NUNGAMBAKKAM CULTURAL ACADEMY
Swinging to the padam
S.SIVAKUMAR
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It was gentle oscillation as Girish sang padam and javali.
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Photo: K. V. Srinivasan.
Girish.
The questions keep coming up again and again. Tradition and its value for art — for its preservation, growth, and development. Girish, grandson of T. Brinda, had the answer. His rendering of the Padham, `Ososi' (Kasiki-Mukhari, Muthu Natesar) and the Javali, `Janaro' (Chinnayya, Misra Khamas) took the listeners on a journey to the past, to its pristine source.
Girish's reverent listening and proximity to the Brinda-Mukta bhani has indeed produced a musician who has imbibed their qualities.
The kaalapramanam of all his kritis had a sense of visranthi, be it `Vallabha Nayakasya' (Dikshitar, Begada), `Vina Pusthaka' (Dikshitar, Vegavauhini) or `Paripoorna Kama' (Tyagaraja, Poorvikalyani). The raga alapanas were given in a neat package. You were seated on a swing that moved at the right speed.
But a rainbow has to have its colours and a concert is no exception.
The inclusion of some numbers at a different pace would have lent an element of variety. V.L.Kumar on the violin, kind enough to be available as stand-in for V.V.Srinivasa Rao, meshed well with the main artiste.
B.Sivaraman's (mridangam) accompanying style for the padams and javalis added `sringara' to the compositions. His tani was precise, tailored to the short duration of the concert.
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