Seasoned vocalist Vid. Vijay Siva sang on the fifth day of the music series of Sri Ramabhyudaya Sabha at Alammana Choultry in Srirampet. He was accompanied by Vid. Prabhat Gokhale lending vocal support,  Vid. Sandeep Ramachandran on violin, Vid. N.C. Bharadwaj on mridanga and Vid. G.S. Ramanujam on ghata.

Vijay Siva’s music is noted for its classical content, his unstinted devotion to tradition, his wholehearted commitment to the cause of music and clear diction. Torch-bearer of the legendary vocalist D.K.Jayaraman/ D.K. Pattammal bani, Vijay Siva never compromises on classicism. He is a traditionalist to the core. Nowhere in the concert was seen running after the swaras with complicated mathematical calculations, frills or fancies or speedy renditions ignoring the lyrics. The lyrics and the bhava in the lyrics were given utmost importance, which made the concert an evocative and blissful experience.

Vijay Siva chose a number of rare compositions for the present concert. Two Tyagaraja compositions at a stretch in the beginning — ‘Terateeyaga RAda’ in the raga Gowlipantu and ‘Nenarunchara nApaini chAla’ in a rare Simhavahini suffixed  with a short neraval at ‘Talli Tandri guru daivamu’ and rhythmic swaras gave a good start to the concert.

The alapana of Purvikalyani, though short, was filled with raga bhava. ‘MeenAkshi MEmudam dEhi’ was rich in lyrical fervour and the neraval and kalpanaswaras at ‘MadurA puri NilayE’ received suitable and intellectual replies from young Sandeep Ramachandran, who received appreciation not only from the audience but also from the main artiste himself frequently.

‘Vina Na Asokani’ by Sri Tyagaraja, was another rare one, hardly heard in concerts. Then came Dhanyasi, one of DKP’s favourites. A brief sketch of the raga led to ‘RAma daya jUDane Bhadrachala RAma’, a beautiful composition of Sri Bhadrachala RAmadasa, followed by ‘Jayatu GOkulavAsa daitya pUta vinAsha’ by Purandaradasaru in Keeravani, which was a welcome surprise.

Shankarabharana and Abheri were the main ragas of the evening. Restraint is what makes Vijay Siva’s music divine. An unhurried and comprehensive AlApaNa of Shankarabharan brimmed with classicism. ‘Manasu SwAdheena Maina’ by Sri Tyagaraja set to Mishra Chapu tala was a tidy rendition with the line ‘Tanuvu tAnu gAdani’ chosen for melodic improvisations and variety swaras. Sandeep’s response was equally reposeful.

Vijay Siva chose to present a Raga TAna PAllavi in Abheri. The raga rendition was followed by Tanam maintaining the melody even in brisk phrases. The pallavi ‘pAdAy orugu nanji’ was carefully crafted in Trishra Triputa tAla, the first half set in Trishra naDe and the latter half in chatrashra naDe and was made more colourful with ragamalika swaras in Thodi, Mohana and Valachi.

After a delightful taniyavartanam by N.C. Bharadwaj and G.S. Ramanujam, Adi Shankaracharya’s presence was marked with a refreshing ‘Sharada  Bhujangam.’ The last two compositions of the concert — ‘Kanaka Shaila VihAriNi’ by Shyama Shastri in Punnaga Varali and a Tulsidas bhajan ‘Janaki nAth  sahAy kare jab’ in a rare Manj Khamas were haunting.

—Dr. Padmavathi Narasimhan