16 July, 2014
- Lakshmi Venkatraman
The flute recital of J.Jayanth under the auspices of Charsur was an engaging programme. Fortunately the high volume in the auditorium was brought down to a reasonable level soon after the beginning. After the mood setting Varnam in Vasantha, came Nammazhwar Pasuram “Pallandu Pallandu” set to Natta Ragam followed by ‘Varanarada’ in Vajayasri. All these prepared the audience for a lively evening of music. The Raga Alapana of Todi had some very unusual prayogams in addition to the expected characteristic sangatis. The chosen song was ‘Kotinathulu’ of Thyagaraja with Kalpanaswaras, again with some intelligent suites.
A vibrant composition of Ramanathapuram Srinivasa Iyengar ‘Raghunatha nannu’ in Swararanjani preceded the main Raga Kamboji; this magnificent Raga was explored in depth by Jayanth, touching some subtle nuances. Dikshitar’s ‘Subrahmanyaya Namaste’ was the tour de force of the concert. It was rendered in an unhurried manner. The line “manasija koti koti lavanyaya” was taken up for handling in different speeds of the Tisra Eka Talam. The Swara segment indeed was very lively manipulating the notes in clever combinations. Varadarajan on the violin was extremely good; he seemed to have a great memory of the way the Raga was handled by the flautist and could often repeat the same in his turn. Able percussion support was provided by Neyveli Venkatesh on the Mridangam and Chandrasekara Sarma on the Ghatam. They also played an interesting fast paced Thani.
The final items were ‘Oruthi maganay pirandu’ in Behag and the Tillana in Sindubhairavi. Both had brief Raga essays; nevertheless they had a touching quality.