A veteran's largesse
Seniors Sankaran and Chandrasekaran encouraged young Jayanth to display his talent.
Photo: K.V. Srinivasan
FINE PARTNERSHIP:T.S. Sankaran and T.A. Jayanth.
It was a nice combination of young J.A. Jayanth and senior T.S. Sankaran, joining hands to present an absorbing flute recital. The latter, however, has not been seen on the concert platform for quite sometime. That made the concert all the more interesting. The opening piece, Adi tala varnam, ‘Chalamela' in Nattakurinji, set the pace for a lively recital.
Muthuswami Dikshitar's Gowlai raga kriti ‘Sri Mahaganapathi Ravathumam' was presented by the duo. Jayanth took over the swara passages in the charanam lines, while Sankaran gave all the moral support to the youngster.
The violin accompaniment by veteran M. Chandrasekaran was more by way of appreciation of the youngster for each phrase and passage than providing his unique version of swara repartee. That, perhaps, bolstered the junior to launch the solo alapana of Pantuvarali. Though it was brief, it had all the charming ingredients to get the approval of the audience.
The Tyagaraja kriti, ‘Ninnenera Namminanura,' was the choice of the flautists. The anupallavi line ‘Annikallalanuchu' was taken up for niraval and swaraprastara that provided the artists a chance to dwell on the raga's finer elements more elaborately. Chandrasekaran, a Sangita Kalanidhi, did not dominate the show with his vidwat. He was such a modest accompanist in the whole performance that he was only passing appreciative remarks intermittently, encouraging the flautists to give their best.
The alapana of raga Rudrapriya by Sankaran was fresh. This was followed by “Ambaparadevathe,” with smart kalpanaswaras that added weight to the kriti rendering on the whole. The most important sequence, however, was the joint exercise of playing raga Madhyamavati by Sankaran and his junior associate Jayanth. Manodharma was in full flow and the senior yielded a lot of space to the youngster to showcase his talent. A magnanimous gesture indeed.
Chandrasekaran openly lauded the flautists while responding with his replies on the violin. The kriti was ‘Ramakathasudha' of Tyagaraja and the anupallavi lines of ‘Bamamani Janaki Soumitri' were taken up for detailed niraval and swarakalpana, where the duo displayed their respective imaginative skills. The violin reply, no doubt, was matching.
The mridangam accompaniment by Madirimangalam Swaminathan, an experienced vidwan who has accompanied many instrumentalists, was soft and soothing throughout the concert. While his portion of the thani stood out for its variety of ‘nadais,' Trivandrum D. Rajagopal's ganjira support was adequate.
In the Ragam-Tanam-Pallavi, the raga chosen was Bhairavi and Sankaran did justice to the task of shouldering the main responsibility of rendering not only the raga alapana, but also the tanam portion. ‘Velava, Kolaakalaa, Unathu Paadam Thunaiye” in khanda triputa talam was played by both Sankaran and Jayanth. There was perfect synchronisation of the melodious flow, revealing the mastery of the flautists.
Post-Thani, it was the Paras raga Javali ‘Chelinenetlu', Tiruppugazh, Thillana and the ever popular Javali ‘Sakhiprana' in Chenchurutti at the request of the accompanying violinist M. Chandrasekaran.
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