The charmingly youthful energy of flautist Hariprasad Subramanian served as the cornerstone of his recent concert at the Venuganam festival, organized by Mudhra across six evenings last month. His two-hour performance showcased an incredible balance of tradition and innovation, keeping the audience enthralled from start to finish.
The concert unfolded with a brief sketch in Surutti, instantly establishing the raga’s sober nature. However, Subramanian’s choice to follow the alapana with a varnam highlighted the raga’s playful, effervescent aspects, creating a compelling duality. Thiruvottriyur Thyagayyar’s ‘Ento premato’ in Adi tala demonstrated the young flautist’s ability to bring out the dynamism of the piece, particularly in the intricate swara sequences culminating the speedy second half.
Indeed, effervescence became the overarching theme of Hariprasad’s performance. Nattai, chosen as the second piece, reverberated with vigor. The asymmetrical raga blossomed in Purandaradasa’s ‘Jaya jaya,’ with the five-beat khanda chapu tala adding a rhythmic zest to the presentation. Hariprasad’s technical control over the flute was apparent — his high registers were clear and never shrill, his rhythms precise. This not only encouraged but uplifted his senior accompanists: M.R. Gopinath on the violin, Sherthalai Ananthakrishnan on the mridangam, and Madipakkam Murali on the ghatam. Their smiles and responsive playing were testaments to the seamless synergy within the ensemble.
Hariprasad Subramanian’s roots in a musical family from Guruvayur are notable, being the son of nagaswaram vidwan O.K. Subramanian.
. His lineage and dedicated training were evident throughout the evening.
The concert transitioned to a more complex terrain with the introduction of Natakapriya, the first parent scale in the eight-piece repertoire. The seven-minute alapana delved into the raga’s multifaceted nature, giving Gopinath a chance to display his own refined skills in a perfectly complementary response. ‘Karuna jesi’ by Mysore Vasudevacharya, set to the rhythm of Rupakam, showcased a beautiful execution of the swaraprastara, despite a fleeting moment of discord. The piece ultimately stood out as a testimony to imaginative expression and harmonious collaboration.
This was followed by ‘Natajana palini’ in Nalinakanti by Thanjavur Sankara Iyer, serving as a bridge to the main highlight of Purvikalyani. Hariprasad’s alapana for Purvikalyani was both refreshing and faithful to tradition. Even though the appraisal’s cooling-down was somewhat sudden, the piece’s emotive core retained its tonal quality. Although Gopinath’s solo response was slightly less polished, it was compensated by his involvement in ‘Padmavati tamanan,’ an Oothukadu Venkata Subbaiyer kriti bathed in melodious grace. The final niraval stanza branched out into improvisations, exemplifying the harmony derived from mutual collaboration.
The swaraprastara that ensued underscored the unique charm the uneven Misra chapu tala brings to rhythmic rallies. The mridangam and ghatam grew increasingly prominent in the soundscape, culminating in an 18-minute tani avartanam, a percussive exploration adhering to the principal composition’s aesthetics.
The performance’s concluding segment comprised three well-loved pieces: Sadasiva Brahmendral’s ‘Manasa sancharare’ in Sama, Annamacharya’s ‘Bhavayami gopala balam’ in Yamuna Kalyani, and a Lalgudi Jayaraman thillana in Maund. Despite their categorization as tukkadas (lighter pieces typically performed at the end), they were delivered with a vivacity and deliberate pace that kept the audience engaged.
Hariprasad Subramanian’s concert at the Venuganam festival was notable not just for its musical excellence but for the vibrant energy and deep-rooted tradition it brought to the stage. His ability to seamlessly integrate technical proficiency with emotive expression promises a bright future for this young flautist, enriching the fabric of Carnatic classical music.
