Sub-Prime, but Scholarly

I don't pay for Carnatic music performances as much as I refrain from hearing prime slot concerts because I believe best music comes free and in sub-prime slots too. This came true this afternoon as I sat back and heard Dr. R. Ganesh, a foremost torch bearer of Sangita Kalanidhi Maharajapuram Santhanam baani.

Ganesh began the post lunch concert with an invocation to Ganesha, Sri Mahaganapathe in Abhogi composed by NS Chidambaram and also added a few rounds of kalapana swaras to warm up his throat, which also pumped in some caffeine to the audience.

When Ganesh rendered Pariyaachakama in Vanaspati, a melakarta and not a unrefined Palm oil, he reminded us of his guru, who not only popularized this krithi, but also had mastered the knack of tying down people with his effortless rendition. Ganesh seemed to have imbibed this aspect from his guru along with the timeless composition.

In the pallavi of the song, Pariyaachakama Ramaa, Padigurilo Pogadinadi, Thyagaraja asks Rama if he seemed like a droll of the shire as he sings praise of Rama at the Town square? Should we take Ganesh's rendition as message to the Music Academy for keeping this proven vidwan in the 1.30 pm slot? Is Ganesh a droll of the shire, why this treatment Music Academy? But this didn't seem to bother Ganesh or affect his music. 

This was the second Thodi I heard after Sunil Gargyan's version 90 mins ago in the same auditorium. But Ganesh's version was equally refreshing and projected his manodharmam, which is why Carnatic music will always stand the test of time irrespective of the venue, paid or unpaid concert or musician. Ganesh's rendition of Sri Krishnan Bhajamaanasa was evocative and responsible. He diligently handled the song bringing out the beauty of the saahityam and raga bhavam. 

Realizing the need for another fast number at this hour, Ganesh rolled out Kantajoodumi in Vachaspati, another melakarta (64), with a delectable nereval at Allanaadu Sowmithri followed by a volley of fast paced kalpanaswarams aptly accentuated by Peravalli Jayabhaskar on Mridhangam and SP Anantha Padmanbha on Violin. 

For those who stayed awake and attentive, he gave us a glimpse of Siva's dance by rendering Kanasabai Thirunatanam in Surutti by Gopalakrishna Barathi. Ganesh then went on to expand Kambodhi in a scholarly way, which to me possesses an anesthetic quality. Though his Thanam was clinical, it was crisp and effective. 

Just as I was thinking of how the Murmurthis never sang for name, fame, or money, Dr. Ganesh aptly presented a beautiful pallavi:

Thyagaraja Manohari Guruguha Janani

Shyamakrishna Sahodari

And followed it with swara exercise in tri kalam, he also aesthetically interspersed the pallavi phrases Thyagaraja Manohari, Guruguha Janani and Shyamakrishna Sahodari

with swaras in ragamalika. Ganesh concluded the concert with the Misra Sivaranjani Thillana paying obeisance to Kanchi Paramacharyal popularized by his guru.

Ganesh possess all qualities of a scholarly musician including pleasing voice, pedigree, proficiency, humility, and perseverance. His singing is responsible and truly reflects the Maharajapuram baani. So What if he doesn't have a full-house or a prime slot? Let's remember that Carnatic music nurtures the soul of both performer and listener irrespective of the venue and prime slot. 

Leaving you with a question to ponder like the last time. Why do male musicians wear vibuthi stripes resembling a zebra crossing when their performance slots don't fall right after Tri-kala sandhyavandhanam? Is vibuthi stripe like what make-up and lipstick are for women?