Gayatri’s live performance provided glimpses of Syama Sastri’s composing brilliance

K. Gayatri performing for Madhuradhwani.

Okay. Gayatri performing for Madhuradhwani.
| Picture Credit score: Particular Association

Vocalist Okay. Gayatri latest live performance for Madhuradhwani featured compositions by Syama Sastri and his sishyas belonging to the composer’s lineage. In comparison with his contemporaries — Tyagaraja and Muthuswami Dikshitar — Syama Sastri’s lesser variety of kritis to his credit score. Nonetheless, every of these few compositions, due to their uniqueness, stands out as an aesthetic mix of bhava, raga and tala.

Gayatri, scholar of Suguna Purushothaman and Suguna Varadachari, succeeded in bringing out the devotional flavour of the kritis in a commendable method. This was notably evident within the Yadukulakambodi swarajathi ‘Kamakshi’ (Misra Chapu) rendered in a chowka kala kalapramanam. It was preceded by a creatively structured alapana. The response on the violin by R.Okay. Shriramkumar bore the stamp of his attribute model. With him on the violin, Arun Prakash on the mridangam and Anirudh Athreya on the kanjira, Gayatri may set up the primacy of lakshya, after all, with out compromising on the lakshana.

Elaborate Bhairavi

The piece-de-resistance was the Bhairavi kriti, ‘Sari evaramma’, preceded by an exhaustive raga exposition, the place Gayatri highlighted the essence of the raga in her personal approach. Shriramkumar’s response was tuneful and soothing. The composition has a built-in chittaswara and a swarasahitya. The kalpanaswaras have been on the charanam line ‘Madhava sodari’, with ‘Ma’ because the swarakshara. The swaraprastara was additionally ornamented by a beneficiant scattering of ‘Ma’.

Whether it is Arun Prakash, one can look ahead to a glowing thani. On this live performance too, duetting together with Anirudh (kanjira), he provided a memorable thani.

Gayatri started the night with a stunning Begada varnam ‘Dayanidhe mamava’, by Syama Sastri, after a short virutham. One more chowka kala rendition was ‘Pahi sri girirajasuthe’ in Anandabhairavi with chittaswaram. She rendered the primary (‘Devi purani nigama vinute’) and the third ‘Kamita dhatri’) charanams. Kalpanaswaras have been on the pallavi line.

One more spectacular elucidation was that of Varali, and Shriramkumar, as is to be anticipated, got here up with a stirring response. ‘Bangaru Kamakshi’ in Misra Chapu with chittaswaras was the chosen kriti. The niraval at ‘Suka shyamale siva sankari’ and the swaraprastara have been embellished by Shriramkumar and Arun Prakash.

Although the live performance was themed on kritis by Syama Sastri, Gayatri additionally sang two kritis by Annaswami Sastri, who was a disciple and nephew (adopted son) of Subbaraya Sastri – one in all them being ‘Sri kanchi nayike’ in a well-constructed Saranga.

Gayatri concluded her recital with a Sri raga kriti by Subbaraya Sastri, son and sishya of Syama Sastri, ‘Vanajasana Vinuta with the customary chittaswara and swara sahitya.

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