HYDERABAD
BROTHERS

 
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.