Hyderabad Brothers (D Seshachari & D Raghavachari) - Delhi Sunderrajan - Trivandrum Balaji - Udupi Srikanth
Sri Parthasarathy Swami Sabha
Vidya Bharathi
25 Dec 2019, 4 pm
evvari bOdhana - AbhOgi - Adi - PSI
cinnanADEnA - kalAnidhi - Adi - T
entha ninnE - mukhAri - rUpakam - T (sketch NS)
ekkAlathilum maravEnE - nATTakuranji - tisra Ekam - Ramaswamy Sivam
sarasIruha nayanE - amrutavarshiNi - Adi - T (RNS)
paramAtmuDu - vAgadIsvari - Adi - T
Emi jEsitEnEmi - tODi - misra cApu - T (RNST)
ragupatE rAmA - sahAnA - rUpakam - T
rAkA sasi vadanA - takkA - Adi - T
taruNi nyAn - dvijAvanti - misra cApu - ST
bhAvayE pavamAna nandanam - yamunA kalyANi - misra cApu - BR
A very good concert. An absorbing mukhAri. Sedate nATTakuranji. A very classical and educative amrutavarshiNi. A grand tODi and mesmerizing dvijAvanti.
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Concerts by masters are always an experience to watch for. They always give the listener new things to learn and also present time-tested master pieces in their own nice way to make the overall concert
experience a great one.
When Seshachari (of Hyderabad brothers) took mukhari as the first ragam of their evening concert, it made the audience sit up. The mood was already set with a racy rendition of the abhogi varnam and thyagaraja's kalanidhi one-hit-wonder 'chinnanaadena'. The mukhari was crisp and neat. It showed the essential flavours of this joyous ragam. Thyagaraja's entha ninne was presented with neraval and swarams at 'kannulaara sevinchi'. It was beautiful and enjoyable. Delhi Sunderrajan on violin was in his elements showing the contours of the ragam in his own way. An emotional and sedate rendition of ekkalatilum maravene (nattakuranji, Ramaswamy Sivan) was the next number. A masterpiece presented by masters. Trivandrum Balaji on the mrudangam and Udupi Srikanth on the kanjira gave an able support to this sedate rendition.
When Seshachari took up amruta varshini as the next ragam for elaboration. It was a joyous moment. The alapanai was in detail and developed in a good progression. A classical and anchored alapanai of the ragam got an equally good response from Sunderrajan. Saraseeruha nayane, a rare thyagaraja kriti was presented neatly with elaborate neraval and svarams at 'vara dAyaki amruta varshiNi'. The neraval and svarams by both Seshachari and Raghavachari were gelled well with amazing coordination. The brothers sang paramathmudu of thyagaraja as the next item, as chosen by a rasika who walked up to them and asked for it.
The main alapanai was in todi. The brothers shared the alapanai and it was a good rendition of the ragam by both vocalists and the violinst. Thyagaraja's master piece emi jesithenemi was rendered with neraval and svarams at 'kAma mOha dAsulai shrI rAma'. very interesting svara patterns. sa da kAma moha was one such example which lead the audience to a splitting laughter as Seshachari commented about it. There was an elaborate tani which followed through.
With about more than half-an-hour of concert time left, it was not clear what would come next. When a slow ragahupathe rama in sahana followed, one thought a pallavi could come. Then came a racy rAkA sashivadana in takka. This is when another rasika walked upto the stage and asked for a song on Hanuman, since it was hanumath jayanthi that day.
Seshachari then asked the audience if they want padam and javali or songs on hanuman. The unanimous response was that both were wanted. Dvijavanthi padam tharuni nyaan was presented next in a very enjoyable manner followed by bhavaye pavamaana nandanam in yamuna kalyani.
The concert was a great presentation by the vetaran artists who were supported well, by their accompanists. It was an awesome concert. The amruthavarshini was a learning experience while the todi was a masterpiece, presented in style.
