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Malladi Brothers, Nadasurabhi Annual Festival , 03 Nov 2018

Vocal : Malladi Brothers ( Sriram Prasad & Ravikumar)

Violin : Nishant Chandran

Mrudangam : Tumkur Ravishankar

Ghatam : S N Narayana Murthy

List :

01 taruNi ninnu (varNam ) – kAmbOji – Adi – Fiddle Ponnuswamy ( O )

02 nArada gurusvAmi – darbAr – Adi – Thyagaraja ( A,S )

03 entani nE varNintunu – mukhAri – rUpakam – Thyagaraja ( N,S )

neraval & svara @ ‘ kanulAra sEvinci kammani phalamula nosagi’

04 shLOkam ( shrIman nrusimha vibhavE garuDa dhwajAya ) – mohanam

narasimha AgacchA – mOhanam – mishrachap – Dikshitar ( S @murahara nagadhara)

05 dhyAnamE varamaina – dhanyAsi – Adi x 2 – Thyagaraja ( A,N,S,T )

neraval & svara @ ‘dhyAnamE varamaina gangAsnAnamE rAma-‘

06 sharavaNabhava ennum – SaNmukhapriya – Adi – Papanasam Sivan

07 RTP – nATakurinji – khaNDa tripuTa, pUrvAngam in tisra naDai & uttarAngam in chaturashra nAdai , samam eDuppu

pallavi line ‘ sadA gOpAlakrSNam bhajEham, sAmaja vara gamanam’

rAgamAlika svaras in ‘AbhOgi, saraswati, vasanta, vAsanti, sAma, hindOlam, nATakurinji

08 bhAvamulOna bAhyamunandunu – shudha dhanyAsi – Adi – Annamacharya

09 sadA enna hrdayadalli – behAg – rUpakam – Vijaya Vittala Dasa ( short sketch )

10 pUraya mama kAmam – bilahari – Adi – Narayana Theertha

11 antA rAma mayam – varALi – Adi – Bhadrachala Ramadas

12 shLOkams – madhyamAvati

Very fulfilling concert. It is one of such days when everything fallen in line. There was very good coordination among all the artists, the sound levels were comfortable and Tumkur Ravishankar was fantastic. Nice selection of ragas and compositions to add to the overall good feeling.

Started 10 min late due to the late arrival of the percussion artist, who was delayed due to the Saturday evening traffic. A brisk varnam(  repeat of last year ) in kAmbOji.  Short alapana in darbar by the senior of the duo, no violin return, moved on to a beautiful rendition of nArada guruswami. Of all the darbar compositions of Thyagara, this has a different feel. They sang it brilliantly , the kriti as well as the swaras that followed. A moving mukhAri, in entani nE. Fabulous neraval and kanulara sevinci. Both the singers worked around the ‘karunala sevinci’ words with some impressive takes. The words and lines are very clear when they sing, the meaning stands out. Fitting swaras too.

A shlokam ( lakshmi narasimha strotram) before narasimha Agaccha. I thought, they sing it a notch faster than usual, or it felt so probably because the other two prior to this were slower. Swara was sung at the madhyamakala sahityam, with some quick wordplay around murahara nagadhara. Dhanyasi main with a detailed long alapana by Ravikumar. Very classy, most of the phrases were in the higher octaves, typical progression. A minute or two to explain the composition before dhyaname varamaina.  Going with the earlier explanations, they decided to do the neraval at the pallavi line, executed commendably.  Two speed swaras with some good phrases. Tumkur Ravishankar and S N Narayanaswamy played a very good tani avartanam, I am becoming a fan of Narayana Murthy now. The percussion duo played brilliantly through out the evening.

A pallavi was sure to come and he announced it on Krishna on the occasion of upcoming deepavali. Good natakurinji alapana shared between both the singers. Nishant Chandran played an outstanding alapana in his turn. Good tanam, slow, leisurely sung to maximize the impact and well received. Pallavi with trikalam was executed well , long chain of ragamalika swaras alternated between one of the singers and repeated by violin. The concluding part of the swaras , back in nAtakurinji, wasn’t done well,  as Ravikumar slipped , stopped, regrouped a couple of times. He was referring to some written notes ( surprising) and he seemed to have missed the footing and struggled a bit, before landing it perfectly.

Post main was , as expected, consisted of compositions of Annamacharya, Bhadrachala Ramadas and Narayana Theertha apart from a devarnama. They were all sung well, a short alapana of behag was nice. A very balanced and well executed concert.

