SRI KRISHNA GANA SABHA
Rich tonal quality
Girish's clear diction and rendition sans gimmicks made the concert enjoyable.
PHOTO: R. SHIVAJI RAO
If a performance has to be successful, cooperation of the accompanying artists is a must. Girish, the descendant of Brinda-Mukta family had V.V.S. Murari on the violin, Gowrishankar on the mridangam and Papanasam Sethuraman on the ganjira for his concert and they made a winning combination.
The concert began with the customary varnam, ‘Evaribodhana' in Abhogi, and having warmed up Girish sang a short alapana of Hamsadhwani to present the kriti ‘Gajavadana Veduve.' The unhurried rendition with splendid percussion support gave the rasika the satisfaction of enjoying the best of music.
The rich tonal quality of Girish has a lot of strength but a slight weakness, too. If only he could bring more gamaka or a little more ‘kuzhaivu' it will enhance the listening pleasure of the rasika.
The plus points are he neither uses gimmicks nor unnecessary ‘sheshtai' and what shines in his presentation is his artistry combined with his sincerity. His pronunciation of the sahitya is also noteworthy. The next in his list was Tyagaraja's ‘Thulasi Dalamulache' in Mayamalavagowla. In the niraval for the line ‘Sarasirukapunnaga,' Girish became a spirited performer and went on a mounting sangati spree. Murari, however, responded with restraint. The swaraprastharam that followed was adequate.
The next kriti was also of Tyagaraja and that was ‘Nijamarmalanu Telisinavariki' in Umabharanam. Girish's alapana of Latangi was excellent. It had all the charming elements to captivate the listener, while the violin response by Murari was aesthetic too. Girish took up ‘Aparathamulan' by Patnam Subramania Iyer as the kriti. The niraval line was ‘Veganannu Brova' and both the niraval and swaraprastharam were delightfully imaginative. ‘Mayamma' in Ahiri was rendered in a kind of vishranthi that enabled one to relax and enjoy the pure rendition.
As if for a change, the vocalist began ‘Chinnanadena' in Kalanidhi in a fast pace and such kritis are generally the percussionist's delight. No wonder, Gowrishankar and Sethuraman played with enthusiasm. Girish launched his Thodi alapana and it had a special appeal of its own. Murari poured out all the phrases on his violin that Girish did not attempt in his vocalisation. But the kriti Girish chose, ‘Gajavadana Sammodithaveera' was majestic in its song structure. The interwoven chittaiswarams were enjoyable. Girish did not opt for niraval, but presented only swarakalpanas that were pleasant.
The percussion accompaniment, in general, enriched the concert. The thani by Gowrishankar and Sethuraman was indeed a bonus. Hailing from the famed Brinda-Mukta family, Girish could not but present at least one javali and what he chose was ‘Neematale Mayanura' in Purvikalyani.
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