If young Maharajapuram Ganesh Viswanathan shows promise as a vocalist, there is nothing surprising about it. For, his grandfather and great grandfather had carved a niche in the realm of classical music. In the RTP, Ganesh’s detailed Kharharapriya alapana provided glimpses of his creative music and craftsmanship.
S. P. Anantha Padmanabha’s came up with an equally aesthetic response. He is certainly an asset to vocalists. Ganesh raced through the Tanam so much so that the violinist had to be contented with the initial round. The pallavi, ‘Rama Ni Samanamevaru’ was set in a beautiful Khandajathi Triputa tala.
After the usual trikala rendering, Ganesh offered a ragamalika swaraprasthara with Shanmukhapriya, Madhyamavathi, Arabhi, Valachi, Kalyani and Kapi. Ganesh, in his sonorous voice, at times reminded one of Santhanam’s majestic style. Although, Ganesh belongs to an illustrious legacy, he knows that he has to strive hard to go up the ladder.
The thani by Kumbakonam Swaminathan (mridangam) and A.S. Krishnan (morsing) was well-conceived and neatly executed. I am an admirer of Swaminathan, as he displays unmatched energy and enthusiasm in his playing.
Ganesh offered a rarely heard Dikshitar Kriti, ‘Kasi Visalakshim’ (Rupakam) after an imaginative alapana in Purvikalyani. Niraval and swaras were at ‘Kasipuravasini.’ He commenced his concert with the Durbar varnam followed by Dikshitar’s ‘Siddhi Vinayakam Anisam’ in Chamaram (Rupakam). The swaras were at ‘Prasiddha Gana Nayakam’. He also rendered Tyagaraja’s ‘Naradaganalola’ (Atana - Rupakam) and Syama Sastri’s ‘Mayamma’ (Ahiri). He wound up his concert in an unusual style — with Dikshitar’s Khambodi composition, ‘Maragatha Vallim.’
