Doing proper justice to great compositions in itself demands considerable skill and dedication. Dr Ganesh, a senior disciple of late Maharajapuram Santhanam, at his concert for Thyaga Brahma Gana Sabha on Friday, revealed that his sadhakam was behind his presentation, packing his music with balanced sthayi sancharas.
When he commenced with Soorya Murthae of Dikshitar in Raga Sowrashtram and continuing with matching seriousness driving into Amir Kalyani Raga alapana (Murahara Nandana) of Dikshitar, we knew sruti, raga laya and Sahitya Suddha were all in place, but mellifluousness of the lyrical expression, was missing.
In the (Vijayambikae) Kirtana of Muthiah Bhagavathar that followed in Raga Vijayanagari, he gave a commendable account of his training and imagination.
The raga delineation on of Raga Mohanam typical of Maharajapuram style, was next, burnished with time tested Prayogas, amply proved that classicism can never get marginalised. Mano Bhava in Raga, niraval and swaraprastha, coupled with Sahitya Suddha, ranked high.
The violinist Gnana Sundaram with his clean bowing and pertinent phrases, made an impression, while T R Sundaresan on the mridangam and Krishnan’s (Morsing) thani avarthanam was a pleasant rendezvous with impeccable rhythm.