Violin: Vid. BaluRaghuram
Violin: Vid. AparnaRaghuram
Mridanga: Vid. BPraveen
Ghata: Vid. OmkarRao
Organiser / Venue : MANMF MESK
01 vanajAksha bEhAg Adi TRSubramaniam
02 brova bhAramA bahudArI dEshAdI tyAgarAjA (A, S)
03 ambA kAmAkshi bhairavi swarajathi miSra cApu shyAma shAstri (O)
04 raghunAyaka nI pAdhayUga Hamsadwani deshAdi tyAgarAja (A, S)
05 sogasugA mrudanga tALamu shrIranjani rUpakA tyAgarAja (A, S)
06 niravadhi sukhada nirmala rUpa nirjita muni shApa ravicandrikA Adi tyAgarAja
07 shrI kAntImatim hEmavati (simhavaram) Adi m.dhIkshitar (A, N, S, T)
08 sangamam kIravANi Adi USrinivasURajesh
09 tillAna karNaranjani Adi GaneshKumaresh
10 nI nAma rUpamulaku mangaLa sourAshtra Adi tyAgarAja
**Balu Raghuram & Aparna Raghuram at MANMF MESK – 30 August 2026**
Violin: Balu Raghuram & Aparna Raghuram
Mridangam: B. Praveen
Ghatam: Omkar Rao
A polished violin duet that showcased clean coordination, shared imagination and a well-curated selection of kritis. The siblings maintained excellent sruti alignment and balanced the roles of lead and support fluidly throughout the evening.
The concert opened with T.R. Subramaniam’s Vanajākṣa in Behag (Adi). The piece was rendered with a bright, flowing gait; the characteristic phrases of Behag were brought out clearly in both the kriti and the brief improvisatory passages that followed.
Tyagaraja’s Brōva bhāramā in Bahudāri (Dēśādi) received a short but effective alapana. The raga’s gentle contours were sketched with care before the kriti. Swarakalpana was crisp and well-synchronised between the two violins, with neat korvais.
The centrepiece of the early half was Syama Sastri’s Ambā Kāmākṣi swarajati in Bhairavi (Miśra Cāpu). Taken with the traditional weight and dignity, the composition allowed the duo to display both melodic depth and rhythmic precision. The successive caranams were handled with clarity; the swara passages that followed were measured and tasteful.
Hamsadhvani returned with Tyagaraja’s Raghunāyaka nī pādha yuga (Dēśādi). A brief alapana highlighted the raga’s sparkling nature. Swara exchanges were lively and imaginative, the two violins engaging in quick, well-matched phrases.
Śrīranjani followed with Sogasugā mṛdanga tāḷamu (Rūpaka, Tyagaraja). The alapana was compact yet evocative; the kriti’s rhythmic play was brought out effectively, and the short swara section retained the raga’s characteristic charm.
Ravicandrikā’s Niravadhi sukhada (Adi, Tyagaraja) provided a bright interlude before the main suite.
The major item of the evening was Dikshitar’s Śrī Kāntīmatim in Hēmavati (Simhavaram, Adi). The alapana was expansive and carefully structured—phrases unfolded with good sense of proportion, the two violins alternating and blending seamlessly. Neraval at the traditional place was detailed and bhava-oriented. The ensuing swarakalpana was vigorous and well-knit, culminating in strong korvais. The tani āvartanam by B. Praveen and Omkar Rao was energetic and well-coordinated—solid sollus, clear interplay and a satisfying climax that rounded off the main suite on a high note.
Post-tani, U. Srinivas & U. Rajesh’s Sangamam in Kīravāṇi (Adi) offered a contemporary touch while remaining firmly classical in treatment. The tillana in Karṇaranjani (Adi, Ganesh-Kumaresh) was rendered with precision and sparkle. The concert closed with the customary Nī nāma rūpamulaku mangalam in Saurāṣṭra (Tyagaraja).
Bangalore Praveen provided intelligent, supportive mridangam accompaniment throughout, rising to the occasion in the tani and during the faster swara passages. Omkar Rao on the ghatam added colour and rhythmic clarity, especially in the exchanges and the tani.
Overall aesthetic: classical, well-proportioned and free of excess. The duo’s synchrony, clean bowing and shared manodharma ensured a satisfying evening of violin music.
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