Dec 31, 2024

The Madras Music Academy

Flute –  Vid. J B Sruthi Sagar

Violin – Vid. Aditi Krishnaprakash

Mṛdaṅgam – Vid. Parupalli Phalgun

Mōrsiṅg – Vid. Bangalore B. Rajasekar

The annual concert of Sruthi Sagar sir at the esteemed Madras Music Academy has become a cherished New Year's Eve tradition for me.

The concert commenced with a vibrant rendition of "Jagadānanda Kāraka," first of Saint Tyāgarāja’s Ghana Rāga Pañcaratna kṛti-s. Sir’s classic improvisations, infused with his signature playing techniques, made everyone in the auditorium go “āhā”. The initial interplay between the violinist and flautist, alternating svara-s and sāhitya-s was interesting. But soon, they both blended in seamlessly, setting an auspicious beginning to the day’s concert. In the last svara-sāhitya, aganita guṇa, a śrōtōvāha yati is woven around madhyama as pm, npm, snpm, to which sir added short glides from the pañcama almost sounding like baby waves! 

This was followed by Śrī GN Balasubramaniam’s spirited "Sarasvatī Namōstutē" in the namesake rāga, Sarasvatī. The relationship between ṛṣabha and dhaivata was showcased beautifully through his rendition. Soon, the mood shifted dramatically with a soulful rendition of "Lalitā". The artist's deep understanding of the rāga was evident in his breathtakingly imaginative phrases, leaving the audience gasping in admiration. The mirror-like jāru patterns covering three svara-s - ṡnd and mgr, were highlighted in his rāga ālāpana. The violinist's subsequent replies were equally captivating, further enhancing the overall experience of Lalitā. The eagerly awaited "Nanu Brōvu" of Śrī Śyāmā Śāstri followed, and the artiste's masterful handling of this piece was an absolute treat. Sir occasionally played certain tāra sthāyi lines in mandra sthāyi elevating the beauty of the lines! His niraval and kalpana svara-s in the anupallavi, executed with remarkable finesse, was a delight to hear too!                              

Raṅganāyakam, a magnum opus kṛti of Śrī Muttusvāmi Dīkṣita in the rāga Nāyakī felt like the best combination of a mellifluous yet a very convictive and royal rendition. Creating a profound impact in compositions set to such slow kālapramāna with an instrument, is indeed a challenge, but sir achieved it with much ease. Upnext, the pleasing prelude to the main piece was sure enough, an energetic and enjoyable Muttayya Bhāgavatar composition, "Sārasamukhī" in the rare rāga Gauḍamalhār. The brisk and electric ciṭṭa svara-s that followed had everyone in the crowd beaming with happiness and rocking their heads. 

Contrary to my understanding that RTPs usually involve a multitude of rāga-s and tāla-s, I was pleasantly surprised to hear a light and elegant Kāpi! As he played the rāga, it made me realize how much more there is to Kāpi than what I have generally heard in compositions. His Kāpi was soothing, divine and sometimes playful too! The Pallavi was a Stuti to Mahāperiyavā, his Iṣṭadēvata. The uttarāṅgam of the pallavi comprised of the words jaya jaya śaṅkara hara hara śaṅkara with which he played around by rendering it in different speeds switching between caturaśra and tisra. The auditorium was brimming with heavenly bliss and this Pallavi was my earworm for the rest of the night! 

Personally, my favourite part of this concert was the role of the percussion artistes. Both the mṛdaṅgam and mōrsiṅg artistes played with such sensitivity, seamlessly aligning with the moods of the kṛti, and never ever drowning the gentle notes that Sir sang on his flute. 

As the concert drew to a close, Sir presented "aṉṟu̱ ivvulagam aḷandāy," Āṇḍāḷ’s Tiru̱ppāvai in Sindubhairavī, as a grand finale. Sir deservingly bagged this year’s Best Instrumentalist Award from the Academy.

I walked out of the concert hall, realizing how much more there is to taste from this ocean called Carnatic music and was left with a burning desire to learn this artform faithfully.

Keshav has been a student of Carnatic music since he was 3.5 years old. He learns vocal music and flute. He is currently under the tutelage of Vid. J B Sruthi Sagar and Kum. Preeti Sethuraman.