Dr. R. Ganesh began his concert majestically with a composition of Jayachamaraja Wodeyar, ‘Sri Maha Ganapatim Bhajeham' in Atana. Detailed swarakalpana in the first item with spontaneous brigas falling right in their places, set a bright tone to the evening concert. Tyagaraja's ‘Ganamurte,' in the raga Ganamurti was a medium paced presentation followed by a robust alapana of the ragam Abheri. He rendered ‘Iswari Rajeswari' of Harikesanallur Muthiah Bhagavathar traversing across the three octaves with ease.
Violinist Madurai Balasubramanian displayed his artistry in the raga alapana and gave the required space to the vocalist to present his imaginative phrases during the sahitya rendering.
Dr. Ganesh got on to a vibrant mood with Muthuthandavar's composition ‘Sevikka Vendumaiyya' in Andolika. Moving on to the main raga of the evening Kalyani, Ganesh explored every detail of the raga and the rendering was marked with creativity and expansiveness. His presentation of Patnam Subramania Iyer's ‘Nijadasa varada' brought out the depth of the raga as well as the kriti. The niraval on the line beginning with ‘Bhujagadi' followed by swaras balanced the raga's weight at the precise point. It was then the vocalist's turn to give an equal space to the violinist and Madurai Balasubramanian exhibited his dexterity coupled with rich manodharma in the long avarthanam of swarakalpana. The thani by Nellai Balaji on the mridangam and A.S. Shankar on the morsing was in tune with the temp of the concert. A Kilikanni on Sankaracharya ‘Sambo Sankaranumagi' was a long one but the audience seemed to enjoy the piece and the tempo in which the item was set to. The ragamalika devarnama popularised by Maharajapuram Santhanam, ‘Manave Manthralaya' came in next.
When Dr. Ganesh was about to conclude his concert with a tillana in Charukesi, a listener's request for a song on Lord Guruvayurappan made him respond with ‘Thalattu Paadungal' in Neelambari.
Accompanied by seniors on stage, U. Shrinivas started off with Lalgudi Jayaraman's varnam in Nalinakanti and quickly moved on to ‘Sharanu Siddhi Vinayaka' in Sourashtram set to Misra Chapu. His striking swaras invited the percussionists to bring about their share to add colour to the kriti. The tempo picked up by Madirimangalam Swaminathan (mridangam) and Guruprasanna (ganjira) was maintained through the concert. Shrinivas rendered another brisk and lively kriti ‘Dharini telusukonti' of Tyagaraja in Suddha Saveri with swarams sprinkling the flavour of the raga. V.V. Srinivasa Rao on the violin was enjoying the raga and the kriti taking shape in the hands of Shrinivas and provided his support just at the right spots. He excelled in his solo segment. ‘Sri Swaminathaya' of Muthuswamy Dikshitar in Khamas was leisurely and pleasant.
The highlight of the evening was the raga Ranjani and the kriti ‘Durmagachara' of Tyagaraja. The display of Shrinvias's instrumental wizardry with sangatis traversing the contours of the raga was a delightful show. The energy with which Shrinivas presented the kalpanaswara section is laudable. ‘Patti Viduvaradu' by Tyagaraja in Manjari, a janyam of Kharaharapriya was distinct with its special characters and speed.
Shrinivas took up a triraga pallavi playing ragam, tanam and the lines of Pallavi in three ragas in succession. He weaved magic with Bindu Malini, Gowri Manohari and Sucharitra (67th melakartha).
An equally adept Srinivasa Rao matched him on the violin. A gorgeous tani by the percussionists with simple, neat and crisp sollus added richness to the concert.
Shrinivas concluded with Thillana in Revathi. A concert with the opening and final compositions by Lalgudi Jayaraman!
