5 months ago
3
Flautist J.A. Jayant presented a performance at Sri Parthasarathy Swami Sabha that foregrounded raga elaboration and sustained assemblage engagement. He was supported by L. Ramakrishnan (violin), N.C. Bharadhwaj (mridangam), Giridhar Udupa (ghatam) and Sunil Kumar (kanjira).
The programme opened with a little alapana successful Kamboji, starring to ‘O rangasayee’. The kalpanaswaras that followed were brisk and interactive, marked by extended exchanges with the violin. Jayant explored aggregate swara patterns, including kanakku passages that moved done tempos. The percussionists participated actively successful these exchanges, contributing to the momentum of the segment, which elicited sustained assemblage attention.
In Bhavapriya, ‘Shreekanta niyada’ was presented with kalpanaswaras, steadily gathering them successful mel kala. Jayant’s attack highlighted the flute’s capableness for wide articulation successful faster registers, underlining its imaginable arsenic a concert-leading instrument, contempt its comparative marginalisation successful vocal-dominated formats.
A elaborate alapana successful Kanada followed, notable for its exploration of the precocious octave, including phrases extending beyond tara shadja. Curved movements specified arsenic ‘ma-ga’ phrases were rendered with tonal control, emphasising idiomatic flute phrasing. Ramakrishnan mirrored this attack connected the violin, maintaining stylistic alignment. ‘Shri narada’ successful Rupaka tala erstwhile again provided a fluid level for kalpanaswaras.
Bindumaalini was introduced done an alapana earlier ‘Enta muddo’. Throughout the concert, Jayant’s accent laic successful engaging listeners done raga elaborations, swara patterns and rhythmic structures alternatively than reliance connected the compositions unsocial — this was a bully approach.
The cardinal Ragam-Tanam-Pallavi was acceptable successful Kalyani, Mohanam and Ritigowla, a concise part that balanced opposition with listener attention. The pallavi was acceptable successful Khanda Jathi Triputa tala, traversing chaturashra and tisra gatis. Within each avartanam, raga and gait shifted without overlap, peculiarly betwixt the somewhat intimately allied Mohanam and Kalyani. Swaras alternated betwixt ragas, demanding cautious power of melodic individuality and rhythmic precision.
The concluding pieces included ‘Govardhana giridhari’ successful Bageshri, wherever Jayant employed a longer flute to nutrient a chiseled tonal colour, and ‘Madhava lokanam’ successful Jhonpuri by Swati Tirunal.
The accompanists offered enactment throughout, contributing to a recital that balanced structure, raga item and rhythmic clarity.
