Two Carnatic artistes explored the nuances of vocal and instrumental music

When two consummate artistes come together — one, a vocalist whose singing is an ode to convention, and the other, a flautist, who sculpts melodic contours with grace — rasikas are promised the best of both worlds. Abhishek Raghuram and J.B. Sruthi Sagar’s ‘Kural Kuzhal Innisai’ for Bharat Sangeet Utsav, organised by Carnatica and Sri Parthasarathy Swami Sabha, at the Narada Gana Sabha Main Hall, was one such.

The protagonists championed musical dialogue over individual display, and spontaneity over structure, propelled by zestful percussion from Thiruvaarur Bakthavathsalam (mridangam) and Chandrasekara Sharma (ghatam).

Sivavakkiyar’s verse ‘Odi odi odi odi utkalandha sodhiyai’ served as a pithy prelude — a virutham leading into the opening song ‘Sivakamasundari’ (Jaganmohini-Rupakam), Gopalakrishna Bharathi composition on the goddess of Chidambaram. The rendition gathered momentum, with the charanam flowing into a faster tempo and the chittaswaram serving as a perfect springboard for the duo’s first exchange of kalpanaswaras.

In the Arabhi alapana, the artistes built the raga’s edifice with assurance, the phrases in their brief, alternate stints echoing and enriching each other’s. The choice of Swati Tirunal’s ‘Sri ramana vibho’ was a pleasant surprise, particularly after a well-spaced raga essay. Abhishek and Sruthi Sagar’s rendition complemented the composition’s clever wordplay and alliterations, and the numerous sangatis on the opening word ‘Sri’, heightened the charm. In the swarakalpana, they negotiated fast-paced passages.

After a succinct sketch of Vijayasri by Abhishek, ‘Varanarada’, in which Tyagaraja prays to Narada for wisdom and guidance on the path of devotion, unfolded. Sruthi Sagar underscored the composition’s potential for instrumental eloquence.

Expansive Bahudari essay

Then came the RTP in Bahudari, composed by Jayanthi Kumaresh. Abhishek and Sruthi Sagar’s prowess came through in an expansive alapana that unveiled the raga’s hues. The flautist opened with a melodious outline, after which the vocalist delved into the mandhra sthayi. They took turns to explore the shadava-audava melody, in which Sruthi Sagar’s top-octave foray and Abhishek’s follow-through stood out. The tanam that followed brimmed with vitality. The pallavi ‘Rama raghukula soma thanayuni brovabharma – dasaratha thanaya’ was, perhaps, inspired by the most famous kriti in the raga by Tyagaraja. After the pallavi in Bahudari, they rendered it in ragamalika (Shanmukhapriya, Nalinakanthi and Tilang).

Seasoned mridangist Bakthavathsalam, in seamless tandem with Chandrasekara Sharma, delivered an elaborate tani avartanam in two-kalai Adi tala. The former’s versatility shone as he conjured refreshing rhythmic patterns, to which the latter responded with composure and clarity.

A brisk rendition of the Surutti composition ‘Patiki haarati re’, and a Thiruppugazh in Sindhubhairavi drew the concert to a close.