Dulled sensibilities arising out of standardised music do call for music that is more original and ambitious in scope. That is what Trichur Brothers strive to offer. Only time can say if (and how far) they succeed in it. All the same, the RTP they so generously presented would linger in my mind for a long time to come.
Solemnity and earnestness ruled their extensive yet pleasing Revathi alapana. Tanam saw a raga assortment in Surutti, Hindolam, Anandabhairavi and Dvijavanthi. The music was so pervasive that Mullaivasal Chandramouli (violin), on his part offered a Behag interlude. Srikrishna Mohan explained that the Pallavi was set on the banks of the Ganges in Uttarakhand in the midst of their involvement in the theme song for the clean Ganga movement. They acknowledged the help rendered by Nochur Venkataraman in shaping up the Pallavi. ‘Rudra Prayaga Sutheertha Swarupane’ set in Khanda Jathi Triputa opened up ample scope for sharp and vigorous swara sequences in Suddha Sarang, Bagesri, Behag and Soolini. Making full use of the presence of a violin maestro by their side, they created embellishments and variations at the call of the moment.
The duo’s Mohanam alapana led to conscious glimpses of a new horizon. Ramkumar Mohan’s sanchara in the mandhra sthayi was soul-stirring. They took up the ever-green ‘Nannu Palimpa,’ by Tyagaraja. The niraval at ‘Karamuna Chara’ would have been sweeter had it been crisp, though the swara exchanges were of a high order. There were rhythmic exercises and melodic phrases, the concluding swara korvai touching the zenith. Thani by Trichur Mohan and S. Venkataramanan (ganjira) unfolded a vista of enchanting and alluring Khanda Nadai.
The concert commenced with the Ata Tala Kanada varnam. Dikshithar’s ‘Ananda Natana Prakasam’ in Kedaram (Misra Chapu) was a brilliant rendition. So was Thyagaraja’s ‘Dwaithamu Sukhama’ (Ritigowla), in which swaras were at the pallavi and at ‘Adwaithamu’ too! Poochi Srinivasa Iyengar’s Suddha Saveri piece ‘Samaja Varada Neeku’ (Rupakam) was offered as a relief. It has a lovely madhyama kala segment.
‘Tharuni Jnan’ of Swati Tirunal in a pensive Dvijavanthi took us right to the core of the aesthetic. The feather touch strokes on the mridangam enriched the meditative mood. The Brothers wound up their recital with ‘Radha Sametha Krishna’ and ‘Pibare Ramarasam.’ At the finish, the audience joined the artists in chanting Ramanama, welcoming the New Year.
Kudos to the sabha people of the Mahaswamy Auditorium for a gratifying acoustics arrangements and an efficient audio system.
