Chandan Kumar and Viswas Hari introduced ragas with inventive finesse on the Suswaraa Belief’s annual music pageant 2025

Mysore Chandan Kumar showcased his artistry with a well-curated music record.
| Picture Credit score: JOTHI RAMALINGAM B

Lyrical appreciation is as integral to having fun with Carnatic music as its musical aesthetics. This locations instrumentalists at an inherent drawback. Nonetheless, they’ll overcome this limitation considerably by pristine tonal high quality, excellent sruti alignment, and a enjoying method that intently mirrors the sahityam. A less-arduous path is to lean on sheer mastery over the instrument, indulging in gimmickry to supply a hole melody designed for applause somewhat than artistry.

It was heartening that two artistes steadfastly upheld classicism, resisting the lure of contrivance. Consequently, back-to-back live shows by Vishwas Hari (mandolin) and Mysore A. Chandan Kumar (flute) on the opening day of Suswaraa Belief’s thirty sixth Sangeetha Utsavam at Bharaitya Vidya Bhavan Mini Corridor proved to be a double delight.

Mysore A. Chandan Kumar (flute), V.V. Ravi (violin), Neyveli Narayanan (mridangam), and B.S. Purushotham (kanjira),
| Picture Credit score:
JOTHI RAMALINGAM B

Chandan Kumar’s recital was a revelation. Accompanied by V.V. Ravi on the violin, Neyveli Narayanan on the mridangam, and B.S. Purushotham on the kanjira, the flautist showcased his impeccable artistry with a well-curated music record. The Sahana varnam ‘Karunimpa’ by Tiruvotriyur Tyagayyar supplied a vigorous begin earlier than he introduced two contrasting Dikshitar kritis. His kalpanaswaras for ‘Siddhi vinayakam’ (Chamaram-Rupakam) flowed effortlessly, whereas ‘Akhilandeswari’ in Dwijavanti unfolded at an unhurried tempo, lending a soothing contact.

The flautist’s Saveri alapana, replete with crazy phrases, tonal modulations, and gamakas, notably within the center and decrease octaves, was refreshing. The Syama Sastri kriti ‘Sankari samkuru’ (Adi, tisra nadai) was performed with aptitude, and Chandan Kumar’s manodharma soared within the swaras at ‘Syamakrishna sodhari’ within the charanam.

This was adopted by two compositions by Tyagaraja. ‘Anupama gunambudhi’ (Atana-Khanda Chapu) set the tempo earlier than the primary piece, ‘Raksha pettare’ in Bhairavi. Chandan Kumar as soon as once more excelled within the raga essay by adopting a leisurely tempo, permitting the grandeur of the raga to stream organically. Ravi’s reply retained the melodic enchantment. After a neat presentation of the Utsava Sampradaya kirtana, which seeks to thrust back evil to the Lord, Chandan Kumar took up swaraprastara on the pallavi opening, mixing exuberance with aesthetics.

After Swati Tirunal’s Behag javali ‘Saaramaina’, the recital concluded with the ever-popular Oothukadu Venkata Kavi music ‘Alaipaayudhe’ in Kanada. Ravi and Narayanan demonstrated the worth of expertise all through with delicate assist. Narayanan’s tani avartanam with Purushotham featured absorbing exchanges.

Vishwas Hari performed the raga alapana of Nagaswarali with finesse.
| Picture Credit score:
JOTHI RAMALINGAM B

Earlier within the night, Vishwas delivered a commendable mandolin recital, accompanied by Puttur T. Nikshith (mridangam) and Sai Bharath (kanjira). Opening with ‘Gananayakam bhajeham’, a Dikshitar kriti in Purnashadjam, he capped it with a short swara phase. It might be famous that one other college of thought assigns the raga of this composition as Rudrapriya.

Vishwas displayed an assured grasp of Nagaswarali in his alapana earlier than taking on ‘Garuda gamana’ by Patnam Subramania Iyer. The swarakalpana for the pentatonic janya of the twenty eighth melakarta was executed with finesse. Tyagaraja’s ‘Kamalapta kula’ in Brindavani adopted, resulting in Pallavi Seshayyar’s ‘Entani vinavintura’ within the uncommon raga Urmika (Adi – tisra nadai), an audava-audava scale that omits ‘dha’ from Simhendra Madhyamam.

Vishwas Hari with ccompanied by Puttur T. Nikshith (mridangam) and Sai Bharath (kanjira).
| Picture Credit score:
JOTHI RAMALINGAM B

Vishwas sculpted Kalyani, coaxing out its essence in a meticulous exploration. It was marked by elegant phrases, a few of which alternated between octaves. Tyagaraja’s charming ‘Vasudevayani’ was the primary music and Vishwas performed it with the fitting quotient of gamakas. A vigorous swara passage culminated in a tani avartanam the place Nikshith and Sai Bharath impressed with attention-grabbing laya forays. The live performance concluded with Narayana Tirtha’s ‘Govardhana giridhara’ in Darbari Kanada.