That the recital had been assiduously mapped out was evident from the arrangement of the accompanist support the artiste had lined up. A sonorous flautist helped gel the evening to the right timbre, while the sarangi, harmonium and tanpura support effectively combined the classical link with the traditional cymbals of bhajan linkage. Then, as a distinct source of differentiation, the lead singer, Gurinder Harnam, deftly managed to keep the vocal side of the rendition centre-stage instead of being drowned in a haze of instrumental sounds from all around her. The inclusions, thus, were obviously well rehearsed and comfortably audible without being overpowering. Only as a passing reference, the sarangi ably out- measured the harmonium. In future concerts the artiste might consider opting out of this duality and home on to one or other of the twain.

The opening number, in the raga Desh, was a charming entry into the evening’s offering. The medium beat tempo of the number, the introductory passage of the flautist and the follow-up by the sarangi gave a Zen like start without smothering the vocal rendition, that began on a straight, long stretch of the middle and upper notes of the raga. There were no gimmicky alap stretches to create an artificial aura, and the artiste went straight into the verses, singing them with an even, technically effective and well practised air. Unfortunately, though, the diction was unclear in the final words of each line, so that the crucial meaning was somewhat weakened.

The Bageshri number thereafter showcased her classical training with aplomb, but kept audiences feeling that a change of tempo in the music would have been a smarter choice. As the opening number was slow paced and graceful, perhaps a change of timing, as is usual in a medley of devotional offerings, was the expected choice. This thought was dismissed soon, as the artiste rendered an excellent behlawa input, after a rather watered down murki start. With each suc ceeding number, there seemed a further musical improvement and confidence in the style as the next, a Kabir number, ably combined the philosophy of the poetry with a marked classical attentiveness.

Perhaps the Miltaa jaa bhajan, of the Malwa region, made immortal by the late Kumar Gandharva, was her crowning success. The presentation had the right mix of flair and technique. The musical accompaniments were given full scope, but all along, it was the singer who held sway. The conclusion, with a Nanak shabad, was rendered with due devotion and touching personal involvement. The mood was permeating as the artiste captured the Bhakti school’s essential bhava of that era, justifying the fact that bhajans, shabads and the like are the overtones of one’s inner being and not the stuff of chaste scientific rationalism. Gurinder Harnam Singh perpetrated the essence of devotional rendering through this means.

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