With a soft voice that belies a robust musical acumen, Girijashankar Sundaresan’s recent concert performance put his serene poise and astute choice of repertoire on full display—an essential facet of a seasoned musician. His afternoon recital at the prestigious Music Academy was a testament to the rigorous training and mentoring he received from his gurus, specifically Chitravina Narasimhan and Chitravina N Ravikiran.
The foundation of Girijashankar’s concert was patantaram, characterized by an unwavering adherence to his distinct singing style and the precision of pitch—a facet that not only defines classical music but also differentiates one performer from another. Observers note an eagerness in young artists like Girijashankar striving to carve out their niche, suggesting that an infusion of additional creative elements could render his music even more compelling.
An instance that perfectly encapsulated Girijashankar’s musical insight was his rendition of ‘Bhajare re chitta’ in Kalyani raga, a celebrated Muthuswamy Dikshitar composition. This piece emerged as the vanguard of the recital, its excellence magnified by how it conveyed sowkya bhava—calm and comforting emotion. The alapana introduction set a contemplative atmosphere, with violinist Vaibhav Ramani providing an excellently etched counterpart that complemented and elevated the performance. The singer then progressed to niraval in the kriti’s charanam, specifically at ‘Devim sakti bhijodbhava matrukarna sharirinim’, guiding it to a meticulous kalpanaswara-korvai suite—a demanding and improvisational part of the rendition requiring high expertise.
The mridangist, Mysore L.Vadiraj, showcased his skills during the ensuing tani avarthanam, the percussive solo displaying a competent understanding of rhythm that added another layer of enjoyment to the main Kalyani piece.
The concert commenced with the nava-ragamalika varnam ‘Valaci vachchi’ by Patnam Subramania Iyer, initially presented at a steady pace, which gracefully transitioned to a quicker tempo in the subsequent charanam. Following this, Girijashankar delved into ‘Pahi sri girirajasute karunakalite’, a Syama Sastri composition in the melodious Anandabhairavi raga. The selection of this kriti was laudable; its striking lyrics captivated the listener and augmented the performance’s allure.
Later, the artist offered a passionate alapana in Chakravakam raga before skillfully rendering the Ambujam Krishna composition ‘Ranganai thudi seydiduvom’. Girijashankar rounded off this piece with a nimble swaraprasthara, displaying his agility and control over the tempo. He also imparted an emotive air to the concert with the Tyagaraja kriti ‘Ora jupu ju chedi nyayama’ in the plaintive Kannadagaula raga. The program concluded on a high note, with the Hamsanandi raga composition, ‘Srinivasa thiru Venkatamudaiyan’, and an animated tillana to round out the musical feast.
The consummate skill and serene demeanor Girijashankar brought to the stage is emblematic of the grand tradition of Carnatic music, suggesting his trajectory will be one to watch. His studied approach to classic compositions coupled with his serene vocalizations signals a new chapter of dedicated artists who will continue to mold the path of classical Indian music. As he moves forward, enriching his music with inventive twists might enhance the soundscape he weaves and enthrall aficionados even further.
