By Asmita Padmanabhan

Vidushi K. Gayatri, one of the most underrated singers of her generation, has consistently impressed with her annual performances at the Madras Music Academy, especially excelling in the Pallavi domain, her forte. This year was no exception. Accompanying her were vidwans M. Rajeev on the violin, Poongulam S. Subramanian on the mridangam, and V. Sai Subramaniam on the mohrsing. At a time when the presence of mohrsing on stage is drastically reducing, this was a pleasant inclusion.

She commenced her concert with Syama Sastrys Pahi Sri Giriraja Sute in Anandabhairavi. Opting for a slow composition instead of the usual brisk varnam or an energetic opener was an unusual yet astute choice. It was a mellifluous rendition. The Anandabhairavi, along with the perfect ambience and acoustics of the Music Academy, set a high standard and created an enchanting tone for the concert right from the start.

She then transitioned to a contrasting Pantuvarali, which she explored with finesse. Her voice soared effortlessly as she wove together traditional phrases and mel kaala sangatis. Her music exuded a sense of wonder and comfort. Rajeev’s interpretation of Pantuvarali was equally commendable, adding depth to the performance. The sub-main piece, Sarasaksha by Swati Tirunal, was delivered at an appropriate pace, with clear pronunciation—a rare and appreciated detail. The keezh kaala niraval at Bhaamini Samudayaashaya Mohana was brief and lacked extensive exploration, but the mel kaala niraval brought forth lively phrases that were well received by the audience. The Kalpana swaras in this section were spectacular, blending intricate patterns, clever improvisations, and sarvalaghu. Gayatri skillfully varied the ending notes of the swaras, showcasing different approaches to the same line. Her final swaram was elaborate, filled with many Sa Dha, prayogams, and concluded with a fitting korvai. Poongulam Subramanian's accompaniment on the mridangam was supportive and comforting, seamlessly blending with the composition.

The next composition was a highlight of the concert. Gayatri’s rendition of K. Ponniah Pillai’s Sapta Raga-Sapta Tala Malika, a piece consisting of seven sections set to seven different ragas and talas, was handled with remarkable ease. Each section cleverly integrated the raga mudra and tala mudra into the lyrics. Despite the complexity and intricacy of the composition, Gayatri maintained bhavam throughout her performance, ensuring that the beauty of the piece was never overshadowed.

Following this, she transitioned to a quick rendition of Enta Vandukondava in Saraswati Manohari, providing a refreshing interlude before delving into her main piece. The brighas and sangatis in the anupallavi were particularly captivating, showcasing her technical prowess.

For her main piece, Gayatri chose the classic Kambhoji, delivering the raga with traditional phrases. Rajeev’s exploration of the higher octaves added an engaging contrast, complementing the overall presentation. The composition, Sree Subrahmanyaya namaste was another classic, offering a platform for Gayatri’s base voice to shine for the first time in the concert. Her rendition was excellent, and it was clearly visible that the mridangist and mohrsing artists were well versed with the composition, their accompaniment fitting seamlessly with the composition. The niraval was thoughtfully explored, and Gayatri displayed creativity in the kalpana swarams, concluding them at distinct points like Vaasavaadi,’ Bhoosura, and Sakala. The tani by Poongulam Subramanian and Sai Subramaniam was impressive, ending with a fitting gopuchcha yati korvai.

She then presented a brief Kanden Kanden Kanden Thiruvaiyaatrinai before moving on to the most eagerly awaited segment of her concert—the RTP. Choosing Gauri Manohari, Gayatri presented the ragam and tanam with finesse. However, towards the end, the tanam accelerated to a speed where it slightly overshadowed the raga’s inherent beauty. Gayatri did not disappoint her rasikas, offering an innovative pallavi, Karunakari Kumari Nirantari set to a yati in both purvangam and uttarangam. The purvangam featured Gopuchcha Yati (2, 4, 6, 8, 10), while the uttarangam was in Srotovaha Yati (10, 8, 6, 4, 2), making the pallavi a mridanga yati overall. This was skillfully incorporated into the tala, using kalai in the purvangam and various angas in the uttarangam. The talam in the uttarangam was expressed as 10 - 2 Khanda Chaapu, 8 - Guru, 6 - Dhruta Viramam, 4 - Laghu, 2 - Dhrutam. Gayatri further demonstrated her mastery by seamlessly transitioning to chatushra jati Mathya tala (Khanda nadai). The audience was mesmerised by her sheer brilliance. She also performed ragamalika swaras, navigating through Gowri, Thyagaraja’s Manohari, Dikshitar’s Manohari, and even singing them in reverse while reversing the tala. She smoothly returned to Gauri Manohari to conclude her rendition.

The concert concluded with a Tamil composition. While her pallavi captivated the audience and showcased her artistry, her renditions of Pahi Girirajasuthe, Sarasaksha, the raga-tala malika, and Kambhoji were equally compelling.

(The author is a freelance writer and a student of Carnatic music)