 

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Posted by on November 3, 2018 in Uncategorized

 

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Malladi Brothers @ Nadasurabhi Annual Festival , 04 Nov 2017

Vocal : Malladi Brothers ( Sriram Prasad&Ravikumar)

Violin : Nishant Chandran

Mrudangam : Tumkur Ravishankar

Ghatam : S N Narayana Murthy

List:

01 ninnE kOriyunnAdE (varNam) – kAnaDa – Adi – Pallavi Gopala Iyer ( A,S )

02 pancamAtangamukha – malahari – rUpakam – Dikshitar  ( O,S )

03 adE cUDare mOhana rUpam – mOhanam – Adi – Annamacharya ( A,S )

04 nADaDina mATa – janaranjani – Mishra Chap – Thyagaraja  ( N,S )

neraval & swara @ talaku vaccina bAdha talapAgaku sEtu’

05 ninna nODi dhanyanAdenO – pUrvikalyANi-rUpakam- Purandara Dasa ( A,N,S )

neraval & swara @ ninna nODi dhanyanAdenO hE shrInivAsa

06 shLOkam ( gAngEyam vahnigarbham) – mukhAri  ( O )

kaNNAra kaNDEnE kadirvElanai – mukhAri – Adi – Neelakanta Sivan

07 mahitA pravrddhA shrImati – kAmbOji – tishra triputa – Thyagaraja (A,N,S,T)

neraval & swara @’ mahita pravrdhha shrImati guha gaNapati janani’

08 jAnaki ramaNa – kApi – Adi – Vanamala jIyar ( O )

09 bhaja bhagavantam ramaNam kAntam – rAgamAlika – Lakshmana Kavi ( O-dEsh)

10 shrIrAma jayarAma shrngArarAma- yadukulakAmbOji – Khandachap – Thyagaraja

11 shiva shiva bhava sharaNam – saurAStram – Adi -Narayana Theertha

12 shLOkam ( mangaLam kOsalEndrAya) – madhyamAvati

Impeccably planned and executed concert by the pair. Whole variety of composers and ragam , cleverly chosen. Full marks to them for that. Also, almost everything was ‘baroque’d with an alapana here, swara prasthara or neraval. One get a wholesome feeling, despite the missing RTP. Very well done.

These days, new varnams are being pushed back in circulation. Sanjay is paioneering that effort and it is heartening to see Malladi Brothers sing an Adi Tala varnam in Kanada. There was a 2-3 minute alapana in kAnaDa and I was almost humming nera nammiti. Pallavi Gopala Iyer’s varnam was not heard in concert. There was few rounds of kalpana swaras at the end. Malahari kriti was ok, so was the short mOhanam alapana. Annamacharya composition tuned by Nedunuri garu ( the clue could be from the pallavi line) was nice.

Janaranjani was brilliantly sung, with a good neraval and decent kalpana swaras and that also helped in lifting the concert to the next level. Sriram Prasad, spoke on the importance of the composition’s bhava and the importance of lyrics. Purvikalyani alapana was fairly lengthy and very well sung. Nishant Chandran, I thought was very good in his return. Purandara Dasa devarnama was a surprise. There was an elaborate neraval at the pallavi line, with some emphasis on ‘he shrInivAsa’. Again, another detailed swaraprasthara.

They started a slow mukhari alapana and suddenly the hopes were raise for a muripemu. But that was short lived as he started a shLoka on Subramanya. Soon, we were scratching our head on a ‘Subramanya kriti’ in mukhAri, and we could not come up with one. Neelakanta Sivan’s kriti was again a pleasant surprise. Interestingly, this time they decided not sing any swaras ( all the previous 5 including the varnam was followed up with swaras).

Ravikumar started kAmbOji alapana. A wonderful effort, brilliantly portrayed the kAmbOji in its full. Nishant Chandran played good return. Lalgudi pancharatna kriti of Thyagaraja was again a welcome change. There was some hiccup in the middle but had a wonderful neraval , yet again at the pallavi line. Kalpana swaras started well in slow speed and progressed to second speed. Ravikuar had a couple of missteps in his calculation and had got it right after a couple of attempts. Tumkur Ravishankar and Narayana Murthy played an impressive tani avartanam. They percussion team was very good through out the evening. I usually like Ravishankar’s accompaniment.

Of course, there was no time for a pallavi. However, they sang some good post main kritis, starting with their schools staple, jAnaki Ramana. A kriti of Lakshmana kavi was set to tune by their father Malladi SuruBabu garu, featured next after a sweet little desh sketch. Thyagaraja kriti in Yadukulakamboji and Narayana Theertha’s saurAshtram concluded the concert with the mangala shlokam. Again, probably for the first time, I am listening to the mangalam kOsalendraya shlokam in full. Very good concert by the Brothers yesterday.

