Alathur Brothers are known for their classicism, depth and dignity of their music. Their concerts were a melodic feast, and they never compromised and their music is always a guiding lamp for the music students.
One of the brothers Alathur Srinivasa Iyer’s birth centenary was celebrated at Ananya Sabhangana, last week. Speakers recalled Iyer’s hard practice, presentation and human values and paid tributes and it was followed by a music concert. Bangalore Vijayalakshmi, who gave a vocal concert, is a disciple of Alathur Srinivasa Iyer and has decades of concert experience behind her, which was evident throughout her concert. The Sloka ‘Nityanandam Parama Sukham’ – gave auspicious beginning to Vijayalakshmi’s concert and ‘Chalame’, the familiar varna gave her a steady start. A glimpse of that hallowed memory came through some of her selection and presentation ‘Ramaneepai’ and ‘Enduku Nee’ augured nostalgic memories of yesteryear’s music! After ‘Ethuta Brothuvo’, ‘Saraseeruhasana’ with brief swara, was pleasing. ‘Enduku nee daya’ was proof of her good ‘pattantara’. Saveri, the evocative raga was embellished with lively phrases and the ‘Shankari Shankuru’ revealed depth of technique and imagination. It attracted with nerval (Shyamakrishna Sodari Shyamale Sahodari) and a detailed swara prasthara. Seasoned instrumentalists C N Chandrasekhar on violin, Arjun Kumar on mridanga and Sukanya Ramgopal on ghata – rose to great heights in their supporting roles.
A touch of class
D Balakrishna, who gave a veena recital at the Sri Raghavendra Seva Samithi, Sudhindranagara, is a senior veena player of ‘Mysore Baani’. He is a “A-Top” grade vainika of All India Radio, an able teacher and recipient of ‘Ganakalashree’ title from the Karnataka Ganakala Parishat. His senior student Manjula Surendra accompanied him on veena, while H S Sudheendra and Dayananda Mohithe gave percussion support. ‘Pranamamyaham’ gave a steady start to Balakrishna’s veena recital. Manjula gave a brief alapana of Sriranjini for ‘Brochevarevare’. The swara prasthara was also complimentary to the raga. The next composition ‘Najeevadhara’ was also from the treasure chest of Tyagaraja. His Anandabhairavi for ‘Ramaninnu’ of Veena Seshanna, was replete with endearing phrases, the style strictly adhering to the time honoured Mysore tradition.
Two well known and meaningful krithies – ‘Mokshamugalada’ and ‘Nambi Kettavarillavo’ – are favourites of listeners, always. Kambodhi ragalapana was neat, especially the crisp thana had the master’s touch of class and the Saint’s dignified composition ‘Ma Janaki’ with an elaborate swara, was also wholesome.
The concluding devaranama (‘Jagadoddarana’) and a thillana of Dr V Doreswamy Iyengar (Saalaga Bhairavi) – were also pleasing.
Lilting melodyThe vocal duet of Triveni and Kavitha Saralaya (Saralaya Sisters) in the Raghavendra Swamy Aradhana, was in refreshing contrast, as they chose mostly Kannada devotionals. Swara for the opening ‘Namo Namo Raghukula’ added a lively lilt to their vocal duet. ‘Bhajisi Badukelo Maanava’ brought that hallowed memory of old masters.‘Eddu Baruthare Node’ and ‘Tunga Teera Viharam’ both suited the occasion. Their evocative style surfaced in the ‘Rama Rama Guna Seema’ with impactful nerval. Saralaya Sisters sang with lyrical charm and lilting melody. Experienced accompanists B Raghuram (violin), C Cheluvaraj (mridanga) and Dayananda Mohithe (ghata) – shared the honours with the vocalists.Mysore V Subramanya