Learn more about: Injikkudi E.M. Subramaniam

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Injikkudi E.M.Subramaniam’s nagaswaram was coaxed into a wary friendship with the violin, mridangam and kanjira. If the combination didn’t exactly gel as a team, it certainly wasn’t for lack of trying. Each artiste fared well in his individual capacity. The stumbling block came in the form of kalapramana and an occasionally recalcitrant Kala which charted a willful course until it was sternly yanked back on approximate track by majority consensus.A brisk start with Papanasam Sivan’s ‘Thathvamariya tharama’ (Ritigowla) and measured swaraprastara revealed that the main artiste was indeed in form. A brief sketch of ‘Gangeyabhushani’ (mela 33) was an intriguing lead-up to Tyagaraja’s ‘Evvare Ramaiyya.’ The kriti, played at a meditative pace, was a piece of finely etched craftsmanship, the accurately captured vivadhi notes testifying to the artiste’s sadhana.Though the percussive department grew rather enthusiastic and leaned towards a quickening of pace, the main artiste held firm to his chosen kalapramana with resolution. Tyagaraja’s ‘Nee Bhakti Bhagya’ (Jayamanohari) with limited kalpanaswaras adopted a sprightly gait.One of Subramaniam’s strengths is the piercing intensity and utter steadiness of the shadja, both in madhya and tara sthayi the bedrock on which his creative forays rest. This asset came to the fore in his alapanas of Lathangi and Khambodi. Crystal-clear gamakas glittered in the firmament of Lathangi. Whether in the handling of a gently oscillated dhaivata or superfast brigas, an organic unity was evident in the raga’s development.Papanasam Sivan’s ’Venkataramana’ with disciplined ordering of sangatis carried the impact of a vocal rendition, the sarvalaghu swaras interspersed with characteristic swirls unique to the instrument.The artiste scored again with Papanasam Sivan’s poignant ‘Thunai Purindarul’ (Varamu). Seasoned pidis and a natural progression of ideas shaped Khambodi, particularly in the tara sthayi.After a decisive rounding off at the shadja, the exposition settled down to a leisurely exploration of the madhya sthayi at the panchama and gandhara suite via long, intertwined garlands.