MUSIC ACADEMY
The duo advantage
V.SUBRAHMANIAM
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Being well versed in Telugu, the Brothers' intonation and diction of the language added to the soothing flow.
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One of the popular duo vocal musicians among men is Hyderabad Brothers, D.Raghavachari and Seshachari. Duo singing has its advantages and the concerts would have added effect because of the pairing of voices. It is common to find in such duos, the voices of one of them slender and the other robust. But they supplement and merge with each other well.
The accompanists were Peri Sriramamurthy on the violin , mridangam maestro Palghat Raghu, his grandson Abhishek Raghuram on the kanjira and N. Somayajulu on the ghatam. They opened the concert with the navaragamalika, Adi tala charanam of Patnam Subramania Iyer which they rendered in two speeds. `Maapaala' the Asaveri kriti in Adi tala of Tyagaraja was presented next.
Begada raga was undertaken for alapana by Seshachari and it was as usual done well followed by the Subbaraya Sastri kriti, `Sankari Neeve' in Rupaka tala.
`Ranganathude,' a composition in the raga Sowrashtram, Rupaka talam of Thanjavur Ponniah Pillai, heard more from artistes of Andhra Pradesh rather than from Tamil Nadu, and perhaps a favourite of the brothers, was attractively presented. Kalyani raga alapana, which was perhaps taken up as a middle order raga in the concert, assumed main raga proportions, in the kriti `Sundari Divya Rupamu' in Adi tala of Tyagaraja with sumptuous niraval in the charanam line. `Nannu Kanna Talli' with kalpanaswaras was followed by a thani avartanam by the percussion ensemble led by Palghat Raghu and ghatam artistes. For the Ragam, Tanam, Pallavi, the raga chosen was Jaganmohini. On account of time constraint, naturally the presentation, though good was short.
Seshachari dealt with the raga essays mostly as, apparently, Raghavachari was not comfortable with his voice afflicted by sore throat. His short touches on raga alapanas or his niraval or kalpanaswara passages, which he restricted to the Madhya sthayi did not reveal any harshness.
The pallavi was `Dayajootare Jaganmohini - Vegame Vachhi' in Adi tala 2 kalai was well handled.
After a brief Mukhari raga alapana by Seshachari came the surprise. The Brothers rendered the Padam `Ososi' in Misra Chapu tala. The artistes being well versed in Telugu, their intonation and diction of the language added to the soothing flow. Padams having been extinct from concerts this was a pleasant and welcome comeback.
A Kanada raga piece in Adi tala of Dr.Shankaranarayana Iyer of Kallidaikurichi came next and the concert concluded with `Haridasuni' in Yamunakalyani of Tyagaraja. The violin support of Peri Sriramamurthy was commendable and it is needless to say about the percussion support.
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