Published: July 18, 2013 16:48 IST | Updated: July
18, 2013 16:48 IST
In typical Maharajapuram style
The Hindu Maharajapuram
Srinivasan with his son and disciple, Ganesh Viswanadhan
Maharajapuram Srinivasan offered rasikas in Palakkad a wholesome aural treat.
Seasoned vocalist Maharajapuram Sreenivasan, along with his son
and disciple, Ganesh Viswanadhan, enthralled music buffs of Palakkad with their
favourite kritis. Sreenivasan’s open throated voice and majestic stage presence
were reminiscent of that of his father, Guru Maharajapuram Santhanam. Ganesh
charmed the audience with his briga-laden voice and panache. He seems to have
an inclination for kalpanaswara and alapana. They opened the concert with
Poochi Srinivasa Iyengar’s Ada tala varnam ‘Nera Nammithinayya’ in Kanada. This
was followed by a brisk Tyagaraja kriti, ‘Abhishta Varada Sree Mahaganapathe’,
which was laced with vivacious swaraprasthara.
Swati’s ‘Paripalaya Sarasiruha Lochana’ in Panthuvarali had an intense
niraval and interesting swarasancharas at ‘Sree Padmanabha...’. A detailed
exposition of Suddhadhanyasi was followed by Purandaradasa’s ‘Narayana’. The
artiste rendered Thanjavur Sankara Iyer's ‘Ranjani mala’, a composition that
comprises the ragas Ranjani, Sriranjani, Megha Ranjani and Janaranjani.
Tyagaraja’s ‘Nannu vidachi’ in Ritigowla and ‘Dayarani’ led to Patnam
Subramania Iyer’s fast-paced ‘Raghuvamsa Sudhambudhi’. Earnest support by V.
Raghuram (violin), N.C. Bharadwaj (mridangam) and Hariharasubrahmaniam (ghatam)
made the event noteworthy. The highlight of the concert was an elaborate
treatment of Thodi. Raghuram's essay on the violin was complementary. A vibrant
thani of Bharadwaj and Hariharsubramanian stood out. On the whole, the concert,
organised by The Palghat Fine Arts Society, bore the clear stamp of Santhanam’s
wholesome style.
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