The Trichur brothers' jugalbandi style of performance was well coordinated.

Pleasing stage presence, perfect coordination and sprightly renditions with clear diction were the contributory factors for the success of a vocal concert by the Trichur brothers, Srikrishna Mohan and Raamkumar Mohan, at The Palghat Fine Arts Society recently. Singing in the jugalbandi style with subtle voice modulations, they captured the attention of the audience.

The duo started majestically with the Bhairavi varnam ‘Viribhoni' in Ada tala. And followed it up with Muthuswamy Dikshitar's ‘Vallabha Nayakasya' in Begada and ‘Surya Murthe' in Saurashtram, which created the right ambience for the items to follow. ‘Seethamma Maayamma,' a kriti of Tyagaraja in Vasantha, rendered in a fast pace had breezy kalpana swaras.

Excellent raga bhava

The alapana of Mohanam was grand. The brothers presented a panoramic picture of this charming melody. The leisurely elaboration adorned with akaaras, gamakas and delectable sancharas around gandhara in the upper octave, clearly revealed the raga bhava. Tyagaraja's ‘Nanupalimpa' was well portrayed with the right stress on sahitya. The vivacious niraval and swaraprastharas at ‘Garamuna chara Kothanda' in the charanam added lustre to the rendition.

The tani at this stage by Trichur Mohan (mridangam), the father of the duo, was a marvellous display marked by dexterous strokes. He was supported by Venkatasubramanyam on the ghatam.

After an inspiring ‘Bhogindrasaayinam,' a famous composition of Swati Tirunal in Kuntalavaraali, the duo took up Shanmugapriya. The raga exposition done alternately by both was brilliant with enchanting sancharas flowing freely. They even attempted sruthibhedham, touching the notes of Thodi and successfully reverting to the original raga.

They did full justice to tanam, which was rich in vibrant sangatis. The pallavi, ‘Kanaka Sabesan, Jaya Jagadeesa Ananda Natana prakasa' in Kanda jaathi aeka tala – two kalais, had to be rushed through, due to time constraints. However, the swara patterns, including a ragamaalika in Anadabhairavi, Valaji and Kaapi, were commendable.

Papanasam Sivan's moving pieces, ‘Kaana Vendamo' in Sri Ranjani and ‘Ramanai Bhajithaal' in Maandu showcased the duo's yen for aesthetics. They concluded with ‘Kandanaal Mudalai' in Madhuvanthi, followed by a Malayalam song in Reethigowlai, ‘Ashtapadhi laya.'

Mullaivasal Chandramouli's violin accompaniment was par excellence. His solo essays were soaked in melodic nuances. The day was dedicated to Nurani Parameswara Bhagavathar.

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