Performing to a packed hall at Sri Sadguru Gnanananda Sangeet Sammelan, the Palakkad Brothers, C.R. Vaidyanathan and A.S.Murali, both disciples of vidwan P.S.Narayanaswami, came up with a fruitful collaboration.
Opening with the guru vandana ‘Om Namah Pranavarthaya’, the duo ensured there was never a dull moment in their rendition of ‘Intha Paraka’ (Mayamalavagowla, Anai Vaidyanatha Iyer) complemented by riveting ripostes in niraval and swaraprasthara.
With in-dwelling sancharas at the shadja and graceful jarus embedded in the matrix of Vaidyanathan’s Kapi alapana, the vocalists embarked on ‘Edhi Nee Baahu Bala Paraakrama’ (Tyagaraja).
Compact veena-style phrasing and spirited brigas at the shadja made a telling impact in Murali’s exposition of Ranjani. The Meesu Krishna Iyer composition ‘Parama Paavana’ was an inspired choice carrying freshness and zing.
A corresponding briskness percolated to ‘Nee Dayaradha’ (Vasantha Bhairavi) and the main raga, Sankarabharanam that followed. Rock solid pidis established swaroopa in Vaidyanathan’s alapana, with panchama-centric brigas adding zest.
Intricate detailing
T aking over at the tara sthayi shadja, Murali added his mite with intricate detailing at the tara sthayi gandhara.
The swaying gait of the kizhkala kalpanaswaras aptly mirrored the dynamics of ‘Emi Neramu’ (Tyagaraja), taken forward with a gripping round of melkala swaras and a compact korvai. Strength of patanthara, solid classical fare and complementary synergies combined to lend conviction and much appeal to the vocalists’ joint venture.
Violinist M.R. Gopinath’s vibrant Ranjani and rich, mellow Sankarabharanam were a perfect complement to the vocalists’ manodharma.
The percussive expertise of Srimushnam Raja Rao (mridangam) and H. Prasanna (ghatam) showcased a gamut of intriguing hues.
