T.K.GANAPATHY

Bhava had the upper hand in O.S.Thiagarajan's recital.

Majestic flow of sangatis, a mature grasp of the nuances of ragas, strong phrasing of swaras, differing rhythms — all these contributed to the emotive and aesthetic aspects of the choice of O.S.Thiagarajan's kritis. Opening the concert at the twelfth Pongal music festival of Bharatiya Vidya Bhavan, Coimbatore, with `Saamidaya' (Kedaragowla), O.S.Thiagarajan revealed the emotional content of the songs he rendered. The next item, `Guruleka Etuvanti' (Gowrimanohari) with niraval and swaras, was handled with dexterity. `Enduku Nirdaya' (Harikhambodi) was rendered with bhava. `Eti Jenmamidhi' in Varali was a soulful rendition reflective of its spiritual fervour. Though the Ritigowla and Khambodi raga alapanas were somewhat overstretched with swirling sancharas and musical phrasings in tara sthayi, the briga blitzkrieg in both the raga delineations took the rasikas to dizzy heights. The niraval at `Bhooloka Vaikunta' and the roller-coaster swaras were absorbing. T.K.V.Ramanujacharyulu's violin accompaniment was a lilting, melody from his deft handling of the bow. His beautiful sancharas in the solo versions of Ritigowla and Khambodi showed original and creative touches. K.V.Prasad (mridangam) and Vaikkom Gopalakrishnan (ghatam) in their brilliant tani lent dignity to the concert.

Lackadaisical performance

Despite her vidwat, wide repertoire and ability to course through higher octaves with effortless ease, Gayatri Girish's vocal recital failed to create an impact on the listeners. With sruti at a discount in several places during raga alapanas and swaras, kutcheri refinement was given the go by.The Sahana varnam, `Karunimpa' gave her concert a kick start. `Karunanidhiye Thaye' (Bowli), `Maayamma' (Ahiri), and `Manavyala' (Nalinakanti) were interpreted along placid lines. `Parvatharajakumari' (Sriranjani) was handled gently and the swaras came from a vivid mind. Though the alapanas for Papanasam Sivan's `Venkata Ramana' (Lathangi) and `Rama Katha Sudha' (Madhyamavati) carried traditional prayogas, occasional chinks in the upper reaches and rendition of swaras marred the overall presentation. Ganesh Prasad's raga versions of Lathangi and Madhyamavathi were full of sparkle and substance. Subramaniam (mridangam) and Karthick (ghatam) made a lively pair in the percussive wing.