Introducing the Quartet and the Concert Setting

At Unnati’s Gokulashtami music series in Bengaluru, a four‑member Carnatic quartet captivated the audience. Violinist Shreya Devnath, nagaswaram virtuoso Mylai Karthikeyan, mridangam player Praveen Sparsh and thavil exponent G. Silambarasan crafted a program that married time‑honoured repertoire with thoughtfully selected contemporary compositions.

Opening in Temple‑Style Processional Energy

The concert opened with thavil setting a brisk pulse, evoking a temple nagaswaram recital. Karthikeyan entered with the powerful "Gambheera Nattai" while mridangam and violin joined, leading into a Mallari composed by Karthikeyan in a complex Sankeerna‑Triputa tala. The ambience felt like a procession, yet the four instruments framed it within a concert hall setting.

Core Carnatic Kriti Presentations

Tyagaraja’s kriti “Ganamurthe” arrived after a concise raga prelude, allowing sarvalaghu patterns to shine in the kalpanaswara passages. This was followed by another Tyagaraja piece, “Hechcharikaga ra ra,” rendered in Yadukulakamboji and set to Khanda Chapu, delivering rhythmic clarity without haste.

Raga Alapana and Expansive Improvisation

The Bhairavi alapana marked the concert’s most expansive segment. Shreya began the raga on violin, and Karthikeyan expanded it on nagaswaram, each voice adding distinct breadth. Their dialogue highlighted the instrument’s contrasting timbres while preserving melodic cohesion.

Swara Kalpana and the Drona Karna Motif

During the swara‑kalpana on “Drona Karna,” Shreya revealed a pattern she learned from guru Lalgudi Jayaraman. Built around the sequence “ri sa ni dha pa ma ga ri,” the phrase was visualised as arrows released from a bow, mirroring the Mahabharata war imagery embedded in the lyrics.

Tani Avartanam, Expanded Repertoire, and Closing

The tani avartanam burst with vibrant rhythmic interplay, contrasting the smoother accompaniment of the earlier kritis. The quartet later ventured into Sant Tukaram’s abhang “Ba re Panduranga” (Maand), Rabindra Sangeet “Amar Mallika Bone,” and the beloved “Krishna nee begane baro” in Yamunakalyani, before concluding with Lalgudi Jayaraman’s Madhuvanti tillana and a traditional mangalam.

Historical Background

Carnatic music, the classical tradition of South India, has long relied on violin, mridangam and thavil as core instruments. The nagaswaram, a double‑reed wind instrument, is traditionally linked to temple celebrations and is revered as the “voice of the gods.” By integrating these age‑old timbres with contemporary compositional ideas, the quartet exemplifies a modern evolution of the tradition.

Why This Matters

BozokMedia analysis shows that such cross‑genre collaborations rejuvenate classical traditions, attract younger audiences, and ensure the financial sustainability of Carnatic music institutions across India.

"When classical and contemporary languages converge, they not only broaden listener horizons but also safeguard the lineage of the art form," notes musicologist Dr. Anil Kumar.

Frequently Asked Questions

Q1: Did the quartet follow a specific theme for the concert?
A: Yes, the program was curated around the Gokulashtami festival, weaving traditional devotional pieces with modern interpretations.

Q2: What is the broader significance of such collaborations?
A: They engage younger listeners, expand the reach of classical music, and foster artistic innovation among musicians.