Trichi Ganesan's bani was reminiscent of his grandfather Chembai Vaidyanatha Bhagavathar's style.
In his vibrant style of singing, Trichi Ganesan gave a Carnatic music recital, which didn't strictly keep to the pattern of a typical Carnatic music concert. The grandson of the legendary Chembai Vaidyanatha Bhagavathar, Ganesan is a layman's delight and a connoisseur's choice.
Ganesan opened his concert with the Mayamalavagowla raga kriti ‘Thulaseedalamulache santhoshamuga' in Roopaka tala, without the traditional Ganesh stuthi or varnam. ‘Ramaninne nammi nanu,' a Huseni composition that Ariyakudi Ramanuja Iyengar made popular, was rendered with enthusiasm. The artiste's rendering was complemented by the percussionists. There were raga alapanas and niravals for most of the compositions that he presented.
After a short essay of Begada raga, Ganesan presented ‘Eeshan Sabeshan,' in which, through intricate placement of syllables, he presented an effect akin to that of pallavi singing. Swara endings in the same pattern marked the Hindolam presentation of ‘Padmanabha Pahi.'
The eleventh melakartha raga Kokilapriya unfolded in Dikshithar's ‘Kodandarama.' The jhanda swaras in the rendering of ‘Sarasasamadana' in Kapi Narayani raga was another delightful exercise in sarvalaghu. This was ably supported by Palladam Ravi on the mridangam.
The alapana in Poorvikalyani was a testimony to the artiste's artfulness and ingenuity, as he traversed the scale with delectable ease and brought out the true raga essence. Ambalapuzha Pradeep on the violin could have put up a better show with less haste. ‘Ninnuvinagamari,' a Shyama Sastri composition, was sung to perfection.
After ‘Vinave o Manasa' in raga Vivardhani raga, the artiste went on to unfurl raga Shubhapantuvarali. This was unusual as both the main ragas in the concert turned out to be in prati madhyama.
The Purandaradasa kriti ‘Enna Rakshiso' in Adi tala was yet another emotive rendition. The tani displayed Palladam Ravi's prowess, yet he failed to strike a chord with Anchal Krishna Iyer on the ghatam. ‘Padavini' in Salagabhairavi, ‘Tillai,' a Gopalakrishna Bharathi composition in Kapi raga and Papanasam Sivan's ‘Ramane Bhajithal' in Mand gave a wholesome feel to the concert. The programme was organised by Edapally Sangeeta Sadas.