Shashank Subramaniam. , Photo Credit: Raghunathan SR
It is not often that the audience gets to choose the main raga of a concert. S for Mylapore Fine Arts Club. The repetition of Shashank’s flute saw this. From a shortlist from Madhyamavati, Surutti, Vagadevari and Karaharpriya, first emerged as an unequal favorite. However, the flotist reserved himself the choice of the song, presenting the ‘Ram Katha Sudha’.
The rich tanwala quality, delicate modulation, impeccable flying technology, and fluid sports style marked the presentation, which was beautified by Srikanth Venkataraman on Violin, Delhi Siyram on Mridangam and Anirudh Atreya on Kanjira.
Shashank started paying a attention to Tyagaraja’s ‘Atkaradani Balaka’ in Manoranjani. A giant swara section, especially the second speed, was a generous dose to absorb mathematics with a generous dose of attractive phrases and some recurrence. He then played the role of Deekshati’s ‘Akhilandswari’ in Dwijavanti. The exchange between Shashank and Srikanth in Swarakalpana was entangled while maintaining the poignancy of the raga. High -speed phrases and Nadai variations finally flourished the song.
Shashank Subramaniam with Srikanth Venkataraman, Delhi Siram and Anirudh Atreya. , Photo Credit: Raghunathan SR
The first raga essay of the evening was Lathgi. Before starting a series of sharp and complex phrases, Shashank took a dip in the raga base, residing in Mandara Stay. While it demonstrated its command on the instrument, it also exempted aesthetics. He abolished Alapana without exploiting the top Octave. Srikanth, in his response, filled the zero, consistently hitting high notes. Shashank’s rendering of Patam Subramanya Iyer’s ‘Marivare Dikkevarvu’ in Khanda Chapu was clean. Another tall SWARA section of instrument mastery was followed, but it emphasized the challenge in meeting high -speed creativity to fully fulfill the demands of music subtleties.
Mania gave way to a refreshing medium. Shashank instigated the raga with a long-ready, with ultra-floating phrases. Best glides, expressed on the strength of perfect Shruti alignment, in a small and rapid round towards the end. Srikanth came in his own turn, gave a well -organized version.
Shashank killed the right arts in ‘Ram Katha Sudha’. In Anupalvi, the high point of Swarakalpana recurrence in ‘Bhamani’ came out. Flotist rapidly detected the gamka-laden panttonic structure in the first speed before weaving in swara sequences in circles in the tempo. Srikanth interacted with the express phrases with Applomb, while Perkusinist Syyms and Anirudh displayed exemplary teamwork. The upcoming Tani had part of lively rhythmic forces and interesting exchanges.
In the Tani section, Chennurutti in Purdardasar’s ‘Kaliyugadalli’, Subramania Bharati’s ‘Chinnanchiru Killia’, in Ragamalika, Vyasaraya’s ‘Krishna Ney’ Krishna Ney of Vyasaraya included ‘Krishna Nero’ in Yamuna Kalyani, and Tilanat for Lavali.
Published – January 17, 2025 06:36 pm IST
