Shashank Subramaniam’s music blended strong Carnatic classicalism with a global sensibility.

Carnatic flute concerts that combine technical brilliance with depth of expression are relatively rare. Flutist Shashank S achieved this with ease in his concert Brahma Gana SabhaL on violin. Ramakrishnan and Patri Satish Kumar on Mridangam ably accompanied him. Shashank’s music blended strong Carnatic classicalism with a global sensibility. He started the concert with Madhur Mohanam, in which he presented Tyagaraja’s ‘Avarura’ in Mishra Chapu. Patri Satish Kumar’s gamaki strokes were measured and resonant, complementing the tonal glide of the flute. Tisra Kuraippu was known for its clarity, and the brief tabla-like phrases provided a fleeting Hindustani flavour. The discovery of the pentatonic scale was fascinating, covered by a thoughtfully constructed korvai.

After this came Tyagaraja’s ‘Atu Karadani’ in Manoranjanani set on Aadi Taal. Shashanka’s expression was soulful and the Niraval passages were fast, punctuated by complex rhythmic patterns. While Petrie sometimes vocally steered the rhythmic discourse, the exchanges maintained coherence. Shashanka structured the concluding Uttarangam using a 5-7-9 pattern, giving symmetry to the Koravai.

The highlight of the concert was Shyama Shastri’s ‘Sankari Samkuru’ in Saveri, presented in Aadi Taala (Tisra Gati). The meditative depth of the composition came across effectively, with sensitivity and restraint in Ramakrishnan’s violin responses. Patri’s mridangam accompaniment was both aesthetically pleasing and structurally sound, reinforcing the seriousness of the raga. To restore the momentum, Shashank then presented Muttiah Bhagavathar’s ‘Samaiyamidhe’ in Budhamnohari at a fast pace.

L with Shashank. Ramakrishnan (violin) and Patri Satish Kumar (mridangam). , Photo courtesy: R. Ravindran

The main item of the evening was Ragam Tanam Pallavi in ​​Hemavathi. The pallavi line ‘Samanama Sabhapati Sadashiva Trilokme Unakku Sari’ was set to the Adi tala. Notably, while the violin and mridangam were tuned to the G scale, Shashanka alternated between the flute tuned to C and G (the fifth of C). His tanam, played on the small G-scale flute, featured evocative glides and well-defined phrases. The raga excursions in Ranjani and Sahana were deftly handled, and Khanda Nadai Kurappu steadily built towards Hemavathi’s satisfying return.

Patri Satish Kumar’s Tani Avtaranam was fluent and energetic, with crisp khanda nadai passages. The concluding Koravai was structured seamlessly, naturally decomposing into Pallavi.

Shashank concluded the concert with a bhajan, after which Swathi Tirunal sang ‘Visvesvara Darisana’ in Sindhu Bhairavi, leaving the audience in silence for a long time.