Young Rakesh Sudhir is a devoted disciple of Vid. A.V. Prakash, the late flute maestro of Mysuru. Having imbibed the pristine classicism and grace of his Guru’s style, Rakesh now carries forward this legacy with deep commitment.

Through his music school, Bamboo Melody Raagas, he not only trains aspiring flautists but also provides them a platform to perform and grow. Fittingly, these concerts are presented under the banner ‘Krishnaarpanam Series.’

As part of this series, Vid. Rakesh Sudhir shared the stage with his young disciple Vibhav on Oct. 12, at Kalpa Kshetra in Vijayanagar 3rd Stage, Mysuru. They were accompanied by Pavan Madhav on mridanga and Sharath Kaushik on ghata.

Though Rakesh himself played the flute, it was evident that his primary intent was to showcase and encourage his promising student.

The concert began with a traditional invocation, ‘Shree Gananatham Bhajare’ in Raga Eeshamanohari, composed by Muthuswami Dikshitar. Right from this opening piece, young Vibhav displayed admirable confidence and clarity.

The next composition, ‘Maathe Malayadhwaja,’ a Daru in Raga Khamach by Muthiah Bhagavatar, was rendered at an engaging pace, revealing Vibhav’s control and enthusiasm.

In the Raga Bahudhari alapana, Vibhav showcased his manodharma with creative improvisations, his delicate fingering weaving a charming melodic tapestry. His Guru joined in, extending the raga’s depth and expression. T. Chowdayya’s composition ‘Prasanna Ganapathe’ followed, with brisk kalpana swaras between the duo adding sparkle and energy to the rendition.

It is rare to encounter kritis in Raga Garudadhwani beyond Tyagaraja’s ‘Tattvameruga.’ Hence, Mysore Vasudevacharya’s ‘Devi Kamalalaye’ was a refreshing inclusion. Other pieces like the evergreen ‘Anupama Gunambudhi’ in Raga Athana, the majestic Pancharathna ‘Endaro Mahanubhavulu’ in Raga Sri and ‘Sada Palaya’ in Raga Mohana added variety and depth to the concert. Each presentation was marked by well-defined gamakas and appropriate raga bhava, making it a delightful musical experience.

Vibhav’s precision in laya and swara shuddhi affirmed his promise as a flautist of the future. Pavan Madhav and Sharath Kaushik provided vibrant rhythmic support throughout, enhancing the concert’s overall texture.

The recital concluded with a few lighter tukkadas — ‘Mahadeva Shiva Shambho’ (Revathi), ‘Govardhana Giridhara’ (Darbari Kanada) and a lively Thillana in Dhanashree.

A young bundle of talent, Vibhav surely has a long and melodious journey ahead.

—Dr. Rama V. Bennur