Vocal: Vid. MalladiBrothers
Violin: Vid. CharulathaRamanujam
Mridanga: Vid. TumkurRavishankar
Morsing: Vid. BRajashekar
01 sAmi daya jUDa varNa kEdAragauLa tiruvetriyUr tyAgaraja ( O S )
02 paramEshwara jagadIshwara shankara nATa Adi M.dIkshitar (S)
Swara @ panchanadIshwara
03 lEkanA ninnu juTTuukonnAru asAvEri Adhi thyAgarAja (A)
04 kAshi vishAlAkshIm bhajEham gamakakriyA cApu m.dIkshitar (A N S)
Nereval@ kAshipura vAsini
05 Sri kAmAkshi dEvagAndhAri m.cApu Spencer R vENugOpAl
06 chalamElarA mArgahindhOla Adhi thyAgarAja
07 tanayuni brOva bhairavi Adi 2kaLai tyAgarAja( A N S T)
Nereval @ vatsamu veNTa
08 rAga tAna pallavi valaji khaNDa tripuTa 2 kaLai, 2 beat edupu
Pallavi Line: ShivadhyAnam gAnam abhishEjanam .. parama pada sAdhanam sadA
RagamAlika in : sriranjani, shankarabharaNa, Rasikapriya
09 dharma shravaNa vidEtake durgA tiSra naDai p.dAsa
10 navanIta chOra namO namO NavrOj aNNammAchArya
11 sadA enna hridayadalli bEhAg Adi vijaya dAsa
12 maraLi maraLi jaya mangaLam madhyamAvathi aNNamAchAryA
One of the greatest signs of a mature professional is the ability to deliver the desired goal even when they are equipped with their full complement of resources. While youth is typically exemplified by that inability or refusal to accept temporary setbacks in previously available skills, maturity brings with it the willingness to eschew certain aspects of your abilities which are not at the levels you previously enjoyed.
In sporting terms, think of Sachin Tendulkar's 241 at Sydney in 2004, where he batted for 10 odd hours without once attempting the cover drive - one of his greatly productive strokes in the past, but one which had been getting him to trouble more recently. On a more sustained basis, it was also how he reinvented his batting after his tennis elbow surgery.
In Carnatic music history, the late Ariyakudi Ramanuja Iyengar was the accepted benchmark for his ability to deliver consistent quality, irrespective of the state of his voice on any given day.
In the concert by the Malladi Brothers for Nadasurabhi, it was clear Vidwan Sriram Prasad's voice was not in the best of forms, particularly in the higher register. It was a lesson in planning how he stayed within the limitations of that day without compromising on the experience for the audience; he stayed and revelled in the lower register to phenomenal effect.
Of course, it helped that he had a partner who was in fine fettle, much like SRT had Very Very Special Laxman for company in that innings of 241! In addition the pitch conditions created by Vid. Charulata Ramanujam and Vid Tumkur B Ravishankar, Vid. B Rajashekar elevated the experience to a different plateau all-together.
It was almost during the Ramanavami season, I had an opportunity to listen to Brothers at Bangalore, and did not want to miss this opportunity.
With an outline, the team presented a sedate kEdAragaula, with utmost care to present the rAga bhAva. The mandra sthAyi zone resonated with the audience who were nodding to the tune.
nATa presented a tough challenge to the senior sibling. While they presented the swaras, the tennis elbow effect was very evident throughout. The swara patterns did not sound familiar. He was still exploring himself in the limited zone created by an un-cooperative voice. It must have been a though phase, but what I appreciated was they explored their new boundaries. Coming out of the comfort zone deserves a special applause.
asAvEri krithi with more notes floating in the mandra zone, brought back the controls of the concert to the singing siblings. AlApane was crisp and to the point.
2 fillers occupied the slots before the main came in the form of Bhairavi. Both brothers explored the chasm of Bhairavi to bring out the best rAga bhAva. It was quite a detailed exploration through known passages and few new patterns. Vid. Charulata scaled the AlApane to new heights bringing in her manOdharma and finesse in playing.
manOdharma presented during tanayuni brOva evoked the bhakti rasa resembling what tyAgarAga imagined during his composition.
Tumkur Ravishankar and B Rajashekar did a fine job of delineating the tani in the same swara patterns as the muktAyi presented.
Valaji was a surprise choice for RTP. Detailed shared delineation of rAga and tAna evoked many instances of applause from the audience.
durga, navrOK, bEhAg occupied the post main slots before ending with the customary maraLi maraLi ...
The concert should be remembered for a long time for 2 reasons. How artists explore beyond their comfort zone and the way team scaled up to the surprises (of manodharma) on stage. Hope they are fit as a fiddle when they embark the ambitious MARGAZHI Season shortly.