In the Thirukkural there is a reference to ‘Kuzhal inidhu, yazh inidhu’, meaning flute and yazh (lute) are close probably to chitravina, which is without frets.
The flute and chitravina came together and blended beautifully in the concert of Shantala Subramaniam and Vishaal R Sapuram.
The highlight of this jugalbandi was the impeccable understanding between the artistes.
They began with ‘Vathapi Ganapatim’ in Hamsadhwani (Dikshitar). After some rapid fire exchanges of swaras on ‘Karambuja paasa,’ Shantala and Vishaal presented a slow and melodious ‘Orajupuju’ (Tyagaraja) in Kannadagowla.
The two ragas selected and presented in detail by the artistes were Pantuvarali and Vagadeeswari. Raga expansions, niraval as well as swara trades were shared equally by them.
The creditable aspect was that certain prayogas and sancharas of ragas suit a particular instrument more. This was clearly brought out by the two, when they expanded the ragas.
Pantuvarali carried dynamism while Vagadeeswari showcased sobriety. But both artistes adhered to the raga swarupa at every point of their presentation. The raga expanses, niraval and swara sections were an aural treat.
A rare pick
In Pantuvarali came ‘Appa Rama bhakti’ (Tyagaraja) and ‘Trippa talanu’ was projected with swaras. In Vagadeeswari, it was once again Tyagaraja’s ‘Paramathmudu,’ a rare pick that invariably is rendered as a filler. The swara sallies here were accentuated by the brilliant raga bhava. Kuraippu swaras and korvais were handled with expertise to elevate the musical experience.
Shantala’s forays into ragas brought out the flute’s range while Vishaal’s playing showed his musical wisdom.
N.C. Bharadwaj and S. Sunil Kumar on the mridangam and the ganjira played unobtrusively.
‘Bogeendhra Sayeenam’ in Kuntalavarali by Swati Tirunal came in the middle of the concert.
Keeping a check on the duration, the concert ended after the tani avartanam.
