Chandan Kumar and Viswas Hari presented ragas with artistic finesse at the Suswaraa Trust’s annual music festival 2025

Young musicians Viswas Hari and Mysore Chandan Kumar exhibited their skill and technique at the Suswaraa Music festival held recently in chennai

Lyrical appreciation is as integral to enjoying Carnatic music as its musical aesthetics. This places instrumentalists at an inherent disadvantage. However, they can overcome this limitation significantly through pristine tonal quality, perfect sruti alignment, and a playing technique that closely mirrors the sahityam. A less-arduous path is to lean on sheer mastery over the instrument, indulging in gimmickry to produce a hollow melody designed for applause rather than artistry.

It was heartening that two artistes steadfastly upheld classicism, resisting the lure of contrivance. As a result, back-to-back concerts by Vishwas Hari (mandolin) and Mysore A. Chandan Kumar (flute) on the opening day of Suswaraa Trust’s 36th Sangeetha Utsavam at Bharaitya Vidya Bhavan Mini Hall proved to be a double delight.

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 song list. The Sahana varnam ‘Karunimpa’ by Tiruvotriyur Tyagayyar provided a lively start before he presented two contrasting Dikshitar kritis. His kalpanaswaras for ‘Siddhi vinayakam’ (Chamaram-Rupakam) flowed effortlessly, while ‘Akhilandeswari’ in Dwijavanti unfolded at an unhurried pace, lending a soothing touch.

The flautist’s Saveri alapana, replete with loopy phrases, tonal modulations, and gamakas, particularly in the middle and lower octaves, was refreshing. The Syama Sastri kriti ‘Sankari samkuru’ (Adi, tisra nadai) was played with flair, and Chandan Kumar’s manodharma soared in the swaras at ‘Syamakrishna sodhari’ in the charanam.

This was followed by two compositions by Tyagaraja. ‘Anupama gunambudhi’ (Atana-Khanda Chapu) set the pace before the main piece, ‘Raksha pettare’ in Bhairavi. Chandan Kumar once again excelled in the raga essay by adopting a leisurely tempo, allowing the grandeur of the raga to flow organically. Ravi’s reply retained the melodic appeal. After a neat presentation of the Utsava Sampradaya kirtana, which seeks to ward off evil to the Lord, Chandan Kumar took up swaraprastara at the pallavi opening, blending exuberance with aesthetics.

After Swati Tirunal’s Behag javali ‘Saaramaina’, the recital concluded with the ever-popular Oothukadu Venkata Kavi song ‘Alaipaayudhe’ in Kanada. Ravi and Narayanan demonstrated the value of experience throughout with sensitive support. Narayanan’s tani avartanam with Purushotham featured absorbing exchanges.

Earlier in the evening, 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 brief swara segment. It may be noted that another school of thought assigns the raga of this composition as Rudrapriya.