IFAA DFW

Vid. Sunil Gargyan presented a rich and well-curated concert, supported ably by Vid. Raghul Ravichandran on violin, Vid. Sai Ragavan on mridangam, and Vid. Nerkunam Dr. Sankar on kanjira. The theme was “Saptha Bhasha, Saptha thala”, showcasing the rich diversity of Thalas and Indian languages.

The opening virutham in Kalyani flowed seamlessly into Vanajakshi varnam, setting an auspicious tone. Jaya Jaya (Nattai) was lively, with brisk swaras, while Divakara Tanujam (Yadhukula Kamboji) was rendered with serenity. Dattatreya (Ranjani) formed the sub-main, featuring a thoughtful alapana and a well-developed neraval at “Uthamothama.” Raghul’s responses were soothing, bringing the honey coated delightedness of Ranjani. Sobillu (Jaganmohini) was handled with liveliness, setting the stage for the RTP.

The RTP in Karaharapriya was the highlight, with an expansive ragam and a creative tanam incorporating Hamir Kalyani, Valaji, and Behag. Sunil’s Alapana & Tanam were classy, bringing out the key phrases and essence of the ragas. Since the artists had a flight to catch, they ditched “Chakkani Raja” for this Pallavi and this was truly improvisation at its peak! The latter half, including Main Ghulam (Dhwijavanthi), an abhang, and Jalaje Bandu Mihe (Surutti), offered pleasing contrast, before concluding with Mangalam.

The accompaniment by Vid. Sai Ragavan & Vid. Nerkunam Sankar throughout was sensitive and cohesive, with both percussionists providing “Sunaadam” and balanced support. This was certainly a traditional concert marked by variety and strong manodharma. IFAA thanks the artists for this phenomenal concert!

Our Nirantara concert by , Vid. Narasimha Kikkeri, off to a great start with a breezy Nattai and a soulful Karaharapriya.

The concert by Vid. Abhishek Raghuram, Vid. Shashank Subramanyam, Vid. Parupalli Phalgun, and Vid. S.Krishna unfolded like a scenic journey, similar to a passage along the Konkan Railway, flanked by the tall Sahyadri hills on one side and the serenity of the Arabian Sea on the other side. It was an excellent display of technical virtuosity and emotional depth.

Beginning in Thodi, the journey passed through several memorable “stations.” Sarasangi, often overshadowed by its close relatives Charukesi and Lathangi, was sketched vividly, the kalpana swaras from Abhishekji were exhilarating, matched beautifully by Shashankji’s tonal brilliance.

The transition into Saramati was akin to a train slowly climbing up the hill, with a serene and expansive alapana, followed by exhilarating, high-velocity swara exchanges. The mutual admiration between the artists was evident, as each encouraged the other toward greater heights. The Thani between Vid. Phalgun and Vid. Krishna was electrifying and added further to the verve.

Given the progression through suddha madhyama ragas, the transition into a Ragam-Tanam-Pallavi in Kalyani felt quite natural. The rendition was sublime, with quick forays into Abheri, Sahana, and Hindolam.

The Sindhu Bhairavi that followed was deeply soulful, and the concluding Purvi Thillana provided a rapid descent like a bullet train completing a magnificent journey down the hill. IFAA is thankful to the artists for this wonderful performance. Here are some photos from the concert (Thanks to Ramki for this efforts!).