‘Manasunilba’ in Abhogi brought life into the concert of Malladi Brothers, though they did try to enliven it from the initial ‘Niketeliyaka’ in Anandabhairavi and ‘Indaparaka’ in Mayamalavagowla with niraval and swarams. The Varali alapana by Ravikumar was reasonably good, though there was nothing unusual in the interpretation. The same could be said about the effort of M.A. Sundareswaran on the violin. The rendering of the kriti ‘Ne Pokada’ was neat and the niraval and swaras by the duo at ‘Neeraja Dalanayana’ also had nothing new to offer. Dikshitar’s ‘Nagagandhari Raganuthe’ in the same raga, which is rarely heard, added some sparkle to the recital.
The elaboration of Kedaragowla by Sriramprasad was quite soulful, with some imaginative prayogams. After a while the Brothers sang it alternately, which was on the whole quite appealing and led the audience down nostalgic lane of their Guru Nedunuri Krishnamurthy. Sundareswaran’s essay too was good, particularly when played at a slow tempo, instead of the staccato style, at the lower and middle octaves. The rendering of the kriti ‘Tulasibilva’ also brought out the nuances of the raga and was in a suitable pace to the lyrics. Kalpanaswarams for the pallavi had some attractive combinations. The thani by Tiruchi Sankaran on the mridangam and K.V. Gopalakrishnan on the ganjira added verve to the recital.
Shanmukhapriya came through beautifully in the sloka sung by Sriramprasad, followed by ‘Saravanabhava Ennum,’ which the Brothers said was the first Tamil song taught to them by their Guru. The pallavi set to Misra Jati Triputa tala was prefixed by alapana of Kiravani by Ravikumar. The sliding from the top to the lower octaves was particularly interesting. The tanam was taken up by the sibling. The swara component was short as was the thani by the two percussionists together. Finally came the Khambodi kriti, ‘Emayya Rama’ , again in memory of their guru, who passed away recently.
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