It was christened a ‘Group Concert’. Yes, it did challenge conventions. Though technically, it was a flute recital for the Valayapatti Naadhalaya Trust, the star attraction was, unsurprisingly thavil. It was Valayapatti S. Malarvannan’s show all the way. The resulting music had freshness and sparkle, it especially appealed to those who have an ear for rhythm.
The thani in Adi tala (irandu kalai) after a sparkling RTP in Bilahari was a one-man show, though Uzhavur P.K. Babu (mridangam) and Sivasubramanian (ganjira) did participate. The latter occasionally rose to the challenge thrown by Malarvannan, who commenced the thani with a korvai in three kalams. It showed his spirit and grit. Thereafter, complex and different rhythmic patterns followed – tisram and Khandam. It concluded with tisra nadai kuraippu. The concluding korvai stood out with a Chatusra-tisra combination.
Incidentally, the RTP played by Sruthi Sagar (flute) and Karaikal Venkatasubramaniam (violin) was a splendid rendering, followed by ragamalika swaras in Sama, Ananda Bhairavi and Desh. Sruthi Sagar has absolute control over laya.
The second highlight of the evening was Dwijavanti by Sruthi Sagar, in which his sangitha gnana came to the fore. Alapana by Venkatasubramaniam was equally creative. Dikshitar’s ‘Akhilandeswari’ and kalpanaswaras won the instant appreciation of the audience.
Malarvannan began the concert with a Mallari. One of the bulwarks of the Nagaswaram tradition is the Mallari in Gambhira Nattai. Malarvannan chose the Triputa Tala Mallari (simply put, it is Misra Chapu in irandu kalai – 2+2+1+2), the eduppu at the ring finger. Its tisra kuraippu demonstrated the delicate integration between flute and thavil.
Sruthi Sagar also offered ‘Teratiyagarada’ in Gowli Panthu of Saint Tyagaraja and ‘Bhajanaseya Radha’ in Dharmavathi of Mysore Vasudevachar. The concert concluded with ‘Sitha Kalyana Vaibhogame’ and ‘Bhagyada Lakshmi Baramma.
