Pure notes
HARISH BAL
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Chennai Balasai’s flute concert stood out for its clarity of notes and excellent percussion support.
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Balasai’s raga expansion for Sahana was the highlight for the evening.
Melodic reed: Balasai’s concert showcased both technical and aesthetic aspects.
Chennai Balasai’s flute concert at Kalikotta Palace, Thripunithura, stood out for its clarity of notes and excellent percussion support.
The Ada tala varnam in Bhairavi, ‘Viriboni,’ which features all 10 gamaka patterns, was rendered well by the flautist.
Perfect tonal alignment and sparkling swara patterns marked the piece ‘Gam Ganapathe,’ a kriti by Harikesanallur Muthaiah Bhagavathar set in Hamsadhwani.
This was followed by Tyagaraja’s ‘Ninnadanela’ in Kannada.
Changanassery Harikumar displayed his prowess on the mridangam in the following compositions. His expertise was showcased in ‘Raghuvara Nannu’ in Pantuvarali raga, which was rich with exceptionally well played fillers, eduppus and mukthaippu. The energy he imparted to the swara phrases, which inspired the flautist to newer twists in phrases, was commendable.
Raga expansion
Balasai’s raga expansion for Sahana was the highlight of the evening. As he unfolded the lakshya of the raga, bringing out the melodic and aesthetic qualities of the raga, he also explored the technical aspects, interweaving one intricate phrase after the other.
T.H. Subramaniam, on the violin, supported the flautist in essaying the raga and Pattanam Subramanya Iyer’s kriti ‘Rama ika nannu brova.’ The rare raga Manoranjani was well portrayed in ‘Atakaatura thani balkani.’ Patterned phrases made the Mohanam raga dull at points, but Balasai attempted to enliven it up with his touch by going for a variation at different points. These complicated sangatis were ably reproduced by Subramaniam on the violin.
The latter pieces included ‘Vishweshara’ in Sindhubhairavi and ‘Dandamapattenura’ in the rare raga ‘Balahamsa.’ Even in these pieces, there was no attempt to make it racy, and the entire concert was noteworthy for the purity and propriety of kalapramana.
Short and spontaneous
Harikumar’s thaniyavarthanam, though short, was spontaneous and marked with creativity.
The programme was organised by Poornathrayeesa Sangeetha Sabha, in remembrance of Mahadeva Iyer.
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