GAYATHRI GIRISH IN KGS- 30/9/18

[CRama]

Accompanists.
V.Sanjeev- Violin
Praveen Sparsh- Mridangam
Trichy Murali- Ghatam
List of songs.
• Varnam- Suruti
• Rajagopalam Bhajeham- Mohanam- MD (S)
• Aadi aadi agam karainthu- Virutham- Simhendramadhyamam
• Narahariyay Vandan- Simhendramadhyamam- Ambujam Krishna (S)
• Idi samayamu- Natakapriya- MV- (R)
• Naan enna tavam seytheno- Khamas- OVK
• Sree Sathyanarayanam-Sivapanthuvarali- (R,N,S)
• Thani
• Siru viralgal tadavi parimara- Virutham- Suruti, Neelambari, Vasantha, Sama, Kapi
• Kannaa Vaa- Ragamalika- Ambujam Krishna
• Parthasarathy- Sumanesaranjani-Rukmani Ramani
• Chandana charchita- Ashtapadi-Basant
• Sada enna hridayadalli- Behag- Vijaya Vittala dasa
• Thillana- Sindubhairavi- OVK
• Mangalam

Gayathri Girish and the team presented a commendable performance as the fitting finale to the month long Gokulashtami series of KGS. Her voice was in good form and her sruti sudham, laya control, manodharmam, amazing repertoire, authentic patantharam, very good pakkavadyam, good acoustics and a good audience turn out all contributed for a wholesome listening pleasure. After the brisk start with the Suruti varnam, she presented the Mohanam kriti of Muthuswami Deekshitar which has been popularized by her Guru TNS besides Ariyakudi of the previous generation. The swaras at the Madhyamakala sahithyam Parijata tarumulam were very intelligently crafted taking pa ri as swaraksharam and also ensuring porutham. The virutham in Simhendramadhyamam from the Nammazhvar Thiruvaymozhi was much moving. The raga swaroopam and sahithya bhavam blended seamlessly. The next song Narahariayay Vandan is tuned by her Guru and a cascade of swarams came gushing in the charanam segment. Pl see the sahithyam of the melting virutham.

Aadi Aadi agam karaindhu, isai
Paadi paadi kanneer malgi, engum
Naadi naadi Narasinga enru
Vaadi vaadum ivvaaLnudhale


Raga alapana of Natakapriya was clean with no ambiguity and the Mysore Vasudevacharya kriti was presented with due emphasis on the sahithyam.

Sivapanthuvarali or Subhapanthuvarali is special to the TNS school and we can never forget the fabulous rendering of this ragam by the Guru for the same song and also for complicated pallavis. Following the same path, Gayathri presented a very elaborate delineation of the ragam, rich in manodharmam and aesthetics, it was a highly relishing presentation. The kriti was presented well and neraval on the lines Sathya jnanandamayam Sarvam Vishnumayam brought to me memories of Semmangudi who has sung this song in his inimitable manner. The volley of swaras with some attractive phrases, shadja panchama varja prayogams, etc brought verve and also many aha moments.

After the engaging tani, Gayathri started the virutham in Suruti . I wondered why again Suruti. Then as it proceeded, I could make out that it is the reverse order of the ragas in Kanna Vaa which was to follow. Bale to her imagination. The other post tani items were rendered with the necessary bhakthi bhavam and musical acumen.

V. Sanjeev provided excellent support on the Violin. His raga alapanas and swara returns were most appropriate. His alapana of Subhapanthuvarali deserves special mention. Praveen Sparsh (Tanjavur Praveen Kumar) was a solid support to the concert and in the beginning, Gayathri Girish offered special thanks to Praveen for his staying back to play for this concert as the other Mridangam player became indisposed suddenly. Coming from the family of Valangaiman Shanumugasundaram and Tanjore Upendran, Praveen is a disciple of Guruvayur Dorai. His playing had nadam, verve, power and clarity of strokes. He very nicely embellished the kritis with his sensitive accompaniment and the tani with Trichy Murali contained lot of innovative patterns and many awe inspiring moments. The audience cheered lavishly.

An excellent concert for two and half hours.

[Sivaramakrishnan]

Rajagopalam Bhajeham-was a nice selection and rendered with Kalpanaswaras characteristic of TN Seshagopalan with the poruttam aspect well in place. This is one of the two kritis Dikshitar has composed on the Lord of Mannargudi. The word 'Haridranadi' in the sahitya helps to identify the kshetra.

Natakapriya alapana and kriti were rendered well. Seems the raga is staging a comeback these days.

Subhapantuvarali as the main was also appropriate and devoid of the mood of melancholy normally associated with it! The kaalapramana adopted for rendering of the krirti was apt.

[ram1999]

Rajagopalam Bhajeham-was a nice selection and rendered with Kalpanaswaras characteristic of TN Seshagopalan with the poruttam aspect well in place. This is one of the two kritis Dikshitar has composed on the Lord of Mannargudi. The word 'Haridranadi' in the sahitya helps to identify the kshetra.

Natakapriya alapana and kriti were rendered well. Seems the raga is staging a comeback these days.

Subhapantuvarali as the main was also appropriate and devoid of the mood of melancholy normally associated with it! The kaalapramana adopted for rendering of the krirti was apt.

Natakapriya has been extensively handled only by a few musicians (handful infact) - Nedunuri, Voleti, Dr. Pani, Malladis (Sr./Jr.), T V Shankaranarayan and DK Jayaraman. A beautiful raga but not handled enough.

[Sivaramakrishnan]

Natakapriya is a favourite of Bombay sisters who revel in rendition of the kriti 'Geeta Vaadya Natana Naatakapriye' of Tanjavur Sankara Iyer.