Hyderabad Sri Seshachary @ SSVT in Lanham, Md, near DC.

[Ranganayaki]

Hyderabad Seshachary at Sri Siva Vishnu Temple, Lanham, MD on 24/9/’11.

Sri Seshachary was accompanied by Sri Srikanth Mallajosyula on the violin, and Sri Jayanth Balasubramanian on the Mridangam..

1. Varnam in Bhairavi, Ata tala – Viriboni
2. Anupama Gunambudhe – Atana – Khanda Chapu- Thyagaraja (Brief Alapana, S@Rajakula)
3. Meru Samaana – Mayamalavagowla – Adi – Thyagaraja (A, with N, S @ Kalamuna Shobhillu – Kanaka Bhushanamula)
4. Bagayanayya – Chandrajyoti – Adi – Thyagaraja
5. Arunachalanatham Smaraami - Saranga – Rupakam – Muthuswamy Dikshitar
6. Rama Ikanannu Brovaraada Daya Leda – Sahana – Rupakam – Patnam Subramanya Iyer (A)
7. Aparaadhamulaniyu manninchhi – Latangi – Adi – Thyagaraja (A, Reprise of Veganannu Brovu at the end of the song for N,S)
8. Kanjadalaayataakshi – Kamala Manohari – Adi – Muthuswamy Dikshitar
9. Chakkani Raja – Kharaharapriya – Adi – Thyagaraja (A, w N,S @ Kantiki Sundarataramaku Rupame)
10. Viruttam – Ragamalika – Bilahari, Saveri, Mohanam, Revathi, Neelambari – followed by Madhava Mamava Deva Krishna in Neelambari – Adi – Narayana Teertha (A)
11. Karunai Deivame Karpagame – Sindhu Bhairavi – Adi – Madurai Shreenivasan
12. Behag Tillana – Probably Adi Taalam, composer??


An enjoyable concert, my first one of the Hyderabad brothers. I have heard recorded music by them, and my reaction was variable. I think the concert lived up to that promise.. I liked the performance of some songs over others.

The Varnam, the atana alapana and kriti, were very nicely done, but with no surprises..

Just like the Meru Samaana on my CD, I felt I’d heard much better performances of that great song. It was nice, but without much else to say about it.

Bagayanayya was very nicely done, As a Tamil speaker, I felt that there was nothing like a Telugu speaker singing Thyagaraja’s Telugu compositions.. It sounded much better for being pronounced correctly. The song was beautifully rendered, and it was not just the pnonouciation. Very nice sangatis that were very soulfully expressed and sung from the heart and it moved me.

He had beautiful moments in the latangi alapana with a series of sancharas beginning with NDN and continuing progressively down the scale..

The other songs were all enjoyable, but my impression was that this was not a top-grade venue in the mind of the artist. Sri Seshachary did not venture beyond the tried and tested, not an inch beyond his comfort zone.. There was nothing out of the ordinary about any of the singing, except may be the Chandrajyoti. I did enjoy the concert, but it just never rose above the ground, never took flight.. I did not come away with my mind blown or inspired. The alapanas were all good, but each one was just one of a thousand you’ve already heard in its ragam. I guess I’m saying that it was a good concert, but not a great one.

The tillana in Behag was unfamiliar to me.

I don’t want to miss mentioning the effect of his voice which, surprisingly, sounded much better live than on the recordings. He has a wonderful vocal range, reaching all the way down to the lower shadjam of the mandara sthayee.. and the lower it goes, the deeper, fuller and richer his voice gets, while his higher notes are well modulated and softer.. Very nice.

Srikant Mallajosyulla’s accompaniment was adequate, without flaws, but not much more than that. He seemed to be reticent and did not play with flair and gave off an impression of being rather tense. His facial expression did not change throughout the concert. He did have, however, a few moments of fluency and enjoyment during the sahana alapana.

I am rarely comfortable saying anything at all about the percussion. Sri Jayant Balasubramanian’s tani avartanam was short. Sri Seshachary seemed appreciative of both accompanists, but there didn’t seem to be much of a musical interaction going on between the artists.

[mahavishnu]

Ranganayaki, It is lovely to see a review from you after a long time!
I cannot recall ever hearing Seshachary in a solo concert.

I have also been struck by the excellent enunciation of the lyrics by both the Hyd brothers, especially for Tyagaraja kritis.

I take it that the accompanists are local artistes probably accompanying Seshachary for the first time, and hence the lack of camaraderie. Perhaps not stepping out of the comfort zone had to do with these factors too?

[Ranganayaki]

I take it that the accompanists are local artistes probably accompanying Seshachary for the first time, and hence the lack of camaraderie. Perhaps not stepping out of the comfort zone had to do with these factors too?

It was certainly possible, Ramesh, I thought of it too. The accompanists were both from the US, as I found out later, and I agree with you. I wonder what effect their lack of facial expression had too.. I felt Seshachary was putting in effort to appreciate and highlight moments in their playing, probably trying to develop the relationship - I sensed that, but I am not sure of it of course.

Thanks, Ramesh, for the welcoming words.. : ) it's nice to be back.

Just wanted to add that Seshachary was in the area for a week or so and held a workshop on the practice of Manodharma. I don't have more information on that.

[Sreeni Rajarao]

Quoting Ranganayaki from Post #1:

"Srikant Mallajosyulla’s accompaniment was adequate, without flaws, ...................................................... . His facial expression did not change throughout the concert."

I have known Srikanth for about 6 years, and I have not seen his facial expression change once!

He is a fine performer, a very good teacher and a very helpful person, especially for organizing music related events.

Before he moved to Maryland area, Srikanth lived in Detroit area. I have attended many of his concerts. While his music was rich in expression, his facial expression was not. He is always a quiet and calm person by nature, and his facial expression (rather, lack of it) is evident on stage also during concerts.

[arasi]

Ranganayaki,
Good to hear from you--that too, with such a good concert review. Though our response to a concert is subjective, you bring an objective tone to your review.
I agree that a concert where there isn't much communication among the artistes--is a bit of a let-down. Though the vocalist leads, its pleasant to see her/him appreciate/encourage fellow-performers. In fact, that's what elevates a performance. I don't mean to say that there should be a number of sabhAsh-s and bhalE-s. It's their being conscious that a concert is a combined effort. A smile here, an appreciative nod there draws us more into the performance.
In this case, the local talents might have felt that for a senior vidvan, aDakki vAsittal (to be low key) is apt.

[Ranganayaki]

I have known Srikanth for about 6 years, and I have not seen his facial expression change once!

Sreeni Rajarao, I am completely surprised by this confirmation from a personal friend of the artist's. It was an off the cuff remark, but it struck me, and I am amazed that this turns out to be quite an important aspect of the artist's personality. He did look like a nice and gentle person and I am not surprised at all the nice things you say about him. I did feel he was holding back and I just wanted him to throw off whatever was restraining him and just play freely.

Arasi, thank you. I agree with you.. I just wonder if it is necessary even for Junior artists to play
"Adakki" at all.. that attitude of "mariathai" is so misplaced and serves no purpose! They should all just be able to perform at their best level.