Spontaneity and synchrony are hallmarks of the Carnatica Brothers.

Innovation, thy name is Carnatica Brothers. And, it is spontaneity within the framework of tradition!

They took Lathangi as the raga for RTP. P. Ganesh commenced the leisurely alapana moving through all the octaves comfortably. On the violin, the veteran Nagai Muralidharan elicited the raga’s very spirit. K.N. Shashikiran led the tanam and Ganesh joined in the ragamalika part consisting of Durbar, Begada and Mukhari. The pallavi on Sri Parthasarathy, ‘Padhamalarai Anudhinamum’ in Khandajathi Triputa, was well set with scope for permutations and combinations. To Latangi, they added Suvarnangi (a favourite of PBS), Kanakangi (by Nagai Muralidharan) and Lavangi, in which the high speed jantaswaras of Ganesh were exquisite. Instead of the trikala swara pattern, they followed the difficult to execute yati pattern. It was fascinating. They explained that they arrived at the 63rd Melakarta Lathangi since the date was 18-12-2013 and the total is 63!

In the thani, Thanjavur Murugaboopathy (mridangam) created vast dimensions with varied gaits. It was a delight to listen to his beats. As an accompanist too, he was admirable. Nanda Masti (ganjira) is a new discovery from Bengaluru. I am sure, he will find his feet soon in the Chennai music scene. His ganjira has an amazing tonal quality.

Earlier, the brothers commenced their concert with a galloping Kuntalavarali varnam, composed by Shashikiran himself. After a fine sketch by Ganesh, they rendered Dikshitar’s ‘Budham Asrayami’ in Nattakurinji (jhampa). The niraval and swaras were at the madhyama kala point, ‘Kinkara jana mahitamò.’ Shashikiran delineated an impressive Lalitha, followed by Nagai Muralidharan’s splendid response.

They selected P.N. Muralidharan’s Tamil song, ‘Van Tamizh Thalainagaril’ on Sri Parthasarathy. In the swaraprasthara, the combination of Ganesh in the higher octave and Shashikiran at the lower octave was musically rich. Tyagaraja’s ‘Hecharikaga rara’ in a fine Yadukulakhambodi was neat.

They concluded their recital with a Purandaradasa devaranama, ‘Mooruthiyanu’ in Salaka Bhairavi and an Oothukkadu thillana in Sindhu Bhairavi.