VOCAL There was consistent phrasing in R. Ganesh’s recital. svk
An unrelenting, pressure-driven exposition to accelerate the tempo was the hallmark of R. Ganesh’s performance for the Srijayanti series of Sri Thyaga Brahma Gana Sabha.
He made sure that each sanchara in a raga, each sangati in a kriti served the above purpose. It was not as if he was not conversant with the objective of music – tranquillity- as was proved in the Ritigowla song, “Nannu Vidachi Kadalakura.”
Ganesh’s flair and style were built around consistent phrasings and pace, particularly in the tara sthayi and skilled vocal sophistication in rendering swaras.
At the start of performance, the Asaveri kirtana, “Ra Ra Maa Intidaaga” promised a healthy rhythm to follow. But his overwhelming propensity towards tempo tempted him to display Suruti raga alapana with too to measure up his talent to the overall objective kept in view. The simple sahitya of the Tyagaraja composition, “Ramachandra Nee Daya” was respectfully handled.
From here started the hurried presentation of “Amba Vaani” (Kiravani) and “Sakala Graha Bala Neene” (Atana) in compelling and combative flashes.
The main piece was the Thodi alapana and the song “Sri Krishnam Baja Manasa.” Dr. Ganesh showcased the raga’s range, though the sancharas with speedy twists and turns were nineteen to a dozen. With his strong vocal base and voice range, Ganesh would do well to think over how well channelling melody and reposefulness will pay rich dividends.
The vishranti part, the most valuable of any good music, came from the violinist M.A. Sundareswaran. His solo version of Suruti and Thodi was a happy melding of poised sancharas and sensitive phrasings. With a few deft strokes of the bow, he brought cheer to the faces of the ragas.
K.R. Ganesh on the mridangam and K.V. Gopalakrishnan on the ghatam were highly controlled in their tani. Pulsating korvais lit up their playing environment.