The Malladi Brothers brought out the bhakti rasa of Dhanyasi besides offering a wide range of kritis.

Inscrutable is the role of music in life. Nevertheless one thing is obvious. It is primarily a source of instant, if not lasting joy. True music perfects the emotions, balances the mind and soothes the nerves. This is precisely what this critic experienced in the concert of Malladi Brothers.

Being disciples of Nedunuri Krishnamurthy, they represent his rich style. Both of them are blessed with a vibrant and powerful voice. Little wonder, rasikas throng to enjoy their concert.

The highlight of the late evening was a relaxed Dhanyasi, portraying the bhakti rasa of the raga in its entirety. Sriram Prasad offered a wide-ranging alapana with almost all its pidis. T.V. Ramanujacharyalu’s was an equally comprehensive elucidation. Disciple of his uncle N.C.H. Krishnamacharyulu, his style is a harmonious blend of the Dwaram and Thanjavur banis.

The Brothers rendered Dikshitar’s ‘Paradevatha Bruhatkuchalamba’ (Adi). This is one of the resplendent gems of the composer, whose depth of gnana and richness of musical conception are patent throughout. The niraval and swaras were at ‘Kalamalini Kathyayani,’ which is in the Madhyamakala.

The thani by Lakshminarayana Raju (mridangam) and Udupi Sridhar was a treatise in rhythm. Raju’s ‘Thom-nam’ combination was a treat. He has the blessings of Nandiswara.

Ravikumar’s liberal delineation of the rare Chandrajyothi revealed his proficiency and experience. ‘Bagayanayya’ of the Saint came off very well. Though both brothers have a briga saareeram, Ravikumar makes use of it rather generously.

Ramanathapuram Srinivasa Iyengar’s Anandabhairavi kriti, ‘Sadbhaktini’ in Rupakam was a rare presentation. Niraval and swaras were at ‘Bhanukoti Sankasa’ and the concluding korvai was a thing of beauty.

The concert commenced with the Ata tala Kalyani Varnam, ‘Vanajakshi.’ After a brief Kedara alapana by Sriram Prasad, they rendered Dikshitar’s ‘Chidambara Natarajam Asraye’ (Adi), with Samashti Charanam. It created an atmosphere of vigour and liveliness.

In Saint Tyagaraja’s ‘Seethavara Sangeethagnanamu,’ Devagandhari’s individuality was clearly revealed. The saint during his stay in Chennai is said to have sung this raga for eight consecutive days, rendering one of his kritis in every session.

The Brothers rendered Tyagaraja’s Bilahari composition ‘Narasimha Nannubrovave’ (Misra Chapu); Sadasiva Brahmendra’s ‘Manasa Sancharare’ (Sama) and Nilakanta Sivan’s ‘Theruvatheppo Nenje.’ Annamacharya’s ‘Nithya Puja Livivo’ in Dwijavanti was in Sripada Pinakapani style.

They concluded the dynamic concert with Narayana Tirtha’s Tarangam, ‘Deva Devam’ and a Poornachandrika Tillana.

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