There was a sort of vocal balance in the performance of Carnatic Brothers Sashikiran and Ganesh at Sri Krishna Gana Sabha. It was an interesting combination of the vilambakala voice of Sasikiran and the fleeting propensity of Ganesh. The phrasings in the raga alapana and kalapramana of songs were consistent.
For the most part, Ganesh, with his fluid voice, took charge while Sashikiran now and then lent his deep, solid voice to anchor the progress of the recital. They revealed sound instincts for exposition. The repertoire too was good. ‘Sugunamule’ (Chakravakam), ‘Sanatana Parama Pavana’ (Palamanjari), ‘E Vasuda’ (Sahana) and ‘Saraguna Palimpa’ (Kedaragowla). The patantara of the kirtanas was traditional, which therefore offered a congenial environment. In handling Sahana and Kedaragowla, there were no aesthetic pretensions. The Sahana, in particular, was a convincing demonstration of their ideals in music. The Kedaragowla raga and kirtana were given expanded importance.
R.K. Sriramkumar’s violin support was such as to enliven the potential of Sasikiran and Ganesh. In his solo versions of Sahana and Kedaragowla, there was professional exactness.
Arun Prakash was sedate in extending his laya support and the rhythm in the tani was meticulously accurate.
