By
Ram S. Sriram
Carnatic Music
Association of Georgia (CAMAGA) had recently organized a vocal
concert of Carnatica Brothers - Sri Shashikiran and Sri Ganesh.
The concert was held on Saturday, May 7, 2005, at the Emory
University Performing Arts Studio. Carnatica Brothers were
accompanied on the violin by Nagai Sriram and on the mridangam
by Tanjore Murugabhoopathy.
The brothers commenced their concert with the traditional and
popular Mohana varnam, Ninnu Kori. The Varnam was sung in three
speeds with several Nadai changes and fast-paced swaras, giving
the audience an advance notice that they should expect three
hours of “Sampradaya” music. Shashikiran and
Ganesh
followed the varnam with an invocation to Lord Ganesh – Gana
Nayakam in Poorna Shadjam. After seeking the blessings of Lord
Ganesha, they followed it with several compositions of Saint
Thyagaraja. On a personal note, I was very happy to hear the
great compositions of Saint Thyagaraja - Ne Nendhu Veda Kudhuraa
in Karnataka Behag, Nee Bhakthi Bhagya Sudha in Jayamanohari and
Samugana Nilva in Kokilavarali. These compositions are very
infrequently sung these days and are treasures from our past.
They should not be lost.
The elaborate Saveri raga alapana that followed was very well
executed. Both Shashikiran and Ganesh did a superb job of
bringing the slow-paced melody of Saveri. The young Ganesh
brought a certain enthusiasm to the raga singing that warmed the
audience to him. The Saveri raga alapana was followed by the
Syama Sastri kriti – Durusuga. The niraval and the swara kalpana
during both Saveri and Dharbar (Yochana Kamala Lochana) amazed
the audience by its fast pace. The alternating of chaturasa and
thisra swara korvais by the brothers showed not only their
computational skills but also their perfect coordination and
sadhagam.
The Kalayani RTP in Kandajadi Triputa that soon followed was
amazing for its execution. Although the RTP followed the
traditional structure, the melody was never lost and every one
in the audience, regardless of their familiarity with the
intricacies of Ragam, Thanam, and Pallavi were able to relate to
the beauty and complexity of the RTP structure. The RTP was
followed by a few thukkadas including, Vellai Tamarai Poovil
Iruppal (Bimplas) and Tungatira Vihara (Ragamalika). The Madurai
Mani Iyer English note was a good touch. Rarely do we see vocal
musicians singing the Mani Iyer note. The note has been mostly
played by the instrumentalists. Ganesh and Shashikiran did a
great job of singing the note with perfect and matching support
from Sriram and Murugabhoopathy. I could see a few members
swaying in unison with the English note.
Nagai Sriram, on the violin, was undeterred by the complex swara
and neraval patterns sung by Shashikiran and Ganesh. Sriram
matched each swara korvais with his own garland of swaras.
Sriram particularly excelled during the alapanas of Kalyani,
Saveri and Dharbar. The brothers were happy with Sriram’s
support and it was quite obvious during the Pallavi
elaborations. Sriram was able to match the complex swara
computations without any hesitation and with absolute ease. This
youngster has tremendous potential and I am sure he will rise to
be a very popular and very well sought after violinist in no
time.
Tanjore Murugabhoopathy, the disciple of Late Sri Tanjore
Upendran, accompanied on the Mridangam. I have had the privilege
of listening to his guru many times and have always been amazed
by the “azhutham” and “sollu suddham” when Sri Upendran
accompanied on the mridangam. Murugabhoopathy did excellent
justice to the memory of his Guru with his own dexterous
handling of the mridangam while providing apt support to
Shashikiran and Ganesh. His playing not only provided excellent
rhythmic support but also enhanced the melody of the
compositions. The thani in Kanda Jhathi Triputa thalam was very
well executed. The Chathurasa and Tisra korvais were precise and
yet intricate, highlighting the Pallavi structure and idams.
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