Vocal: Trichur Brothers (Srikrishna Mohan & Ramkumar Mohan)
Violin: Vid. SJanardhan
Mridanga: Vid. TrichurMohan
Ghata: Vid. KovaiSuresh
Venue / Occasion : Odukattur - Janmashtami Celebrations
Song list
01 vIribONi varNa bhairavi khaNDa aTa pachchimiriam Adiappayya
02 vara vallabha ramaNa hamsadhvani Adi GN bAlasubramanian
03 mOsabOku vinavE satsahavAsamu gauLipantu Adi tyAgarAja
04 karuNA chaivAnendhu yadhukula kAmbOdhi Adi iriyathaman thampi
05 niravadhi sukhada nirmala rUpa nirjita muni shApa ravicandrikA Adi tyAgarAja
06 harihara putram vasanta khaNDaEka m.dIikshitar (A, N, S, T)
07 vande bhAratAmbe rItigauLa Adi COMPOSER
08 rAga tAna pallavi kApi khaNDa triputa 2 Kalai , 2 beats after samam
09 viruttum nanmayum shelvamum rEvati
10 rAghava sundara rAma raghuvara rEvati
11 bhAgyAda lakshmi bAramma madhyamAvathi Adi p.dAsa
12 shlOka medley
A well-structured concert that showcased the Brothers’ characteristic blend of precision, shared manodharma and clear enunciation. The presentation maintained good balance between kalpita and kalpana segments, with thoughtful kriti choices and solid support from the accompanists.
The concert opened with the khaṇḍa aṭa tāla varṇam vīribōṇi in Bhairavi (Pacchimiriam Adiyappayya). Rendered with clean articulation and steady tempo, it set a firm classical foundation; the muktāyi swaras were crisply delivered.
G.N. Balasubramaniam’s Vara vallabha ramaṇa in Hamsadhvani (Adi) followed at a lively pace. The kriti sparkled with its characteristic brightness, and a few rounds of swarakalpana added energy without excess.
Tyagaraja’s Mōsabōku vinavē in Gauḷipantu (Adi) brought a change of mood. The Brothers handled the raga’s distinctive flavour with care, the sahitya coming through with clarity.
Irayimman Thampi’s Karuṇā chaivānendhu in Yadukulakāmbhōji (Adi) was taken next—an attractive choice that allowed the raga’s languid beauty to emerge. The rendering was measured and bhava-oriented.
Tyagaraja’s Niravadhi sukhada in Ravicandrikā (Adi) provided a bright interlude before the main suite. The kriti’s flowing gait suited the Brothers well; short swara passages kept the momentum lively.
Vasantha was the chosen raga for the major alapana. The Brothers built the raga systematically, exploring its characteristic phrases and the interplay of the two voices with good understanding. The alapana had both breadth and focus, avoiding unnecessary elaboration. Dikshitar’s Harihara putram in khaṇḍa ēka was the vehicle. The kriti was rendered with dignity; neraval and subsequent swara kalpana were well-coordinated between the two vocalists, with Janardhan offering precise and imaginative replies.
The tani āvartanam by Trichur Mohan and Kovai Suresh was compact yet satisfying—solid sollus, good interplay and a clean finish that rounded off the main suite effectively.
Post-tani, Vande Bhāratāmbe in Rītigauḷa (Adi) offered a pleasant change of pace.
The RTP in Kāpi formed the intellectual centre of the latter half. Rāga and tāna were elaborated with clarity and shared imagination; the Brothers moved easily between phrases while maintaining the raga’s identity. The pallavi in khaṇḍa tripuṭa (2-kalai, eduppu two beats after samam) was taken with confidence. Trikāla and a few rounds of kalpanaswaras, including brief forays into related ragas, were handled cleanly. Janardhan’s contributions in both the tāna and swara sections were noteworthy for their fidelity and creativity.
A viruttam in Rēvati (Nanmayum shelvamum) led naturally into Rāghava sundara rāma raghuvara in the same raga. The short piece was sung with feeling.
Purandara Dasa’s Bhāgyāda lakshmi bārama in Madhyamāvathi (Adi) brought the expected auspicious close to the main sequence, rendered with the traditional warmth.
A brief śloka medley provided a fitting conclusion.
S. Janardhan provided consistent, attentive support throughout—his raga essays and swara replies were marked by good sruti alignment and tasteful imagination. Trichur Mohan on the mridangam offered experienced, understated accompaniment that never overpowered the vocals, rising appropriately during the tani and swara passages. Kovai Suresh on the ghatam added colour and precision, especially in the faster exchanges and the tani.
Overall aesthetic: classical, well-proportioned and free of excess. The Brothers’ synchronised approach and clear delivery ensured that both the compositional and improvisational elements remained accessible and satisfying. A solid, enjoyable concert.
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