K with Sumesh Narayanan on Mridangam. S. on Gayatri, Ghatam. Krishna and Sai Rakshit on violin. , Photo Courtesy: Srinath M
With traditional performances full of creative intricacies, K. Gayatri accompanied Sai Rakshit on violin, Sumesh Narayanan on Mridangam and S. on Ghatam. Presented a concert with Krishna.
The evening began with a unique varnam in Ragamalika, composed by his guru Suguna Purushothaman. The piece features a medley of ‘Priya’ ragas, starting with Karaharapriya in Pallavi and progressing beautifully through Kokilapriya (Anupallavi), Ramapriya (Muktaiswaram), Shanmukhpriya.(Charanam), and four distinct Chittaswarams in Pasupathipriya,Rishabhpriya, Yogapriya and Rasikpriya. Gayatri’s execution highlighted the beauty of each raga with clarity, poise and a seamless flow.
After this came ‘Margazhi Thingal’.In Natai, a suitable alternative to Tiruppavai for the first day of the month. Gayatri captured the devotional fervor of Andal’s verses, invoking the spirit of Margazhi with every note. ‘Nievera Kula Dhanamu’ in Begada was a serene offering of Tyagaraja Siddhanta. Despite the occasional breath control challenges, Gayatri’s intricate alapana brought out the essence of the raga with elegance, which she managed gracefully.
K with Sai Rakshit on violin. Sumesh Narayanan on Gayatri and Mridangam. , Photo Courtesy: Srinath M
Sai Rakshit’s violin accompaniment elevated the piece. Niraval was particularly notable in ‘Tyagaraja Hridaya Nivesha’, in which an excellent round of Kalpanaswaras added a vibrant dimension. This was followed by Shyama Shastri’s ‘Mayamma Yaanine’ in Aahiri, a raga that demands a spontaneous connection with its melancholy beauty, becoming the emotional center of the evening. Gayatri’s slow, deliberate phrasing allowed each note to resonate deeply, enveloping the audience in introspection. The concert lightened up momentarily with Swathi Tirunal’s ‘Pahi Parvat Nandini’ in Arabic, which offered a delightful interlude and was presented with precision and energy.
The main one was ‘Meenakshi Memudam’ in Purvakalyani, which is a monumental composition by Muthuswami Dikshitar. His alapana with complex gamakas and Niraval on ‘Dasa Gamakkriya Veena’ was elaborate yet delicate and the Kalpanaswaras were delightful, followed by Tani Avartanam, the rhythmic pinnacle of the evening. Sumesh Narayanan and S. Krishna presented a delightful percussion interplay that was both calculated and enthusiastic.
The most anticipated RTP came in the form of a breathtaking blend of melody and rhythm, set in Sriranjani, and 39 syllables in Khanda Triputa taala. The Pallavi ‘Nirajakshi Kamakshi Nikila Loka Janani Niranjani Sri’ was perfectly structured with delicate oscillations and slides, conveying the essence of the raga, showing his understanding of both raga aesthetics and rhythmic dynamics. Kalpanaswara in Ragamalika explored Sriranjani, Ritigaula and Sriragam, each carefully woven and presented with clarity. The concert echoed in a grand tone with Patnam Subramaniam Iyer’s Khamas Thillana.
published – December 24, 2024 03:23 PM IST
