The Malladi Brothers sparkled at the Sri Vishnu Sahasranama Satsangam celebrations.These are days of duets in Carnatic vocal music and of duets and even trios in instrumental music. One such winsome pair of singers was in action to the delight of an overflowing house at the auditorium of the Shankara Vidya Kendra, Vasant Vihar, in South Delhi the other day. The recital was by the Malladi Brothers, M. Ravi Kumar and M. Ram Prasad, who performed in the Capital on the occasion of the 39th anniversary celebrations of the Sri Vishnu Sahasranama Satsangam. The brothers, fresh from their successful string of concerts during the recent December Music Season in Chennai, besides the Isai Peroli title conferred on them, gave a concert over three hours long. Their career graph has of late taken an upward curve, and they have arrived on the scene as front ranking musicians of the younger generation. Scions of Sangita Vidwan Malladi Suri Babu of Vijayawada and disciples of Sangeeta Kalanidhi Neduneri Krishnamoorthy, the duo's performance did both their family and musical lineage proud. Their voices, with a booming effect in the lower registers and an effortless reach to the top, blended tunefully to make a powerful impact on the listeners, who greatly appreciated the twosome's polished rendition of songs, both familiar and less familiar, clear enunciation of the lyrics and authenticity of version.The recital was off to an impressive start with the popular varnam "Jalajaksha" in raga Hamsadhwani, rendered in two tempos. Kritis followed each other in a fine flow. Variety and passion marked their singing of the Tyagaraja kriti "Ra ramayintidaka" in the raga Asaveri, "Ranganathude" in raga Saurashtram of Thanjavur Ponnaiya Pillai, "Govardhanagirisam" of Muthuswami Dikshitar in raga Hindolam. A less heard piece in concerts these days,"Sringaralahari" in the raga Nilambari of Mysore Lingaraja, came in for a moving rendering. The recital rose to great classical heights in the Vachaspati and Mohanam suites. The former, a portmanteau musical scale (64th melakarta raga) got a detailed airing from the duo, developed alternately and highlighting the pivotal notes. The popular Papanasam Sivan piece "Paratpara Parameswara" came out well, as also the niraval on the pallavi line and the kalpanaswara sequences. The main piece of the recital was again a popular kriti, this time of Tyagaraja, "Nannu Palimpa" in raga Mohanam. The plush raga delineation again shared by the two singers was richly caparisoned and grand in design and delivery, leaving a memorable impression. The concatenation of swara extension of the song with its kuraippu and korvai, "segments" had its full quota of the poruttam and vyavaharam aspects of serious music, testifying to the singers' virtuosity and laya command. The tailpieces were high on devotional fervour, in keeping with the ambience of the celebrations, and included a ragamalika shloka in praise of Devi Saradamba and the Sindhu Bhairavi raga Tamil piece "Chandrasekhara", popularised by the Alathur Brothers half a century ago. H.N. Bhaskar, son and disciple of noted violinist H.K.Narasimhachar, provided able violin accompaniment. His raga sketches of Vachaspati and Mohanam had commendable classical thrust. Admirable support on the mridangam came from the seasoned artiste M. Lakshminarayana Raju, who had an equal partner on the ghatam in young Sukhanya Ramagopal of the Vinayakaram School. Together they mounted a tani avartanam (percussion solo) rich in scintillating patterns.