It would not be an exaggeration to say that J.B. Sruthi Sagar evokes memories of the legendary T.R. Mahalingam (Flute Mali). Immersed in his music, one often forgets that the concert is instrumental; the phrasing and emotional nuance frequently mirror the expressiveness of a vocal recital.
His recital at the architecturally elegant, mic-less M.S. Subbulakshmi Auditorium at the Asian College of Journalism was a sublime experience. Sruthi Sagar was ably accompanied by Vittal Rangan on the violin and Delhi Sairam on the mridangam. Together, the trio created an atmosphere of repose and refinement.
A child prodigy and disciple of Balasai and Dr. Sundar, Sruthi Sagar displayed effortless virtuosity over a concert spanning more than two-and-a half hours. His calm stage presence and measured approach drew the audience into a deeply contemplative musical space.
The concert opened with the Kalyani varnam ‘Vanajakshi’. The articulation was lyrical, adorned with intricate brigas in the melkalam. Sairam’s judicious use of gumki, dhin and chapu complemented the flute’s phrasing, while maintaining impeccable tonal balance.
This was followed by Muthuswami Dikshitar’s ‘Manasa guruguha’ in Ananda Bhairavi, set to Tisra Eka tala. The rendition flowed with the serenity of a gentle stream, culminating in a soothing conclusion. Muthiah Bhagavatar’s brisk ‘Sudha mayi’ in Amritavarshini came next; a brief opening phrase — lasting barely a few seconds — was sufficient to establish the raga with clarity and precision.
The Bindumalini exposition, a janya of Chakravaham, stood out for its emotive depth. Tyagaraja’s ‘Entha muddo’, rendered with graceful glides and measured accents, was rich in bhavam. Vittal Rangan’s violin responses were equally evocative, and Sairam’s restrained arudi, employing only gumki and dhin, drew spontaneous applause.
Mazhavayi Chidambara Bharati’s ‘Ma mayura meedhil eri vaa’ in Bilahari followed, showcasing the seamless unison of flute and violin — particularly striking in a mic-less setting — and highlighting stylistic shades reminiscent of Flute Mali.
The main item was a Ragam-Tanam-Pallavi in Ritigowla, set to Tisra Jati Triputa tala, with the sahitya ‘Rama nee samanamevaru.’ The tanam highlighted the raga’s jiva swaras — G₂, M₂, and N₂ (Kaisiki Nishada) — while rhythmic complexity unfolded through tisra and chatusra patterns, culminating in a rief kanda kuraippu. Sairam’s tani avartanam traversed kanda, tisra and misra nadais with finesse. The final korvai was a brain teaser, while the first half of poorvangam and utharaangam was in chatusaram, the second half of each was in tisram.
Sruthi Sagar concluded the concert with the bhajan “Hey Govind, Hey Gopal,” leaving the audience immersed in lingering calm and devotion.
