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.