuram Ganesh Viswanathan is a creditable example of genes playing a significant role in the making of an artiste. Ganesh is a scion of the Maharajapuram bani, being the great-grandson of Viswanatha Iyer and grandson of Maharajapuram Santhanam. The Kedaragowla Varnam of Tiruvottriyur Tyagayyar and Dikshitar’s ‘Mahaganapatim’ in Nattai embellished with swara passages in the pallavi were lively harbingers to the programme.
The Santhanam effect was obvious in the Tamizh kriti in Mohanam, quite an ear-friendly piece. Todi was a healthy dissertation anchored by melodic prayogas. However, sustained korvais and slow sancharas with pauses , would have achieved more musical intensity. Ambika Prasad’s alapana (violin) was an exercise in good taste and sophistication. Kalyani had many melodic cogs in its alapana wheel with the style of Santhanam manifesting in good measure. However, the crucial difference was the penchant for impressive, calm and composed communication of the late maestro. ‘Parengilum Parthalum’ in Tamizh, was invested with niraval, swaras with arithmetical calculations, divisions and subdivisions. The konnakol interludes by the musician himself in the tani avartanam segment with Kumbakonam Ramakrishnan the mridangist at the helm, were engaging while Ramakrishnan’s matured playing was of a high order.
‘Velan Varuvaruvarodi,’ a ragamalika, a Javali in Yamunakalyani by Dharmapuri Subbarayar, ‘Sri Chakra,’ yet another ragamalika, by Agasthiyar (set) in tuneful melodies adorned the lighter section.
S.P.
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