 
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Posted by on November 5, 2017 in Uncategorized

 

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Malladi Brothers, Nadasurabhi Annual Festival 4th Nov 2016

Vocal : Malladi Brothers

Violin : Chrulatha Ramanujam

Mrudamgam : Tumkur Ravishankar

Morsing : B Rajasekhar

List:

01 sAmi daya jUDa (varNam) – kEdAragauLa – Thiruvottiyur Thyagayya

02 paramEshvara jagadIshvara shankara – nATa – Dikshitar ( S )

03 lEkanA ninnu – asAvEri – Thyagaraja ( A )

04 kAshi vishAlAkSim bhajEham – gamakakriya(purvikalyANi) – Dikshitar ( A,N,S )

neraval & swara @ kAshipuranivAsinIm kAmita phaladAyinIm’

05 shrI kAmAkSi – dEvagAndhAri – Spencer R Venugopal

06 chalamElarA sAkEtarAmA – mArgahindOLam – Thyagaraja

07 tanayuni brOva – bhairavi –  Thyagaraja ( A,N,S,T )

neraval & swara @ ‘ vatsamu veNTa dhEnuvu chAnunO vAridamunu gani pairulu chUnunO’

08 RTP – valachi –  khaNDa triputa x 2 kaLai , +1 eDuppu

pallavi line ” shivadhyAnam gAnam abhiSEchanam, parama pada sAdhanam sadA-‘

rAgamAlika swaras in shrIranjani, shankarAbharaNam, jog?

09 dharma shravaNa vidatakE – durga – Purandara Dasa

10 navanIta hOrA namO namO – chenchurutti – Annamacharya

11  sadA enaa hrdayadalli – behAg – Vijaya Vittala Dasa

12 maraLi maraLi jaya mangaLAm – madhyamAvati – Annamacharya

shLOkam ( shrI rAmachandrAha ) – surutti

I have been missing concerts for a while and could not make it to the first three concert of this annual fare. Varnam was concluding as I entered, but my better half was there to tell me it was kEdAragaula.

Concert in all was good with very innovative selection of kritis and raga. And for the fat,it did not have the long chain post pallavi. Though I liked the overall concert, few areas weren’t smooth for me. But first what was good.

Natta kriti , it has a very nice structural construct to it and sound very refreshing. Not the typical nATa drags. A very similar kalpana swara takes were impressive. But  the transition from Sriram to Ravi wasn’t great. Some thing was amiss there. Some of the swara phrases were brilliant, though.

Whenever I have a chance to discuss possible choices of raga in a concert, I always put forward an asAvEri and gauLa for some detailed treatment. So, when I heard the start of an asaveri alapana, it gave me goosebumps. It was short and pretty nice, with an ever shorter return from Charulatha. Lekana was a nice, and to my dismay there was no swaras ( leave alone neraval) here.

Poorvikalyani alapana from Ravi was pretty impressive, some of the higher octave alapanas were awesome. Charulatha did a commendable job in her turn too. To make it a grand affair, kAi vishlakshi ( choice for the day) had a classy neraval and some detailed kalpana swaras.

Two small pieces before the main. The devagandhari kriti of Spencer Venugopal was very good. I liked the way it was composed and sung. Pallavi line structure  was brilliant. Some thing like 1-3-9 concept. Chalamelara was dud.

Sriram started bhairavi alapana. He, possibly, was having some difficulties with his throat, hence sang most of his part in lower , small phrases. Ravi took it over singing the longish, higher octave parts. Overall not very impressive. I expected them to sing, upacharamu jese, but tanayuni brova was brilliant choice. I haven’t heard it concert for a long long time. Neraval was done at the complete line, so was the kalpana swaras. They were good, but nothing of a grand affair. Tani avartanam followed. Tumkur Ravishankar in his typical style and Rajashekhar impressed the audience with his tiny instrument and some clever sounds.

A pallavi was sure to make an appearance. Valachi/valaji was the choice and this was far better. Both alapana and tanam were top class , again Ravikumar stole the vocal part. Charulatha had a field day. Her alapana and tanam received enthusiastic responses. Tanam was mesmerising from her. I loved the pallavi line. Not sure if it is created by them or inherited from their Guru. Pallavi itself was very very good. Trikalam was done with such good control. The kalpana swaras as well asthe ragamalika swaras were good. And most importantly, they gave it ample time and did not rush it through.

Charulatha was in supreme form. I liked almost every thing she did last evening. Not sure if it was because of the effect in the hall; there was a little reverb for the violin, creating an awesome effect. Ravishankar and Rajashekhar were pretty decent through out.

