Raj Chandran’s flute performance at Palghat Fine Arts Society was good in parts. Despite his talent and proficiency, his presentations lacked verve. The absence of sruthi sudha and classicism were noticeable in his concert. But selection of compositions was interesting.
He began the recital impressively with the Navaraga varnam Valachi vachi... composed by Kottavaasal Venkatrama Iyer, rendering it in two speeds. A lengthy alapana for the second item, Muthuswamy Dikshitar’s Vatapi Ganapathim..., was not in consonance with the traditional concert pattern.
However, the raga bhava emerged well in the delineation, niraval and swaras at Pranava swaroopa... in the charanam. After a pleasing Saraswathi namosthuthe... in Saraswathi, composed by N.S. Ramachandran, he took up Mohanam, which could have been elaborated. But the GNB kriti Sada palaya... was rendered pleasingly.
The Tyagaraja kriti Manasa etulo... was a welcome choice at this stage. Ranjani mridu pankaja... , the well-known ragamalika composition of Thanjavur Sankara Iyer in ragas Ranjani, Sri Ranjani, Mega Ranjani and Jana Ranjani, was played elegantly, with the distinct traits of each raga.
Pleasing rendition
Hindolam is a well-suited raga for the flute. The flautist gave a delectable version of the raga, developing it stage by stage. Taking up the popular Tyagaraja kriti Saamajavara gamana..., he presented a fine niraval, followed by a cluster of captivating swaraprastharas.
As the sweet strains of Sindhubhairavi engulfed the ambience, Bhaja Bhaja manasa of Swathi Thirunal further enhanced its flavour. A fast-paced Bhagyatha Lakshmi Baramma... (Sri Purandaradasa) and Swathi’s melodious thillana in Dhanasri were apt pieces to conclude the concert with.
Mavelikkara Bhuvanendran gave adequate support on the violin. Ghatam artiste Palakkad T.R. Parameswaran fared well in his new role as a mridangam artiste. Tripunithara Kannan (ghatam) sparkled with his splendid display. The duo produced an enjoyable tani in Adi tala.
