The concerts of N. Ramani (flute) and Vijay Siva were soaked in bhakti.Pregnant with bhava, N.Ramani's scholarly flute recital under the auspices of Thyaga Brahma Gananjali, Coimbatore, reflected the majesty and elegance of Carnatic music. In perfect alignment to sruti, his effortless ease and flow of improvisations spoke volumes of his commitment and dedication. His exercise was pregnant with bhava. Beginning the recital with `Girirajasudha' in Bangala, he warmed up to present `Guruleka' embellished with swaras. Anandabhairavi was elaborated with élan for the kriti, `Neeke Theliyaga.' Darbar developed steadily with easy gamakas, punctuated by deep raga lakshana, and the composition, `Ramabhirama' was rendered with sincerity. The Kalyani raga alapana revealed his creativity and mastery of the instrument and the composition, `Nidhi Chala Sukhama' with swaras was sung with much bhava and restraint sans any frills or gimmicks. The highlight of the concert was the way in which Ramani touched the higher madhyama and the elaboration of the phrases was enjoyable. `Enta Muddo' (Bindumalini), `Nadaloludai' (Kalyanavasantham ) and `Uyyalalugavaiya' (Nilambari) were ear-friendly. Balasubramaniam on the violin played his role superbly. His solo versions of Kalyani and Kharaharapriya were marked by original touches.Prakash (mridangam) and Suresh (ghatam) provided lively percussive support.
Brilliant recitalVijay Siva was at his best on the last day of the series. His brilliant recital brought to the fore not only his vidwat but also patanthara suddham. His deep involvement and commitment to delve into the emotional content of the kritis created the sahrdaya feeling in the listeners. Visranti and serenity reigned supreme from the beginning to the end of the three-hour exercise. Flagging off his kutcheri with `Naada Thanumanisam' (Siddharanjani), Siva rendered `Sujana Jeevana' (Khamaas), which was an aesthetically uplifting presentation. His Saraswathi raga alapana for `Anuragamule' had a touch of tonal felicity. After a pleasant and highly imaginative alapana of Khambodi, the piece, `Sree Raghuvaraprameya' lent distinction to his intense practice. `Theliyaleru Rama' (Dhenuka ) was soaked in bhakti. `Chede Buddhimanura' (Ataana ) was unfolded in medium pace after a raga essay of beautiful sancharas. The rakti of Abheri was highlighted with mellifluent prayogas and the diction did full justice to the lyrical beauty of the song that drenched the listeners' eyes. The concert included items like `Evarikai' (Devamanohari) and `Sreemathi Lalithe' (Bhairavi). V.V.Srinivasa Rao accompanied Vijay Siva on the violin with skill and originality capturing the vocalist's portrayals of the ragas. Crisp korvais invigorated the tani of Ramachandran (mridangam) and Murali (ghatam).