Effervescence was the defining feature of flautist Hariprasad Subramanian’s concert

Hariprasad Subramanian with M.R. Gopinath on the violin, Sherthalai Ananthakrishnan on the mridangam and Madipakkam Murali on the ghatam.
| Picture Credit score: Particular Association

A quick sketch Hariprasad Subramanian delivered in Surutti at first strengthened the raga’s sober nature, however the younger flautist adopted the alapana with a varnam that dropped at the fore its ebullient character. Thiruvottriyur Thyagayyar’s ‘Ento premato’ in Adi tala displayed how dynamic forays, extra so alongside the swara sequences in direction of the end result of the speedy second half, can set the tone for an brisk live performance.

The truth is, effervescence turned out to be the general function of Hariprasad’s two-hour efficiency on the Venuganam competition that Mudhra organised throughout six evenings final month. For example, Nattai was the Kerala instrumentalist’s alternative because the second piece. The inherent sprightliness on this uneven raga resounded additional in ‘Jaya jaya (Purandaradasa), with the five-beat khanda chapu including to the momentum.

By now Hariprasad’s grip over the woodwind was apparent: no shrill in direction of the highest registers, by no means a slip down the rhythmic path. Each options not solely inspired his much-senior accompanists, however made their job simpler — a touch of smile would gentle up the responses from M.R. Gopinath on the violin, whereas Sherthalai Ananthakrishnan (mridangam) and Madipakkam Murali (ghatam) have been at all times cheerful. Hariprasad, who hails from a household of musicians close to Guruvayur, is the son of nagaswaram vidwan O.Ok. Subramanian.

Natakapriya was the primary mum or dad scale within the presentation of eight items. The seven-minute alapana threw gentle on the kaleidoscopic nature of the tenth melakarta, which additionally gave Gopinath his first alternative to point out his neat artistry in response. The delineation of ‘Karuna jesi’ (of Mysore Vasudevacharya’s ‘Idi samayamu’) hinted at an upcoming swaraprastara set to Rupakam. Barring a cursory jarring, this solfa stretch bloomed as a wonderful occasion of particular person creativeness and harmonious teamwork. Nalinakanti (‘Natajana palini’ by Thanjavur Sankara Iyer) got here subsequent as only a bridge to the centrepiece.

Emotive enchantment

Hariprasad’s Purvikalyani alapana was refreshing even whereas treading the customary path.
| Picture Credit score:
Particular Association

Purvikalyani as the principle highlighted Hariprasad’s finesse in assuring tonal high quality to the emotive core of a raga. The alapana was refreshing even whereas treading the customary path, although the cooling-down was considerably abrupt. The seasoned violinist, although not very tidy in his solo reply, offset this downside, and joined into ‘Padmavati tamanan’. The mellowness of the melody graced every breath of the Oothukadu Venkata Subbaiyer kriti that had its ultimate stanza branching out to niraval.

This elaborate hall featured fair proportion of improvisations underscoring the glad outcomes of any collaboration steeped in cooperation. Issues progressed to the swaraprastara stage in a means that it strengthened the function of the uneven Misra chapu tala in lending the rallies a particular allure. The growing prominence of the mridangam and ghatam within the soundscape had its pure end result in an 18-minute tani avartanam that adhered to the aesthetics of the principal composition.

The ultimate lap comprised three items: Sadasiva Brahmendral’s ‘Manasa sancharare’ in Sama, ‘Bhavayami gopala balam’ (Yamuna Kalyani, Annamacharya) and a Lalgudi Jayaraman thillana in Maund. Although they got here in as tukkadas, they have been unhurried even whereas sounding vivacious.