Post main , luckily, wasn’t a long and never ending. Couple of Annamayya compositions and a devarnama constituted the most of it.  Good concert, loved for some refreshing list of ragas and kritis.

 
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Posted by on November 5, 2016 in Uncategorized

 

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Malladi Brothers , Nadasurabhi Annual festival 06 Nov, 2015

Vocal : Malladi Brothers ( Sriram Prasad & Ravikumar)

Violin : Charulatha Ramanujam

Mrudangam : Tumkur Ravishankar

Ghatam : Tumkur Shashishankar

List:

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.

 
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Posted by on November 7, 2015 in Uncategorized

 

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Malladi Brothers @ Ramaseva Mandali, Fort School 18th Apr 2014

Vocal : Malladi Brothers

Violin : V Sanjeev

Mrudangam : K V Prasad

Ghatam : Dr S Karthick

List:

01.  evvarE rAmayya – gAngEya bhUshaNi – Thyagaraja ( short sketch, S )

02.  entarANi tanaku – hari kAmbOji – Thyagaraja

03.  nitya rUpa evari pANDitya – darbAr – Thyagaraja ( A,S )

04.  kadalE vADu gAdE – nArAyaNa gauLa – Thyagaraja

05.  palu vichAramulElA – shaNmukhapriya – Annamacharya ( A,N,S )

neraval @ “mEradO (?) SrI venkaTEsha ninnu golichidinEnu”

06.  Emayya rAma – kAmbOji – Bhadrachala Ramadas  ( started at anu pallavi)

07.  durusugA kripAjUci – sAvEri – Shyama Sasthri ( A,N,S ,T )

neraval & swara @ ‘ parama pAvani kripAvani vinuta padasarOja praNatArthi haru rA nI’

08.  rAma nAma mukunda mAdhava- junjhuti – Yogi Narayana

09.  jaya jaya durgE – durga – Narayana Theertha

10.  smarisO sarvada hariyA – hamIr kalyANi? – Purandara Dasa

11.  pAhi pAhi jaganmOhana krishNA – kurinji – Narayana Theertha

12.  challarE rAmachandruni – Ahiri – Thyagaraja

13.  SLOkam ( mangaLam kOsalEndrAya) – surutti

Armored with a Donor Pass, which guarantee me a seat in the advanced rows, this was my first concert of the season at Rama Seva Mandali. Amidst the fear of rain, and chaos of Friday traffic, I seems to have reached fairly early at the venue. Half an hour of wait in the end did not matter as the duo delivered another stellar performance. As always, they gave a good concert, but I am still waiting to be overwhelmed.

Compensating for the delayed start by 10 mins, they skipped the varnam ( or is that the new shift ) and started with the gangeyabhushani kriti. Ravikumar sang a shortish alapana to begin with before launching into evvare rAmayya. Darbar ( again by Ravikumar0 was the first detailed alapana, executed beautifully. Good to see ‘nitya rupa’ being selected instead of the usual rAmabhirAma or yochana. Swara was nice too. Rarely heard nArayaNa gauLa kriti was interesting. Not sure if there is any other known reference apart from the youtube link of Chittoor Subramanya Pillai’s rendition of this kriti. Shanmukhapriya alapana was also decent, especially yhe lower octave phrases were very impressive.palu vicharamulela , was only heard from their school, set to tune by their guru Sri Nedunuri Krishnamurthy. A good neraval and exquisite kalpana swaras added weight to the kriti. Another gem of a kriti came in as a filler before the main.

Saveri alapana was just ok, nothing to talk home about. It did have the traditional passages, in all three octaves , few interesting takes. So much for the alapana, that some one in my proximity thought and suggested it was thODi.My attempt to set things right did not have his approval until the kriti was sung and a quick referral to the ‘pocket guide’ confirmed the kriti to be sAvEri. He gave a gallant smile and thumbs up to my ‘prediction’. In the meanwhile, Sanjeev’s return were more pleasing and appealing. However, the kriti ( not sure why, I was expecting rAma bANa to come) was sung brilliantly with a fantastic neraval. I love long neraval lines, and the duo probably fell short of my expectations by closing out the neraval rather soon ( Dont read too much into it, as I would have preferred it to go on and on and on). Kalpana swaras was equally good.

Mildness is the virtue of Sri K V Prasad. He played along the music beautifully with Karthick through out the day. The duo later gave a fabulous tani avartanam which was well received by all. The accompaniment in general was of high standard. Post main was a typical fair from their side. A chain of kritis from devarnama to Narayana theerthar’s tarangams and an odd ahiri kriti (probably a request) in the end. A very satisfying concert by the brothers.

 
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Posted by on April 19, 2014 in Concert songlist

 

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