It was a rich classical fare as Carnatica Brothers handled the ragas with ease. SVK

In the concert of Carnatica Brothers, Sashikaran and Ganesh, for Sri Krishna Gana Sabha, two factors impressed – one, the picture of raga imagery and two, the influence of sahitya emotion.

Without much exaggeration, their manodharma and expression were well controlled. Sashikaran's voice was heavy and so carried much weight in the way he sang. Ganesh has a thin flexible voice that looked after music's movements with ease.

Of the three raga alapanas of Mandari (‘Ninnu Cheppa Karanam'), Begada (‘Neevera Kula Dhanamu') and Madhyamavati (‘Paalinchu Kamakshi'), Begada was rich with classical sancharas, traditional but equally telling in effect.

Graceful and vivid

The development of Begada was placed with great vividness and consistency. Presented with the raga's specific gracefulness, Ganesh lifted it with dignity.

The answering response by the violinist Ganesh Prasad was equally heart-warming.

The kirtana carrying subtle aesthetic values was interpreted with all its solid grandeur well preserved.

Ganesh would do well to open out his voice instead of stifling it, to give strength to his singing technique.

Mandari was exclusively handled by Sashikaran and Madhyamavati was shared by both.

With heightened depth Sashikaran laid the preliminary lay-out of Madhyamavati. With deep karvais and short phrases the management of the alapana was energetic.

The restraint he observed, aware of the limitations of his voice, conferred sharpness, without the sancharas meandering. The flexible part of the raga was taken care of by Ganesh.

The start of the concert with the Ata tala Kalyani varnam (‘Vanajakshi') was indicative of the Carnatic values they cherished.

‘Nee Bhakti Bhagya Sudha' (Jayamanohari) and ‘Bogindra Sayinam' (Kuntalavarali) contributed both pep and prettiness.

The play of the violin accompanist in his solo version spoke of his aesthetic impulses.

The presence of mridangam player Mannargudi Easwaran was distinctive. His percussive articulation was admirably concise, gentle and pertinently structured and effectively played to enhance the value of the effort of the vocalists.

T.V. Vasan on the ghatam went hand in hand with Easwaran.