Sunil Gargyan is one among the galaxy of youngsters trained by the redoubtable P.S. Narayanaswamy. Under the latter’s tutelage for the past six years, Gargyan has also learnt from P.B. Srirangachary for seven years and Nagai Bhashyam from the age of three.
A post-lunch concert could surely do with some brisk singing and Dikshitar’s ‘Vallabha Nayakasya,’ in Begada provided a perfect commencement. This warm up number was followed by a vibrant alapana in Dharmavati. The prati madhyama scale was a telling contrast to the preceding one.
The composition was Dikshitar’s ‘Parandhamavati Jayati.’ Now, with that kind of alliteration, it is reasonable to speculate that any singer would feel instantly energised and propelled forward.
After two consecutive songs of Dikshitar, it was time for Tyagaraja. But ‘Intanuchu Varnimpatarama,’ in Gundakriya, a Mayamalavagowla derivative, was continued in the same brisk vein.
Narayanaswamy’s disciples apparently set store by plenty of ornamentation in virtually every phrase they sing. Gargyan had a field day doing an alapana in Madhyamavati. ‘Ramakatha Sudharasa’ was the first piece in a somewhat slow tempo.
The niraval at ‘Bhaamaamani Janaki Sowmitri,’ was interesting. Other artists sometimes choose a different line to embellish.
The mridangam solo by young J. Arvind was competent, despite the difficulty he encountered to ensure that the instrument stayed on sruti. Also, the rather unexpected absence of his companion on the ghatam did not seem to perturb him.
The recital saw a return to a pratimadhyama raga in the miscellanies in the form of ‘Muruganin Marupeyar Azhagu,’ in Behag. Pappu Gyandev, the violinist who accompanied Gargyan, is no stranger to Chennai and he lived up to his growing reputation.
