The aftermath of the recent torrential rain in the city left trauma, loss and destruction in its wake. How an individual responds to such a disaster is dictated by the person’s character. In such a scenario, Gayatri Girish must be complimented on her ability to present this tragedy and empathise, though her art. She evoked a contemplative mood and sustained it throughout the concert, to the accompaniment of V. Sanjeev (violin), Kallidaikurichi Sivakumar (mrdangam) and Tiruchi Krishnaswamy (ghatam). It was a thoughtful plan.
Before the recital, she requested the audience to join her in a moment of silence in respect for the flood victims. Her list had soulful ragas such as Yamuna Kalyani, Varamu, Dvijavanti and Keeravani. Even Bharatiyar’s ‘Kaakkai Siraginile’, the tukkada slot carried the same emotion.
In a departure from the conventional start with a varnam, the first main piece was emotional rather than academic. The sahityams also highlighted profundity: for example in ‘Kaliki yunte gada’ with niraval at ‘Ramu nee paadamoole’, made listeners empathise with the victims in the way Thyagaraja cried to Rama for succour; in ‘Kamalanaayakane,’ ‘Varadanin paadam,’ ‘Sharanam, Sharanam,’ we surrender to Vishnu on behalf of the afflicted; ‘Akhilandesvari,’ matchless composition of Muthuswami Dikshitar, evoked poignant feelings; Swati Tirunal’s ‘Bhogendra Saayinam’ set in the Khanda rhythm, projects the grandeur of Vishnu as He charges to the rescue.
Gayatri’s choice of Muthuswami Dikshitar’s ‘Jumbo pate maam paahi,’ in Yamuna Kalyani with touches of Hindustani Yamun added to the mood. Muthaiah Bhagavatar’s ‘Bhunvanesvaryai’ in Mohana Kalyani was the only departure probably intended as dramatic relief. The Keeravani alapana and Sanjeev’s complementary effort touched a chord.
The tani avartanam by Sivakumar and Krishnaswamy was marked by intricately woven patterns and combinations of syllables with precise timings and pauses; the changing over to tisram was smooth and aesthetic. On fast passages, the ghatam created the impression of hail striking a window pane. It showed sound training. The accompaniment had the pace and style to match the sahityam.
The concert succeeded in evoking compassion and an awareness of the occasion, for which the four artists deserve praise.
