Vocal : Malladi Brothers ( Sriram Prasad & Ravikumar)
Violin : Charulatha Ramanujam
Mrudangam : Tumkur Ravishankar
Ghatam : Tumkur Shashishankar
01. taruNi ninnu ( varNam) – kAmbOji – Fiddle Ponnuswamy
02. shrI raghukula suguNAlaya – bhairavi – Thyagaraja ( O,S )
03. bhajarE bhajamAnasa – kannaDa – thyagaraja ( A,S )
04. shLOkam ( emmulE sarva bhUtANi ??) – sAvEri
tuLasi jagajjanani – sAvEri – Thyagaraja
05. palu vicAramulElA – Sanmukhapriya – Annamacharya ( A,N,S )
neraval & swara @ ‘mEratO shrI vEnkaTEsha mimmugolichiti nEnu’
06. shrI rAmam ravikulAbdhi sOmam- nArAyaNa gauLa – Dikshitar
07. RTP – sUryakAntam – mishrajAti tripuTa x 2 kaLai 1/2 eduppu
shrIyam dEhi, yashO dEhi, balam dEhi, jagadIshA | sUryadEvA satatam ‘
rAgamAlika swarams in ‘yadukula kAmbOji, mAtakurinji, dhanyAsi, amrutavarSiNi
07b. tani Avartanam
08. bhavamulOna bhAgyavu – shuddha dhanyAsi – Annamacharya ( MSS tribute)
09. bArayya rangA bArayya krSNA – kApi – Purandara Dasa
10. EmiTiki dayarADu – Ananda bhairavi – Bhadrachala Ramadas
11. shiva shiva bhava sharaNam – saurAshtram – Narayana Theertha
12. shLOkam – suruTTi – ?
srIyAy kAntAya – madhyamAvati
Two sibling pairs on the stage probably are rare. I was about to say for the first time, but the 4 violin combo of Ganesh-Kumaresh and Nagaraj-Manjunath which happened a while ago, made me to take a step back. But these instances aren’t common.
Being Friday and the start of the Festive week coming up, it wasn’t easy to reach the venue at the start of the concert. That resulted in me missing both the first two pieces and a major chunk of the kannada ( I reached before they started the kalpana swaras). My better half and a other friends who reached before me filled in the missing pieces here.
Undoubtedly, the ‘piece de resistance’ is the Suryakantham pallavi. They said, it as a ‘manthra nAda pallavi’ taken from ‘Suryamanthra’ and presenting it for the first time ( for ‘our’ Nadasurabhi, they said prompting immediate enthusiastic applause – silly trick). Leaving that aside, the alapana from Ravi was top class. The crisp and clearly indicating the the favour of the raga was parleyed upfront, which made the rest of the listening of the alapana easy. The issue with these kind of raga are the only association to this is ‘muddumOmu’. As I said, the alapana was brilliant, with some impressive higher octave phrases. Charulatha did well at the beginning but probably had a bit off in the middle. However, she came back with a stupendous tanam. Tanam, with the percussion joining in ( personally I thought it would have been better without percussion) was even better, especially some of the ideas originated from the younger brother. Brilliant tanam presentation. Pallavi line, taken from suryamanthram as they announced was good. The ‘trikalam’ was executed impeccably well, with percussion being spot on. I think they did a 4th speed variation as well, if I remember it correct. The yadukula kamboji swaras in the ragamalika was very impressive, the rest was ok. The percussion brothers did a commendable tani avartanam post the pallavi.
Shanmukhapriya, which was the other important piece was also notable. Sriram’s alapana started very well, but had some average moments in the middle, before he came back to the groove and finished it well. Palu vicharamulela, mostly heard from Nedunuri school is an interesting kriti. Annamacharya kriti, set to tune by their ‘Guru’ was presented beautifully. The neraval was grand, so was the kalpana swaras that followed.
Earlier, the kannada swaras were very good, and a nice narayana gaula kriti as well. Post main had a MSS tribute, a kriti taught to MSS by their Guru in shuddha dhanyasi. A kapi devarnama and their ‘customary’ anandabhairavi ( but I like this Bhadrachala Ramadas composition) was sung before a tarangam in saurashtram. I am listening to this for the first time and it was very good. Very good concert by Malladi Brothers with a Suryakantam Pallavi to remember and talk about for few years.