It is a matter of great satisfaction that Hyderabad Brothers (Seshachari in particular, and Raghavachari) have come to realise that exposition in a kutcheri has to be in mellowed tones. Is it a passing phase or a permanent transformation? It remains to be seen. It is the vocal sensitivity that makes Carnatic music aesthetically outstanding. Their performance was well restrained as they sang ‘Naa Moralakimpa Vemo' (Devagandhari), ‘Kanta Joodumi' (Vachaspati) and ‘Sri Rajagopala' (Saveri). Swaraprastaras too were at an appreciable level.
There was fullness of expression in alapanas and rendering of kirtanas. The unfolding of the ragas, Devagandhari, Vachaspati and Saveri, retained their characteristic idioms. Even here Devagandhari is a raga that peaks in emotion and crystal clarity in brevity without trespassing into the Arabhi enclosure. In this respect the version of the violinist Sriram Parasuram was well guarded and precise.
Seshachari's exuberance to treat it extensively got the better of stressing its specific beauty – in short spells. The discipline in singing came to the fore in the alapanas of Vachaspati and Saveri. The phrasings in the madhyama and tara sthayis were consistent. This effort was shared by Seshachari and Raghavachari. The healthy rhythm of raga vinyasa and kirtanas was maintained throughout the recital. What their concert revealed was sampradaya-based classicism.
The kirtana ‘Naa Moralakimpa Vemo' was the best in the programme list. Their mother tongue being Telugu, the sahitya's emotional content was well brought out. The Vachaspati kirtana was in the mechanical hackneyed mode. The Saveri item was flat and unornamented. Of course, they had the tactical competence and concert experience to make their recital appear good. They included an unfamiliar song ‘Palukudache' of Patnam Subramania Iyer in the raga Phalamanjari.
Sriram Parasuram provided full-blooded sweet tone in his play. His choicest sancharas in Devagandhari were brilliant. Though the other two raga versions were concise, they were aesthetically prosaic.
Srimushnam Raja Rao was the mridangam player. The new approach of the Hyderabad Brothers was not such as to trigger his natural instinct for high-beam beats. This restraint too was quite welcome. T.V. Vasan was the ghatam artist who played in tune with his laya partner.
