A flute recital by A.P. Sarvotham, accompanied by T.S.Krishnamurthy (violin), V.S.Rajagopal (mridanga) and Phanindra Bhaskar (ghata) was hosted by MES Kalavedi, Bangalore, recently.
The concert began with a sketch of Shahana and a melodious, yet energetic two-speed rendition of the varna ‘Karunimpa’ set to adi thala. A short alapana of Goula was followed by ‘Prananamyaham Sri Gouri Sutham’, the Mysore Vasudevacharya krithi in adi thala, suffixed with several rounds of kalpana swaras. A bracing ‘Manavyalakincharadate’ in Nalinakanthi, the Thyagaraja composition in adi thala, led to a systematic and bhava-laden alapana of Purvikalyani, with adequate emphasis on the mandra sthayi and swaras such as the gandhara, panchama and thara sthayi shadja. Thyagaraja’s ‘Jnana Mosagaraada’ in rupaka thala was adorned with a well-crafted and fairly detailed neraval at ‘Paramatmudu Jeevatmudu’ and kalpana swaras in two speeds that included a number of avarthanas ending at the gandhara. An effective contrast in tone and tempo was provided by the succeeding brief alapana of Kamalamanohari and Muthuswami Deekshithar’s ‘Kanjadalayathakshi’ in adi thala.
An expansive elaboration of the main raga of the evening, Kharaharapriya, followed. Spontaneity and tradition coalesced in the sedate sequence of phrases that dwelt on all the pivotal notes and highlighted the mellow sweetness and distinct classicism of the raga.
Thyagaraja’s ‘Chakkani Rajamargamu’ in adi thala was supplemented with kalpana swaras in two speeds at the charana line beginning ‘Kantiki Sundara’. While a few avarthanas of neraval would have further accentuated the grandeur of the composition, the kalpana swaras were lively and fluent, incorporating vibrant rhythmic patterns and ending with a spate of diminishing thala cycles centred on the dhaivatha.
Excellent instrumental support was one of the most notable features of the concert and contributed in no small measure to its success. Violin accompaniment was exceptionally tuneful, imaginative and prompt, especially in the raga alapanas and other manodharma components.
The veteran mridangist’s lead, abounding in experience and expertise, was followed with remarkable skill and enthusiasm by the young ghata artiste. While the krithis and their improvisational segments were augmented with understanding and anticipation, the thani avarthana was an absorbing dialogue of riveting rhythms.
