Music consciousness and an effort to reflect the nuances of Carnatic music, was seen in the afternoon vocal recital of Bhargav Hariharan, when he performed for Thyaga Brahma Gana Sabha at Vani Mahal.
He began with a varnam in Hamsadwani and he followed it up with a Malahari raga alapana (Sree Mahaganapathim of Muthiah Bhaghavathar) brought out with classical consciousness soulfully, with swara passages, that revealed his musical inclinations. His strength in framing the concert on classical strength, in the interpretation of songs and alapana came to the fore in Panthuvarli raga alapana and rendition (‘Ramanatham Bhajheam’) of Dikshitar with aplomb.
The raga ‘Mohana Kalyani’, Janya ragam and exposition of (Thamatham Thangathaiya) of Lalgudi Gopala Iyer, indicated his musical prowess. Of course, he did not swerve from combination of the pentatonic scale Mohanam and the Sampurna raga scale, to either Mohanam or Kalyani, revealing his grip on the contour of the scale of this Audava, Sampurna ragas. The impressive strength towards forging a creativity was very evident.
This concert stood a testimony to his training under SP Ramh of Lalgudi School and also his musicology under late Suguna Purushothaman. The artist, who is doing engineering, was a Bharath Kalachar scholarship holder for four years and won the best singer award on five occasions at the music festival at Coimbatore.
The artist with great potential could prove to be a musician to reckon in the near future. This vocalist should see that the ‘elusive aspect’, which adds a sense of fulfilment, in a concert, is incorporated. In a chat this artist aver, his commitment to music is unassailable, and he would concentrate to assimilate the nuances, with passion simultaneously proving his professional mettle.