Charmed by her Pallavi
The Pantuvarali Adi Tala Varnam “Sami Ninne” played curtain – raiser for the evening as Gayatri Girish sang in the company of HV Raghuram ( filling in for B Anantakrishnan) and R Shanakaranarayanan on the Violin and Mridangam respectively.
A brief spell of swara passages, with well-knit Dattuswara prayogams, at the charanam, gave a beautiful ending to the piece. “Yochana” in durbar was renderred in a more timid fashion than what is expected in the presentation of durbar. A few jets and spurts of keeravani gave way to papanasan sivan’s ” Karunakarane” in Adi talam. Post-keeravani came a delineation of Reethigoulai. From what it appeared, the artist was already saving time, conciously, for the pallavi. The alapanai was renderred with an intention of keeping it concise and as such the artist should have used prayogas that covered wider range to capture the essence of the raga to avoid expressing it in the incomplete manner it was renderred in. The response of the violinist was equally unappealing although satisfactory. Her choice was “Guruvayuappane” in Adi talam, an Ambujam Krishna composition. This was followed by another set of kaplana swarams in 2 speeds.
A breezy “eevasudha” in Sahana set the mood for the raga essay of subhapanthuvarali. This was a more detailed and well handled approach although, here as well, the violinist failed to capture the punch – phrases of the raga and even brought in a few faint spells of antara gandharam that began pushing the essay to panthuvarali. The tyagaraja kriti, “Yennalu Yorake” was renderred beautifully with beautiful briga phrases at certain nooks in the kriti that gave it a very haunting and delightful form. Neravil came in at “Sakimata” with another round of swara kalpana in 2 speeds. A forerunner to the pallavi came in the form of ” kodanda rama” in kokilapriya. The alapanai in nattakurinji covered a good expanse of the raga and was divided neatly in two sections with all the prayogams cascading beautifully in place to form a proper well defined structure of the raga. The tanam was done creditably as well. The pallavi “Dasarathe Mam Palaya Dayanidhe Ninnakulatilaka” was set to Khandajathi Triputa talam with the eduppu at 6 aksharams from the samam. It was renderred beautifully with all due features and culminated into an elaborate swaraprastharam. The ragamalika swaram was executed at the kurraippu with 21 different ragas ! This was succeeded, strangely, by a second tani avartanam, the first taking place after subhapanthuvarali piece.
The post – pallavi section consisted of “pravisha radhe” in shivaranjani, “eppadi padinaro” in bhimplas, ” irrakam varamal” in behag ( the texture of this piece was suggestive of a padam or javali) and lastly the Madhuvanthi thillana. Overall, it was a well- planned concert. the percussive wing was handled beautifully and deftly by R Shankaranarayanan. The violinist was a bit of a disappointment with respect to the raga essays but responded well to the swara sallies.