The performance of Ramakrishnan Murthy, at Thyaga Brahma Gana Sabha, was marked by extra pace and movement. Two factors were favourable: a decibel-controlled vocal technique and a good method of nourishing kirtanas. These distinguishing qualities ensured maintaining the tempo. The sancharas emerged with the chaya of the ragas well preserved without any exotic exercises. So, the vinyasa gained in flavour.
Two ragas, Kharaharapriya and Mohanam, were the major efforts that imparted classical dignity. His presentation sought to convey enjoyment rooted in tradition. But along with these traits, there was a sense of over-enthusiasm in excited graphic raga essays. It would make it more appealing if he pays attention to visranti.
In rendering songs, he showed grip and verve within disciplined hints. The direction he gave to the sangatis in kirtanas lent depth to his style. ‘Appan Avadarstta’ in Kharaharapriya, ‘Sankari Neeve’ (Begada) ‘Eti Jenma’ (Varali) and ‘Jagadisvari Kripai’ (Mohanam) formed the rest of the repertoire. kirtana bill. Here too there was vigour in essential expression. Whatever aspect of music he touched was remarkably soothing by the highly controlled modulation with voice conservation and not voice dispersal.
Ramakrishnan Murthy was lucky in having very competent accompanists – M. Rajeev (violin), Mannarkoil Balaji (mridangam) and Tiruchi Murali (ghatam). The tani was reverberating and erudite.
