How audience got to choose the main raga at flautist Shashank’s concert

Shashank Subramaniam.
| Photo Credit: RAGHUNATHAN SR

It is not often that the audience gets to choose the main raga of a concert. S. Shashank’s flute recital for Mylapore Fine Arts Club saw that happen. From a shortlist of Madhyamavati, Surutti, Vagadeeswari and Karaharapriya, the first emerged as the unequivocal favourite. The flautist, however, reserved the song choice to himself, presenting ‘Rama katha sudha’.

Rich tonal quality, delicate modulations, impeccable blowing technique, and fluid playing style marked the presentation, which was embellished by Srikanth Venkataraman on the violin, Delhi Sairam on the mridangam, and Anirudh Athreya on the kanjira.

Shashank began on a meditative note with Tyagaraja’s ‘Atukaaraadani balka’ in Manoranjani. An expansive swara segment, particularly the second speed, featured a liberal dose of catchy phrases and absorbing mathematics, albeit with some repetitions. He then played Dikshitar’s ‘Akhilandeswari’ in Dwijawanti. The exchanges in the swarakalpana between Shashank and Srikanth were engaging, maintaining the poignancy of the raga. High-speed phrases and nadai variations provided the final flourish to the song.

Shashank Subramaniam with Srikanth Venkataraman, Delhi Sairam and Anirudh Athreya.
| Photo Credit:
RAGHUNATHAN SR

The first raga essay of the evening was Lathangi. Shashank plunged into the base of the raga, dwelling in the mandhra sthayi before launching a series of fast and intricate phrases. While it showcased his command over the instrument, it also discounted the aesthetics. He finished the alapana without harnessing the top octave. Srikanth filled the void, hitting the higher notes consistently in his response. Shashank’s rendition of Patnam Subramanya Iyer’s ‘Marivere dikkevvaru’ in Khanda Chapu was serene. Another lengthy swara section of instrumental dexterity followed, but it also emphasised the challenge in making high-speed creativity fully meet the demands of musical subtleties.

The frenzy gave way to a refreshing Madhyamavati. Shashank infused the raga with long-drawn, ultra-slow phrases brimming with gamakas. Exquisite glides, articulated on the strength of perfect sruti alignment, segued into a short and rapid round towards the end. Srikanth came into his own in his turn, delivering a tuneful version.

Shashank struck the right kalapramanam in ‘Rama katha sudha’. The swarakalpana at ‘Bhamamani’ in the anupallavi turned out to be the high point of the recital. The flautist explored the gamaka-laden pentatonic structure to the hilt in the first speed before weaving in swara sequences in circles in the faster tempo. Srikanth negotiated the express phrases with aplomb, while percussionists Sairam and Anirudh displayed exemplary teamwork. The ensuing tani had its share of vibrant rhythmic forays and interesting exchanges.

The post-tani section comprised Purandaradasar’s ‘Kaliyugadalli’ in Chenchurutti, Subramania Bharati’s ‘Chinnanchiru kiliye’ in ragamalika, Vyasaraya’s ‘Krishna nee begane baaro’ in Yamuna Kalyani, and the lively Purvi thillana composed by T. Vaidyanatha Bhagavatar.