HYDERABAD BROTHERS AT RAGASUDHA HALL- 26/6/16

[CRama]

I got the opportunity to attend the concert of Hyderabad Brothers after many years. They were accompanied by H.N.Bhaskar on the Violin, Mannargudi Easwaran on the Mridangam and K.V.Gopalakrishnan on the Ganjira. List of songs.
• Varnam- Vasantha
• Janani Ninnuvina-Reetigowla-Subbaraya Sastri (R)
• Saraseeruhanayane Sarasijasane-Amritavarshini-T (R,N,S)
• Lavanyarama-Poornashadjam-T
• Needu charanamule- Simmendramadhyamam- K.V.Srinivasa Iyengar (R,N,S)
• Yajnatulu-Jayamanohari-T
• O Rangasayi-Kambodi-T (R,N,S)
• Tani
• Narimani-Khamas- Javali
• Muttavaddura-Javali-Saveri
• Saramaina- Javali-Behag -ST
• Garudagamana garudadhwaja-Hindolam-A
• Mangalam

When the curtain opened it was a happy sight to see both the brothers seated flanked by the renowned accompanists. I was sceptic about the presence of Raghavachary since for the few months, it was Seshachary who sang alone and there were many rumours about the health of the other partner Raghavachary. Hence I was glad that both the singers are here again to delight the listeners with their chaste Carnatic music. It was nearly eight years or so that I got an opportunity to hear their concert. They always presented unadulterated carnatic music. They are noted for their authentic patantharam, manodharmam, perfect enunciation of the sahithym of the telugu songs. But in the razzmatazz of the crop of many young singers in todays’ concert arena, including the emerge of the younger duo from their own state, their opportunities have dwindled over the recent years in Chennai. I have heard many of their concerts in the past which are still etched in my memory.

The Vasantha varnam in the second speed was a perfect opener to the concert. Without spending any time to warm up, Seshachary immediately leashed a soulful and elaborate alapana of Reethigowla in his deep and resonating voice which is rich in nuances and most perfect for singing Carnatic music and followed by the magnum opus of Subbaraya Sastri- Janani Ninnuvina. I was hearing this song first time from them. Normally they used to sing one of the many kritis of Tyagaraja in this ragam. The kriti was rendered with full fidelity to the mood of the song as expressed by the great vaggeyakara. Next Raghavachary presented an elaborate alapana of Amritavarshini for the song Saraseeruhanayane Sarasijasane- one of the many songs wrongly attributed to Tyagaraja. Raghavachary’s voice, though having a slight nasal twang was in full form. There was no voice problem as I feared. More than that, his brother gave full space to him to portray his imagination. This song is new to me. Neraval was done at the lines Maravagu Lalithe Tyagarajanuthe and decorated with elaborate second kala swaras. After a quick filler Lavanyarama, again Raghavachary took up Simmendramadhyamam for an elaborate exploration of the myriad hues of the ragam. The raga edifice was built up step by step simultaneously diving into the inner beauty of the ragam through the characteristic phrases and appropriate glides, jarus and janta prayogams. The entire exercise took 10 minutes and was a great treat to the audience who appreciated liberally. The song Needu charanamule – again a song wrongly attributed to Tyagaraja- was presented with all the sangathis in tact. Neraval at Needu charanamule gathi Seetha rama revealed the rich imagination of both the brothers and suffixed with large bouts of electric swaras. I observe that the present trend is to take up pallavi of the song for neraval. It was a no no in the early years. I also observe that some of the pallavis are not suitable for neraval. Neverthless many singers take up them for neraval as a novelty.

Yajnatulu was the filler before launching on Kambodi. Seshachary asked the audience whether they would like to hear Kambodi or Harikambodi. Majority in the audience shouted for Kambodi. In fact, somebody sitting in the front row had already requested for Harikambodi. Later Seshachary assured them that in the next concert they will definitely sing Harikambodi. The raga was sung by both the brothers alternatively which brought mixed results. Personally, I feel that when both the singers sing alternatively the manodharmam of one singer gets contrived when the other intervene. The best course is one person sing upto a certain stage and then the other take over. Still the ragam was portrayed in all its splendour for ten minutes and the kriti O Rangasayi was presented. The ragam had lot of beautiful mandra sthayi pidis which was a pointer to the O Rangasayi. Neraval at Bhooloka vaikuntam and elaborate swaras and attractive koraippu made this appeal to the heart and intellect alike. The entire song itself took 45 minutes.

After the tani, three javalis were presented in the appropriate kalapramanam - all with the innate beauty of the javali and oozing raga bhavam. The brothers have an enviable repertoire of padams and javalis and one day I would like to hear a concert of exclusive padams and javalis by them. The concluding piece was Garudagamana garudadhwaja in Hindolam. But the alapana in Hindustani style showed a different colour of the ragam and remained a mystery till the song was started.

One thing which irritated me- It seemed the brothers are at a loss without referring to the tablet. Even for the song which they have sung 100 times, they needed reference to tablet. It was irritating to see after each song, Seshachary searching in the tablet for the next song to follow. This I have been observing since long. When the song is not internalised, the free flow of music will be affected.

