Sunil Gargyan captured the Margazhi mood with a pasuram rendition

Sunil Gargyan, endowed with a wide dependable that moved effortlessly crossed registers, opened his performance astatine the Indian Fine Arts Society with a Pantuvarali varnam by Sadkala Narasayya. H.S. Sudhindra’s resonant kappi mridangam, marked by brisk and assured strokes, acceptable an energetic code for the evening.

Margazhi and the Tiruppavai are inseparable, and Sunil swiftly followed with Andal’s pasuram ‘Pullum silambina kaan’ successful Sankarabharanam acceptable to Misra Chapu. Each verse of the pasuram was rendered with clarity portion the overarching bhakti rasa came done with conviction.

G.N. Balasubramaniam’s ‘Samagana lole’ (Hindolam, Tisra Ekam) showcased Sunil’s bid implicit briga-laden phrases successful the alapana. Anayampatti Venkatasubramaniam’s violin responses were restrained and complementary.

This was followed by ‘Vinaradhana’ successful Devagandhari by Tyagaraja, acceptable to Adi tala. The main portion of the evening, Tyagaraja’s ‘Pakkala nilabadi’ (Karaharapriya, misra chapu), featured a well-chosen niraval astatine ‘Manasuna’. Venkatasubramaniam provided measured accompaniment, portion the tani avartanam by Sudhindra and Nerkunam Shankar connected the kanjira was elemental and cohesive.

A pupil of the precocious P.S. Narayanaswami, Sunil presented his guru’s Ragam-Tanam-Pallavi successful Hamir Kalyani, acceptable to Chatusra Jampa tala successful kanda nadai. Sudhindra rounded this disconnected with a mohra and korvai, highlighting his rhythmic acuity, though the absorption leaned towards calculation than tonal aesthetics.

Sunil concluded with Purandaradasa’s ‘Jagadodharana’ (Kapi), followed by ‘Manadirku ugandadu’ successful Sindhu Bhairavi by Thanjavur Sankara Iyer.