5 months ago
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It would not beryllium an exaggeration to accidental that J.B. Sruthi Sagar evokes memories of the legendary T.R. Mahalingam (Flute Mali). Immersed successful his music, 1 often forgets that the performance is instrumental; the phrasing and affectional nuance often reflector the expressiveness of a vocal recital.
His recital astatine the architecturally elegant, mic-less M.S. Subbulakshmi Auditorium astatine the Asian College of Journalism was a sublime experience. Sruthi Sagar was ably accompanied by Vittal Rangan on the violin and Delhi Sairam on the mridangam. Together, the trio created an ambiance of repose and refinement.
A kid prodigy and disciple of Balasai and Dr. Sundar, Sruthi Sagar displayed effortless virtuosity implicit a performance spanning much than two-and-a fractional hours. His calm signifier beingness and measured attack drew the assemblage into a profoundly contemplative philharmonic space.
The performance opened with the Kalyani varnam ‘Vanajakshi’. The articulation was lyrical, adorned with intricate brigas in the melkalam. Sairam’s judicious usage of gumki, dhin and chapu complemented the flute’s phrasing, portion maintaining impeccable tonal balance.
This was followed by Muthuswami Dikshitar’s ‘Manasa guruguha’ in Ananda Bhairavi, acceptable to Tisra Eka tala. The rendition flowed with the serenity of a gentle stream, culminating successful a soothing conclusion. Muthiah Bhagavatar’s brisk ‘Sudha mayi’ in Amritavarshini came next; a little opening operation — lasting hardly a fewer seconds — was capable to found the raga with clarity and precision.
The Bindumalini exposition, a janya of Chakravaham, stood retired for its emotive depth. Tyagaraja’s ‘Entha muddo’, rendered with graceful glides and measured accents, was affluent in bhavam. Vittal Rangan’s violin responses were arsenic evocative, and Sairam’s restrained arudi, employing only gumki and dhin, drew spontaneous applause.
Mazhavayi Chidambara Bharati’s ‘Ma mayura meedhil eri vaa’ in Bilahari followed, showcasing the seamless unison of flute and violin — peculiarly striking successful a mic-less mounting — and highlighting stylistic shades reminiscent of Flute Mali.
The main point was a Ragam-Tanam-Pallavi in Ritigowla, acceptable to Tisra Jati Triputa tala, with the sahitya ‘Rama nee samanamevaru.’ The tanam highlighted the raga’s jiva swaras — G₂, M₂, and N₂ (Kaisiki Nishada) — portion rhythmic complexity unfolded through tisra and chatusra patterns, culminating successful a rief kanda kuraippu. Sairam’s tani avartanam traversed kanda, tisra and misra nadais with finesse. The final korvai was a encephalon teaser, portion the archetypal fractional of poorvangam and utharaangam was in chatusaram, the 2nd fractional of each was in tisram.
Sruthi Sagar concluded the performance with the bhajan “Hey Govind, Hey Gopal,” leaving the assemblage immersed successful lingering calm and devotion.
