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With an eye on tempo and timing

SVK

Gayatri Girish's concert for Sri Thyaga Brahma Gana Sabha had imaginative perceptions in full measure.



Gayatri Girish.

With solid progress gained in recent years, Gayatri Girish, singing for Sri Thyaga Brahma Gana Sabha, was a picture of dignity. Her equipment had a full measure of imaginative perceptions, but her voice still requires refinement to make her exposition sensitive. Preservation of tempo both in the selection of songs, kalapramana and alapana sancharas seemed to be her main objective.

The Durbar kirtana, "Mundu Venuga" has an inherent beauty and the way Gayatri Girish negotiated the sangatis did justice to the song. With great ability she consciously tapped the pace of the kirtana's journey. It was a respectful approach to the song.

The first alapana effort was Andolika ("Ragasudha Rasa"). The raga was overstretched to make its appeal ephemeral. With great deliberation Gayatri confined her exposition to the tarasthayi where the strain resulted in some vocal cracks. Creativity can either reach sublime levels or descend to become a mere intellectual exercise. The choice reveals the intention of the performer.

In contrast, the viruttam, "Kunitta Puruvamum" captured the real flavour of Todi, leading to a thought whether a bare alapana by her would have imparted that distinction. The kirtana, "Enneramum Oru Kaalai Thookki," of Muthu Thandavar, was rendered with due respect to the sahitya bhava and absolute precision. Well knit to a medium tempo, the impact was intensely vigorous. Harmony and balance were well stressed in rendering the song.

In the solo sessions of the violinist Mysore Srikanth, the sancharas of Andolika and Todi came alive. The delineation was concise and carefully structured. Not percussive-activism, but gentleness marked the mridangam support by Ganapathiram. The laya pattern stood out crisply, his play driven by aesthetic instincts to dwell on its lyricism.

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