by Ram S. Sriram
On October 9, 2004, Under the banner of Carnatic Music Association of
Georgia (CAMAGA), Hyderabad Brothers – Sri Seshachary and Sri
Raghavachary - gave a Carnatic vocal concert at the Hindu Temple of
Atlanta auditorium. The brothers were accompanied on the violin by Sri
S. Varadarajan and on the Mridangam by Sri P. K. Satish Kumar.
Hyderabad Brothers started their concert with the Abhogi varnam, Evari
Bothana and immediately captured the attention of the audience with
their fast-paced swaras. They followed the varnam with Dikshitar’s
Sadachale Swaram in the raga, Bhoopalam. These were followed by some of
the popular Thyagaraja kritis such as Teliyaledhu Rama (Dhenuka) and
Dhurmargachara (Ranjani). The Ranjani raga alapana was especially worth
mentioning for its melody and complexity. Sri Seshachary, who followed
his brother in the Ranjani raga alapana, showed that he can match his
brother note for note in artistry and melodic excellence.
The kriti, Chinna nade na in Kalanidhi that followed Teliyeledhu Rama,
is a rarely sung kriti and it was quite refreshing to hear this
composition. For those conversant with the Telugu language or the
meaning and context of Swami’s compositions, the expressions on the face
of Sri Raghavachary brought a few smiles. In this kriti, Sri Thyagaraja
Swamy, in a serious manner, pleads to Lord Rama “You made me do a lot of
chores for you since I was young and promised me that you will take care
of me. But, now, you are contemplating whether to continue to take care
of me or should abandon me. Please don’t abandon me.” While singing this
song, Sri Raghavachary, with a mischievous smile, points at the young
Mridangist, Sri P. K. Satish Kumar, creating the impression that Satish
is having second thoughts about continuing to support the concert with
his rhythm and Raghavachary is pleading to him to continue.
Sri Varadarajan, on the violin, responded to every note and nuance of
the Brothers with his own response and showed his enormous dexterity and
knowledge that he has even at this young age. He was undeterred by the
swara patterns and the complex niravals that the Brothers were
producing. The appreciation that Raghavachary expressed continually was
a confirmation of Varadarajan’s superb abilities. Varadarajan has never
failed to thrill the Atlanta audience and he has several fans in their
midst.
P. K. Satish Kumar played the Mridangam and provided the rhythm support.
One of the limitations of Vivaram or rhythmic complexity in Mridangam
playing is that it frequently comes at the cost of undermining a song’s
mood and melody. However, Satish Kumar proved - song after song - that
Vivaram and melody are not mutually exclusive concepts and that he can
handle both of them judiciously. He brought the mood of the songs with
both his soft touch and through his complex sollu patterns. He has
excellent control over the Mridangam. The thani during the Harikambhoji
kriti, Dinamani Vamsa, was superbly played. The intricately designed
Chathurasa korvais as well as the Thisra nadai transitions were done
with absolute ease and perfection. Satish has a very good future as a
Mridangist.
Hyderabad brothers followed the main kriti, Dinamani Vamsa, with a few
thukkadas. The Enthati Kuluku in Kalayani (Sri Pattabiramayya) made you
want to dance with the song and Sri Raghavachari did indeed show a few
abhinaya bhavas to match the song. Perhaps, he was encouraged by the
presence of a couple of Bharatha Natyam exponents in the audience. The
concert was concluded after the Karunai Deivame composition in Sindhu
Bhairavi.
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