Gifted with sweet voices, the Trichur Brothers, Sri Krishna Mohan and Ramkumar Mohan, held their audience in Palakkad spellbound with their application of vocal dynamics and flourish in presentation.
Opening with Balamuralikrishna’s rare but melodious varnam ‘Omkara Pranava’ in Shanmugapriya, the duo proceeded to another rare kriti ‘Namami Vigna Vinayaka’ of Krishnaswamy Ayya in Hamsadhwani, which had interesting swaraprastharas. They paid homage to Tyagaraja with their moving rendition of the saint’s gem, the pancharathna kriti ‘Entaro Mahanubhavalu’ in Sri raga; their accent on sahitya captured the devotional spirit of the composition. Another bhava-rich kriti of Tyagaraja, ‘Nannuvitachi’ in Reethigowla, wherein the composer prays to Rama, was also presented in the same wavelength. ‘Rakshamam’ in Natta, appended with swift kalpanaswaras, was an apt choice that provided a good tempo.
Taking up Vasantha as the main raga, they scaled new peaks, in their elaborate description of this melody. The delineation, presented by both alternatively, was studded with leisurely kaarvais, akaaras and gentle gamakas. The elegance with which they reached the ‘Shadjam’ in the middle octave and ‘Madhyamam’ in the upper octave, was praiseworthy. The swaroopa of the raga emanated in entirety, in their vivid portrayal and in the masterly prayogas in the thaanam. The pallavi ‘Vikasita mukham subapala pradam Hariharasutam sada bhajeham’ in Kandajaathi triputa taala on Lord Ayyappa was presented in the true classical mould. They revelled in the ragamalika swaras in Kalyanavasantham, Behag, Desh, Valaji,Charukesi and in Vasantha. Intelligent manoeuvres in finishing the pallavi made a special impact. However, one felt that they could have chosen Muthuswamy Dikshitar’s well-known krithi ‘Hariharaputhram’ and rendered a few more pieces on the Lord of the Sabari Hills, in the context of the occasion and the venue.
The vocalists whetted the appetite of the listeners in the final phase of the concert, by rendering a number of appealing pieces –both popular and devotional. ‘Saatileni Guruguha’ (Poorvikalyani) and ‘Chembaiku Naadam’ (Hamsanandi) were filled with bhava. A virutham in Mohanam, Sahana, Saveri, Jonpuri and Shanmugapriya, culminating in the song ‘Vilayada idu nerama’, the concluding ‘Ramam Nalla Naamam’ in Janasammodini and the devotional ‘Harivaraasanam’, all drenched in aesthetics, kindled the listeners’ emotions.
Kandadevi S. Vijayaraghavan (violin) displayed his manodharma abundantly in his raga and swara passages.
Trichur Mohan (mridangam), father of the duo, earned the appreciation of the audience, with his deft and soft strokes. Kovai Suresh (ghatam) provided impressive support. Their thani after the RTP was crisp and pleasing.
The programme was at held on the sidelines of the Sastha Preethi festival at Nurani, Palakkad.
