The article titled ‘They' re heard . . . but faintly,’ that appeared in The Hindu (Dec 23, 2014), raised the question of why instrumental solo kutcheris are fewer compared to vocal. This writer did his own survey within a small circle, and the main reason quoted by most was the absence of ‘sahityam.’ As sahityam is a major ingredient in Carnatic music, one is not able to ignore its absence.
If the instrumentalist can produce the effect of sahityam, ( in order to do so, he has to first dedicate himself to cultivating that interest), one feels that will take him a step closer to the vocalist.
Additionally, he has to have an ability to enthral the listener through pure music ( think of Mali !) That's how important sahityam and the field it creates are. Life has been injected into the compositions by the vaggeyakaras!
The clear and melodious sound of the flute was notable as one walked into the hall where Shantala Subrahmanyam was elaborating kalpanaswaras, to Mysore Vasudevachar's ‘Pranamamyaham Sri Gowri Sutam’ in Gowla. The flute sound, which the ear picked up first, was pleasant and soothing. It was also sound – efficient, meaning free from wind. (which cannot be taken for granted).
The next item was ‘Evarani’, Tyagaraja's kriti in Devamritavarshini in double beat Adi on samaidam. Good taste showed in playing anupallavi and anucharanam at the lower pitch on and off, instead of sticking only to the tara sthayi. The charanam was very aptly taken up in durita kalam.
Following a brief sketch of Naasikaa Bhooshani (34th melakarta), Shantala took up Tyagaraja's ‘Maara Vairi Ramaneem’ in tisra.
The artist’s antics, of dubious musical appeal, in the kalpanaswaras and an elaborate kuraippu made one muse on the need for all this, at that juncture, in this raga.
Alapana in Saramati took on a soulful start (Pa, pa – da, nee – da, , , da – ma – ga – ma – ga – sa – dha). Development of this raga was earnest and made an impact on the listener. ‘Mokshamu Galada’ (Tyagaraja, Adi) took off from the anupallavi, ‘Saakshaat Kaara Nee Sadbhakti Sangeeta Jnaana Vihilaku ...’ (Can one attain beatitude without experiencing the ecstasy of devotional music?), at a high pitch. This lent both passion and majesty to the effort. After 15 minutes of wholesome interpretation, Shantala pitched on kalpanaswaras at the pallavi line. One had to see the swaras in total isolation from the mainland of the kriti. There was tisram and khandam and a tani avartanam, all thoroughly enjoyable independently, but as an attachment to the slow and sublime ‘Mokshamu Galada, Bhuvilo Jeevan Muktulu Gaani Vaaralaku?’ (Can one attain salvation without realising the self?) they sounded quite alien.
Competent support was given by Balu Raghuram (violin), Palghat Mahesh Kumar (mridangam) and Payyanur Govinda Prasad (morsing). Their playing was soft, unobtrusive and conducive to enhancement of the musical output.
The thani was marked by a modest essay of just eight minutes, complete with tisram and khandam. Shantala topped off her recital with Swati Tirunal’s ‘Saramaina’ in Behag on her bass flute, in a note as melodious as the rest of the concert.
