Vidushi Smt.T.Brinda Centenary concert
organised by Bharathiya Sangeetha Vaibhavam trust-July 1st , 2012
Ragasudha Hall, Luz, Chennai
Hyderabad Brothers Sri.D.Sesha Chary & Sri. D.Raghava Chary – Vocal
Sri. Mannargudi Easwaran- Mridangam
1.Neramora jara chora maru balkarada- Hamsadhwani- Misra Chapu- Tachur Singarachary
2.Ayyo Vibhudu nannu marache-Kedaragowlai- Adi- Dharmapuri Subbarayer
3.Bhayarani baliche bamanampina raade- Kapi –Rupakam -Tirupati Narayanaswami
4.Enthane varninthune sakhi- Kedaram- Rupakam- Pattabhi Ramayya
5.Charumathi upacharamu letike-Kanada- Misra chapu- Pattabhi Ramayya
6.Enthati kuluke- Kalyani-Rupakam-???
7.Mera gadu lechi ra ra- Atana- Adi-Chinnaiah
8.Rama Rama prana sakhi -Bhairavi- Adi- Kshetrayya
9.Samayamidera ra ra sami- Behag- Rupakam- Patnam Subramanya Iyer
10.Valapu daasa nerene, vaari veeri vallane – Varali- Misra chapu- Kshetrayya
11.Kaasikki poyene, nee vallane –Mukhari- Misra chapu-? Muthu thandavar? muthu Natesa
12. Cheliyane netumarathunate- Neelambhari- Misra Chapu- Pattabhiramayya
When Sri Sesha Chary announced that it is going to be a thematic concert comprising of only padams and javalis, I was not sure how it will turn out to be. Having read A.K.Ramanujam’s incomparably researched, scholarly writings on Telugu padams , the evolution of the padams as a genre and his stunning translations of Kshetrayya and sarangapani padams in to poetic forms, and having drowned in Brindamma and mukhthamma’s recordings so many times, I still was wondering - how it would be to hear a concert without a single kriti by the trinity? My ears are very low on risk taking. What might uplift the concert from sagging ?
I was floored, at the end of the two and a half hour concert –of only javalis and padams. It was largely due to the excellent planning of the song line up by the brothers and the sheer sparkling musical notes. Yes, I agree with A.K.R that the beautiful sound of the songs in lovely soft dental double consonants and the gliding lingual sounds of Telugu language is best suited for padams. ( Like `Kaliki chilukula paluku' in the Bhairavi padam.) and the weight of the music itself helped the concert move on flawlessly without any sagging. Most rasikas stayed till the end. The Hyderabad brothers were releasing so many exotic padams from their corpus fund! And I know for a fact that they know atleast a thirty more in their vast repertoire which I have personally heard.
The selection of Hamsadhwani, Kedara gowlai and Kedaram to occupy the opening slots of the concert was a great idea. Gave the flavor of a ``regular’’ concert. The kapi javali was dripping with sensuality.
Charumathi upacharamu in Kanada is a piece which is refreshing to listen to , every time. The brothers have been singing it with total enjoyment for many years, and it never tires me.
Kalyani started as a submain piece but slowly gathered an unplanned momentum and evolved as another main piece. It was Sri Raghavachary’s show most of the way. The alapana phrases, the gorgeous neraval that they sang and the elaborate swara kalpana, his singing was remarkable . Relaxed, unhurried and mellowed singing.
Other than this the rest of the concert was filled with Sri Sesha Chary’s deep , full voice, his verve, enjoyment , an absolutely clear diction , intonations to match the mood of the padams. He gave brief alapanas befitting the padams.
Bhairavi is an intense ragam. With a label `handle with care’ on it. Both in its complexity of structure and the intensity of its bhavam. Sri Sesha Chary showed all the way how well it could be handled. I have not heard a gentler Bhairavi. Very elegant, extremely subtle and refined phrases, all sung with gentleness and bhavam to match the lovely padam Rama Rama prana sakhi. So many Brindamma-Mukthamma phrases flowed with delight. And with perfection. Swara kalpana at Kaliki chilukula paluku. No neraval, sigh!
The misra chapu hat-trick followed the Bhairavi. And what an awesome hat-trick! They elevated the concert to a very high level of musical experience. The exquisite varali padam which sparkled like a jewel-Valapu dacha nerene- The haunting quality that Brindamma and Mukthamma brought in to their rendition was matched by Sri Sesha Chary. He showed what a master musician he was in every subtle phrase of his music. Such indescribable varali. It is indeed a master piece. Before I could recover, the next gem followed.
Kasikku poyene- a mukhari which so effectively brings out the torment. They sang it in an even slower kalapramanam than usual. Lingering on every note and every syllable.
After this Sri Sesha Chary stopped singing for while and started speaking about Brindamma’s special and supreme music. How certain sangathis could be sung only by them. He remarked that some of their sangathis would not fit in to the thalam while attempted by others. He emphasized that this is not `general music but their special music’ . He recalled with gratitude as to how they carried this special bani through their families. He also was worried , he said, as to how this is going to be preserved for generations to come. Sri Mannargudi Easwaran joined in the talk in an informal way and reminisced about the sastri hall concert where he played for Brindamma and Mukthamma at their request because he had heard and learned from sri Ramasamy Pillai whom they respected a lot. Sri Sesha Chary joined in and explained, hummed the phrase thamara sakshuni in Rama Rama prana sakhi and demonstrated the way Sri Ramnad Kandasamy Pillai played for the phrase. Very enjoyable.Asthika Samajam Narasimman joined in, praising the adherence of the brothers to the B & M bani of padam-javali singing, There were reminiscences, reminiscences,about B&M's concerts so much so sri.Sesha chary called it pechu kutcheri towards the end.
Sri H.N. Bhaskar appeared to enjoy himself while playing and adhered to the vocalists pattern while he played the violin .I liked his kalyani and bhairavi.
Sri .Mannargudi Eswaran, was unanimously agreed by all on stage and some off stage as the most befitting player for a padam concert. His playing was top class. His mridangam spoke a very elegant sollu and where it did not speak was even more awesome. Such is the aesthetic sense in his playing.
Sri Guru Prasad rose to the occasion and played to enhance the tani. There were actually 2 thanis. Sri Sesha Chary asked sri ME to play a thani after Kalyani and he was hesitating since it was not the main piece. After the Bhairavi main, he egged him on to play another thani and there it was, a delight to all mridangam lovers.
I am really greatful to the Hyderabad brothers to have circulated these exotic padams- Their contribution in preserving for the future generations. I wish they come out with a entire collection in their repertoire as a CD soon.
A delectable concert.
Last edited by Neeraja veni
on 07 Jul 2012 23:59, edited 1 time in total.