Aggressive approach

DR. GANESH, THE Maharajapuram Santhanam protege, offered a brisk concert at Thyaga Brahma Gana Sabha starting with a very appealing varnam in Charukesi.

For strange reasons, he took an aggressive posture and almost it was very demonstrative in his breathless swaraprastharas in `Mahaganapathim' (not the usual Nattai), `Sambo Mahadeva' (Pantuvarali), preceded by an equally noisy niraval. It is a fact that to establish Kambhoji one has to roam a lot in the higher notes; Ganesh, who had already geared up himself with Pantuvarali went ahead with great aplomb. The sancharas might be technically correct, but suffered from lack of aesthetics. He quickly proceeded with `Ma Janaki' and switched over to swaraprasthara at `Rajaraja vara'. It was gratifying that Ganesh sang `Angarahara' in Suruti in all sobriety. Such razzmatazz goes well with comon place audience. Dr. Ganesh should give this aspect some serious thought. C. N. Chandrasekar and Rohan Krishnamurthy backed Dr. Ganesh with equal vigour.

Geetha Raja's concert was a sincere attempt at promoting traditional style. Her main ragas were Chakravaham and Kambodi. Many musicians shun the former raga for different reasons. Geetha's raga vinyasa was precise sans unwanted frills. Her neraval at `Snanawadi Sukhtambulu' and the kalpanaswaras had pep. She structured Kambodi with important prayogas and was very careful in avoiding redundancy and callous high octave expedition. `Adum Deivam Arulvai' came crisply and in post thani, she sang `Mayanai mannuvada' in a new tune `Nartaki', and other usual tukkadas like `Chinnanchirukiliye', `Kurai ondrum illai'. Akkarai Subbulakshmi on the violin, Karukuruchi Mohanaram on the mridangam and Sourirajan on the morsing accompanied Geetha.

The quality of Revathy Krishna's veena concert was high although the attendance was thin. It is, indeed, a sad fact that veena in spite of its extreme versatility and melody never covers a larger gathering of rasikas. Revathy especially impresses the connoisseur with her expertise in concert format and repertoire. She opened with the Suddha Dhanyasi varnam and `Pahi nikila jananim' in Nattai. She delineated Valaji and `Padame thunai Paramasiva' with an interesting combine of swaras at the charanam `Verparayan magal'. Later, Revathy essayed Vasantha for the Dikshitar composition `Brahadambikayai' in misrachapu. A short kriti with madayamkala charanam, Revathy illuminated it with a good measure of swaras. Rishabapriya, nowadays, has become the favourite of all musicians. Revathy extensively explored the intricacies and the kriti was of course, `Koteswara Iyer' `Gana naya desika'. Why Charukesi, which sounds better, is not preferred in place of Rishabapriya? Balashankar and Adambakkam Shankar on the mridangam and ghatam supported Revathy to the required level.

Accomplished guitarist

R. Prasanna is no doubt a very confident and accomplished young artiste in the instrument he has chosen to play. His deft fingers just glide over the flat fretted guitar with silken smoothness.

The suprising part is Prasanna's ability to bring out expert `gamakam' of Sri (`Entharo mahanubhavulu') and Chinthamani (`Devi brova samayamithe') intensely. His raga expansion is flawless and was evident in his interpretation of Lathangi (`Mariveradikkavaru') and Kapi (`Inta soukya'). `Inta soukya' was played at a very `sewkya tempo' and the swara combinations were expertly. On the flip side, Prasanna's deftness uncannily borders on flippancy.

His swara exercise in `Sidhivinayakam' (Mohanakalyani) was coarse and jarring. As an expert young musician Prasanna could distinguish between pure melody and offensive acrobatics unsuited to classical music.

Prasanna flirted with Poongulam Subramaniam (mridangam) and Govindarajan (ghatam) with his profound sense of cadence.

G. SWAMINATHAN

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