Raga essays were developed artistically in Dwaram V.K.G. Thyagaraj’s concert.
Young vocalist Dwaram V.K.G.Thyagaraj’s concert under the aegis of Visakha Music and Dance Academy at Kalabharati was impressive. Accompanied by M. Neeladrirao on violin, Dhanwada Dharmarao on mridangam and S Hanumantharao on ghatam, it was rather an impromptu concert in lieu of another. Even at short notice, he sang a full-throated concert much to the delight of the audience. With a good grasp of musical intricacies, he presented it with substantial fluency. His accentuations were marked by clarity for every line drove the ‘sahitya bhava’ straight home. His raga essays developed artistically in chosen octaves and swara patterns were deft and smooth He essayed well to chisel each phrase and presented it in a pleasant manner. He commenced it with Vanajakshi, a Kalyani varnam and went on to present the chosen kritis with verve. In a way, he sang in a poised manner letting the audience enjoy and absorb the nuances in detail.
He chose raga Todi for delineation as the mainstay of the session. He elaborated at length, ambling in its majestic vistas of musical charms. The kriti Kaddanuvariki of Thyagaraj provided a fitting base for the launch — he soared high exploring its elegant facets. It lifted up the ambience to further high. Another piece that struck well with the audience was raga Kalayani for Himadrisute Pahimam of Shyam Sastry. Laden with fairly good gamakams and structured presentation, it pleased the music buffs in good measure. Combing lyrical grace and musical charm in optimum scale, he ably brought out the devotional import of the compositions in its entire intensity.
The other notables that he presented included Sri Sakalaganadhipa of Mangalmpalli Balamurali in Aarabhi, Srinadhadi of Deekshitar in Mayamalavagoula, Karuninchutakide of Patnam Subrahmaniyer in raga Sindhumandari. Ramarama Mukunda Madhava of Yoginarayana in raga Janjhuti, Avadharu Raghupate of Annamayya in Khamaz and Venkatachalanilaya in Sindhubhairavi. Share of Neeladrirao’s bow particularly for raga Kalyani and Todi was commendable.