Excitement was the highlight of flautist Hariprasad Subramaniam’s concert

Hariprasad Subramanian with MR Gopinath on violin, Sherthalai Ananthakrishnan on mridangam and Madipakkam Murali on ghatam. | Photo courtesy: Special arrangement

Hariprasad Subramanian presented a brief sketch in Surutti, which further reinforced the calm nature of the raga, but the young flutist used a varnam after the alapana, which brought out its exuberant character. Thiruvotriyur Thyagyayar’s ‘Ento Premato’ in Adi tal showed how the dynamic attack, especially with the swara sequences towards the culmination of the fast-paced second part, can set the tone for an energetic concert.

In fact, exuberance was the main feature of Hariprasad’s two-hour performance at the Venuganam festival organised by Mudra over six evenings last month. For instance, the Kerala instrumentalist chose Nattai as the second part. The exuberance inherent in this asymmetrical raga resonates further in ‘Jai Jai (Purandaradasa), in which the five-rhythm section further enhances the chaapu tempo.

By now Hariprasad’s command over the woodwinds was clear: no raspy sound towards the top registers, never any lapses in rhythmic pathos. Both these characteristics not only encouraged his much senior accompanists but also made their job easier – there was a hint of smile in the reactions of MR Gopinath on violin, while Sherthalai Ananthakrishnan (mridangam) and Madipakkam Murali (ghatam) were always amused. Hariprasad, who comes from a family of musicians near Guruvayur, is the son of nagaswaram vidwan OK Subramanian.

Natakapriya was the first parent scale in the presentation of eight pieces. The seven-minute alapana highlighted the kaleidoscopic nature of the tenth melakarta, which also gave Gopinath the first opportunity to show his neat artistry in response. The portrayal of ‘Karuna Jessi’ (Mysore Vasudevacharya’s ‘Idi Samayau’) hinted at an upcoming swaraprasthara set for the rupakam. Barring a cursory tiff, this solfa stretch blossomed into a masterful example of individual imagination and harmonious teamwork. Nalinakanti (‘Natajana Palini’ by Thanjavur Shankara Iyer) came next as a bridge to the centrepiece.

emotional appeal

Hariprasad’s Poorvakalyani Alpana was refreshing even though it followed the traditional path. | Photo Credit: Special Arrangement

Poorvikalyani as the lead singer highlighted Hariprasad’s skill in ensuring the quality of the tone at the soulful core of the raga. The alapana was refreshing even while going the traditional route, though the lull to silence was somewhat abrupt. The experienced violinist, though not very well organised in his solo reply, made up for this shortcoming, joining in with ‘Padmavati Tamnan’. The sweetness of the tune adorned every breath of the Oothukadu Venkata Subbayar kriti, whose last verse stretched till Nirval.

This wide corridor had its fair share of works underlining the happy results of any collaboration steeped in collaboration. Things progressed in such a way till the Swaraprastara stage that it strengthened the role of the unparalleled Misra Chapu taal in giving a special charm to the rallies. The increasing prominence of the mridangam and ghatam in the soundscape found its natural culmination in the 18-minute Tani Avartanam, which followed the aesthetics of the main composition.

The final lap comprised three pieces: Sadashiva Brahmendral’s ‘Manasa Sanchare’ in Sama, ‘Bhavayami Gopala Balam’ (Yamuna Kalyani, Annamacharya) and a Lalgudi Jayaraman Thillana in Maund. Though they came in the form of tukdas, they sounded passionate, yet they were not rushed.