sec'bad-Malladi Bros

[sivakami]

Sadguru Sri Thyagaraja Aradhana Uthsava Samithi
Anandbagh, Hyderabad -500 047

22nd Feb 2014

Malladi Bros Sri. Sreeram Prasad & Sri Ravikumar
H. N. Bhaskar
Patri Satishkumar
Tripunithura Radhakrishnan

Song list:
1. neeke theilyakka pothe – Ananda bhairavi ( raga sketch & S@ lokadharuvadai..)
2. bhakthi bicchamiyave – shankarabharanam
3. daridaapu leka vedithe– saveri ( R, S@daridaapu leka)
4. evarikkai avatharamethithivo – devamanohari (R, S@ evarikkai..)
5. ninnu nammi vachina nannu– kalyani
6. kadhale vaadu kaaDe ramudu –narayana gowla
7. koluvamare kadha – thodi ( R: 8 min SRP, 7min RK, then 1-2 min both alternating: 6min; N & S@ ‘bhaagavathulu koodi… deeparadhanamonarinchi’)
tani- 9 min
8. jaya jaya durge –durga- narayana theertha( tuned by Sri. Malladi Suribabu garu)
9.nandakadhara nanda gopanadana – annamayya- ?(somebody said it was “Rageshwari”)
10. baLi ra vairagyamentho – Kalavathi - Bh. Ramadasu
11. slokam “ vyasa..”
MANGALAM

The concert opening which appeared to be slow and soft with’ neeke theliyakkapothe’, picked up tempo almost immediately due to the nice brigas of the duo, and kalpanaswarams. Next was the rarely heard kriti, with those philosophical lyrics. Then after a sublime saveri alapanai by SRP, voleti-gari special ‘daridaapu’ was rendered full of bhakthi & bhavam and swarams round elevated by HNB & the two percussionists. This was followed by a raga delineation of deva manohari by RK; when several of us fumbling to identify the raga, SRP announced it was deva manohari, after which they sang another meaningful “evarikkai” which was concluded with a very detailed rounds of swarams, which we all enjoyed very much. I even saw some youngsters behind me, taking notes. Next, after the fast-filler in Narayanagowla, the main was elaborate, but the N& S was somewhat hurried . The artistes had come ready well before, and were wanting to start at 6.30. But this time, the organisers were reluctant and somehow delayed till 7PM for the crowd to fill-in. Since the tani lasted for just 9 min., and the post-main section was a hurried& short one, we were all complaining. We were told that, since Patri SK had to catch a bus to Bangalore at 10 PM, they had to wind-up early. But, it was satisfying a little bit, as the percussionists had displayed their skills all through, which the artistes as well as we, the rasikas appreciated and enjoyed thoroughly. It was gratifying to see the audience not leaving en-masse in between, but staying back eager to listen to the delicious tukkadas. So, even after the mangala-slokam, people tried to remain seated expecting more from the Malladis and were quite disappointed. Perhaps the organisers should also understand these issues and adjust accordingly..
It always gives immense pleasure to watch HNBhaskar playing and enjoying the performance of the co-artistes simultaneously. We saw him on two consecutive days, adapting to the two, very different styles (the Malladis & TMK the next day) so well and reciprocating every phrase brilliantly. Once the concert commenced after 7 PM, it was just fireworks from Patri Satishkumar and Tripunithura Radahkrishnan, trying to match MB & HNB, till the conclusion at 9.30 PM. Overall it was an excellent (SMT, i.e.sukku-milagu-thippili) kucheri which brought out the several inner meaning(s) of the Sadguru’s compositions; it was also exciting to watch the whole team contribute and play equally well with mutual admiration.

[mahesh_narayan]

Thank you for the nice review. Could you please post TMK's song list?
Thanks.

[rajeshnat]

Overall it was an excellent (SKL, i.e.sukku-milagu-thippili) kucheri which brought out the several inner meaning(s) of the Sadguru’s compositions;

Sivakami
May I understand what you meant sukku -milagu-thippili please, did not get it? Tx sivakami for your review.

[sivakami]

@ rajeshnat,
1stly, it should read as "SMT kutcheri, i.e. 'sukku-milagu-thippili' kutcheri) in my post. I have edited now..

2ndly, what does this mean:
When we were in school, while doing the language courses, when we use to split words wrongly when some alphabets were given for formation of words, my mother used to correct us. The she used to quote her tamizh teacher who used to ask them to spell/split words correctly, as given in 'sukku-milagu-thippili', and not 'sukkumi-lagudhi-ippili'. Maybe there is a comical anecdote/ tale behind this. Our other fellow-forumites maybe able to explain better...

In this context, listening to the native telugu-artistes rendering telugu krithis (particularly Thyagaraja krithis), is always a different pleasure that we derive, due to the correct pause, emphasis of the syllables etc. Its like listening to telugu spoken music-(fully)ally.