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DEEPA GANESH
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CONCERT The Hyderabad Brothers presented a memorable Sunadavinodini

It was the most exquisite Sunadavinodini. Opening with slow, lengthy passages of the lower and middle octaves, it gradually moved to the middle and higher octaves, exploring every nuance of the raga acquiring a wistful intensity. Prayerful and reflective, Hyderabad Brothers moved into their inner realms, transporting the audience also into a timeless space.

At their recent concert, as part of the three-day Veene Seshanna Memorial Music Festival in Bangalore, their rendition of Mysore Vasudevacharya’s kriti “Devadi Deva” received a stunning exposition of the raga, hardly heard in the recent times. The quieter of the Brothers, Raghavachari of the mellow voice, explored the janya raga in a profound manner. From his calm, subdued demeanour, the raga emerged with remarkable passion – a fine narrative studded with intense phrases. Their rendition of the kriti was energetic and vibrant, which is the hallmark of Hyderabad Brothers.

Among the finest musicians of the Carnatic music world, the Hyderabad Brothers infuse tradition with incredible creative energy. Great masters of music have hailed their deep understanding of the form and adherence to classicism. They opened the concert with a stimulating rendition of Bhairavi attatala varna by Pachimiriam Adiyappa, “Viriboni”. Rendered by great masters like Musiri Subramanya Iyer, M.S. Subbulakshmi, K.V. Narayana Swamy and others – Hyderabad Brothers stood on the threshold of present with the past deeply embedded into it. The varnam, considered to be a “dictionary of Bhairavi”, was memorable.

Whether it was “Yela nee Dayaraadu” (Athana), or “Dinamani Vamsha” (Harikamboji), Seshachari took control of the concert. While his exposition of Darbaru, Harikamboji were insightful, sharp and greatly satisfying, the absence of Raghavachari’s involvement resulted in an imbalance. One felt nostalgic about the years when the connoisseur delighted over their harmonious exchanges, when they complemented each other’s music strikingly. This, not only extended the boundaries of aesthetic experience, but also seemed like a dialogue with music itself.

Tumkur B. Ravishankar on the mridanga brought in poignant moments of silence; the tani (along with Sukanya Ramgopal on ghatam) for “Dinamani Vamsha” was charged with scholarly vigour. H.K. Venkataram on the violin uplifted the concert with his interpretations of the ragas.

DEEPA GANESH


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