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The young singer had the necessary skill and expertise to execute any type of intricate sancharas and to deliver swaras in extreme conditions of both complexities and speed, of course, these feats taking precedence over both madhurya and bhaava.

After being whipped off in the Varna (“Nerenammithinayya” – Ramnad Sreenivasa Iyengar), the pyrotechnics soared to greater heights in “Gajavadana Beduve” (Kedara - Purandaradasa) and “Swaminatha Paripalayashumam” (Naata - Muthuswamy Dikshitar).

Consider “Swaminatha” of the above two. It started in a medium to fast tempo. Because of the inappropriate adhaara laya, the artiste had to skim over the Sanskrit lyrics in the anupallavi section (“Kamajanaka Bhaarathisha”). Further, it was almost impossible to follow the madhyamakala sangathi (“Kamithaarthavitharana”).

The swarakalpana was no exception - every swara running parallel with every beat of the percussionist. Though this was remarkable, it was unwarranted considering the phonetic values of language and majesty of composition.

In mild contrast to the above presentation, he scholarly developed raga Varali and the lyrics “Etijanmamidi” (Thyagaraja). A neraval at “Saagarashayanuni” in a soothing tone and tempo substantially brought forth his latent mettle.

Surprisingly, he did not append any movements of swarakalpana after such an expatiation.

“Maruthi Namosthuthe” (Raamapriya) trod the same path as “Swaminatha” in all respects. Raga-taana- pallavi (Sarasangi) was interesting falling somewhere between the above extremes.

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