Kalyanapuram Aravind’s rendition is a song from the bani of his guru TN Seshagopalan

Kalyanapuram Aravind was accompanied by Chidambaram Badrinath on violin, Prashant on Mridangam and Somnath Roy on Ghatam. , Photo Courtesy: SR Raghunathan

Selling a book requires a good publisher. But it is not enough. It also requires a good plot and attractive narration.

V. Kalyanapuram Aravind’s tutelage under the legendary TN Seshagopalan provided him with a solid foundation. He draws on his fertile imagination and flexible vocal chords to implement his ideas.

Aravind’s concert for the Sangeet Academy was filled with a lot – many contrasting compositions, across the raga and tala spectrum and an interesting pallavi in ​​Dvijavanti and even Trikalam and Ragamalika swaras. For those seeking a vibrant TNS flavour, Arvind’s palette was much the same.

A match-lasting trigger for Pantuvarali Alpana after Surutti Varnam sets the fast-moving agenda. ‘Ninne Nera Nammi’ (Tyagaraja, Roopkam) with Niraval and Laghu swaras in ‘Vedasastra Purana’ maintained an attractive flow. Chidambaram Badrinath on the violin displayed alertness to the singer’s rhythm attacks with his punches. Marivaregathi (Anand Bhairavi, Shyama Shastri, Mishra Chapu) was preceded by a teaser of one verse. Meenakshi Pancharatnam. This is a better trick than a brief raga sketch because it outlines a performer’s spiritual state and lyrical diction. Time pressure reduced the scope of the work by half.

Performing at the December Season 2024 concert of Kalyanapuram Arvind Sangeet Academy. Photo Courtesy: SR Raghunathan

‘Kanu Kontini’ (Tyagaraja, Bilahari) was chosen as a spontaneous interlude but it had no authentic notes. Instead, Aravind used the time to portray a classical Saveri Alpana with greater strength and durability and minimal fretting. Badrinath’s Saveri was unique because he used it precisely. Both of them had block-booked the phrase ‘Ma Da Sa’ in their notebooks. ‘Sri Rajagopal’ (Dikshitar, etc.) is one of the highest compositions of this raga, as it refers to the gopuram of the Mannargudi temple. The TNS shades were very evident, especially the seeping Raga Lakshana. Sometimes, presenting a big piece with all the bells and whistles is a mental output in itself, as Aravind showed. The raga outline and rhythm feast of Niraval and Swara in ‘Purane Srividya’ by both Arvind and Badrinath was good for which the school is famous. The tani avataranam by Prashanth (Mridangam) and Somnath Roy (Ghatam) was in keeping with the pace of the concert.

Dwijavanti’s brief raga alapana had some very attractive flights of mouth by the singer and the violinist. Tanam was a squeeze. Pallavi started late in the Kanda Triputa (‘Dasarthe Mampalaya Dayanidhe’) showcasing Aravind’s Manodharma and Laya suites (like the narrative of a book). Ragamalika vocals in Bahudari and Revathi ensured that Pallavi was larger than life despite the hustle and bustle. Aravind concluded the concert with Darbari Kanada Tukkada. Badrinath is not only a capable violinist, but he has handled the challenges of rhythm and the demands of brevity with impeccability and polish in consistency.

Arvind is clearly ready to gain some momentum in his career. If this concert is any indication, their preference for sensitively controlled vocal production (rather than loud thunder), which sits gently on the ears, is a quality worth encouraging. Just as he is eager to show the colt’s provenance, he will also be expected to make trips that go beyond the TNS playbook. Sometimes Shruti turns require a clock.