H.N.Bhaskar provided excellent support. His alapanas and returns were top notch. Special mention should be made of his Simmendramdhyamam alapana. His imagination and bowing reflecting the thick and thin shades was appreciable and a great embellishment to the concert. Mannargudi Easwaran with his long experience, excellent anticipation and understanding lifted the concert with his deft strokes of excellent nadam. The tani with KVG which lasted for 15 minutes had verve and substance and the audience enjoyed the tani very much.

I was so happy to meet forumite Mahavishnu in the concert who had come to Chennai for a brief stay. We exchanged pleasantries and had a brief chat after the concert. An excellent concert for two and half hours.

[rajeshnat]

• Saraseeruhanayane Sarasijasane-Amritavarshini-T (R,N,S)
..
....
Next Raghavachary presented an elaborate alapana of Amritavarshini for the song Saraseeruhanayane Sarasijasane- one of the many songs wrongly attributed to Tyagaraja. Raghavachary’s voice, though having a slight nasal twang was in full form. There was no voice problem as I feared. More than that, his brother gave full space to him to portray his imagination. This song is new to me. Neraval was done at the lines Maravagu Lalithe Tyagarajanuthe and decorated with elaborate second kala swaras.

Never heard this amruthavarshini krithi sarasseeruha nayanE. If this is spurious krithi of T , may be who is the disciple and the next gen vaggeyakkara who actually composed it (possibly keerthi or ravisri can throw more light on this . Googling this krithi i find references to kadri gopalnath and A kanyakumari having played this krithi . By any chance who has taken this krithi before hyd brothers ?

Thank you Crama for your review. Looks ramA had mahavishnu accompanying him for O rangasAyi.

[CRama]

Rajesh, I remember hearing this song from Balamurali many decades back.

[mahavishnu]

Thank you for your comprehensive review, CRama.

I too really enjoyed this concert. There is a uniqueness to the music of the Hyd brothers that I always appreciate. Raghavachary sounded muted as usual, but there was a few brilliant pidis that he brought out during the alapanas. I was one of the people that wished for Harikambhoji, oh well. Although the Poornashadjam and Jayamanohari pieces were short, the kriti presentations were top notch. I did wonder about the choice of Poornashadjam after a relatively detailed treatment of ritigowla. I wish Sri Seshachary would ease off on his quirky stage antics a little bit and stay off the tablet (as CRama mentioned).

It was a pleasure to meet CRama there, albeit very briefly. I wish we had more time to discuss this concert and other music. I was also fortunate to see Sureshvv on the way out.

I am very glad that I spent the last evening of my visit to Chennai with a trip to Ragasudha Hall (with an additional final stop at Pattappa's Thaligai). I am back Stateside now with an even greater realization that there is no place like Chennai (BLR reviewers bring it on) to listen to good Carnatic Music.

[arasi]

CRama,
Your reviews bring the concerts to life, with all your detailed expositions of the performances. Your (developed for many years with rigor) rasikatva entertain and educate us.

Another Rama who goes by the great VishNu name tops your review with dessert from Pattappa's heard so much, but not tasted cuisine!

Yes, have heard the brothers live only twice, here and in India, and their presentation of kritis stay imprinted in our minds...

As for another vishNu--surESa, wish he would introduce himself (or Nick or Rajesh is also there to do so) if we happen to be in the same hall--elusive he has been, all these years

[CRama]

Thank you arasi. Very happy to see your posting for my review after a long time. I have also not visited Pattappa so far. But noted to visit very soon. Once Suresh introduced himself to me in KGS. Somehow I missed him in this concert.

[sureshvv]

Nice review CRama. I felt their Lavanya Rama was most beautifully presented showcasing their deep appreciation of the music they present.

@arasi... will most certainly make it a point to say hello. At this point I am afraid it may be somewhat underwhelming ☺

[Nick H]

Arasi, I would have introduced you long since, but somehow, Suresh and I see each other at concerts all year except during the season, when we seem always to be in different places.

[gardabha_gana]

3 padam/javalis jealous!

[mahavishnu]

Nick: I was expecting to see you at Ragasudha Hall. I thought you were a permanent fixture there

[Nick H]

If I had known you were going, I would have joined. I am generally not so keen on vocal duets, and tend to give bros and sisters a miss.

[arasi]

Mahavishnu,
Indeed Nick is, though not riveted to his favorite seat

Thanks, Suresh. Please do. I said it because I have a feeling you were there at RS once when I was there too--and I didn't know it until you wrote about the concert

[Sivaramakrishnan]

'Saraseeruhanayaney sarasijaasaney' is a beautiful composition; perhaps due to the llingering debate not much heard in concerts. Bad luck!

At least in the case of Needu charanamuley the debate has probably 'absolved' the Saint of the authorship and KVS Iyengar vested with the credit of the composition (though the latter only wished to see his Sahitya spread).

It's said a handful of other kritis of the sort are also in circulation. Which are they?