<p>Ganabharati had organised a violin duet by the famous brothers of Mysore, Nagaraj and Manjunath at the Veene Sheshanna Bhavana on December 16. This programme was sponsored by Desi Raju Srinivas in memory of his parents. </p>.<p>Nagaraj and Manjunath have been considered as top most of the violinists of our country. They have emerged not only as the best accompanists but also as fine solo performers. The pleasant tone and the greater modulation control they exhibit speak of the quality of their music. The wide exposure and experience have helped them acquire distinctive qualities required for a violinist along with the mastery over the instrument.<br /><br />They were accompanied by two fine mridangists A U Jaychandra Rao and B C Manjunath. it was the Gayaki ang that dominated the concert throughout. This concert was purely melody oriented unlike their jugalbandhis. Instead of virtuosity, it was melodic creativity that reigned. The very opening was so serene . ‘Tera teeyagarada’, the pleading of Tyagaraja to Lord Venkateshwara to lift the veil of jealousy created the right mood. <br /><br />The majestic keerthana in Gowlipanthu did the magic. All the compositions they had selected for the day were once popular, hence nostalgic to many rasikas. After a short alapana in Devagandhari, ‘ksheere sagara’ flowed from their bows in unison. ‘Brochevarevare,’ the utsava sampradaya keerthana of Tyagaraja in Sriranjini was embellished with very attractive kalpana swaras. <br /><br />Every keerthana they played were treated with utmost care. Nagaraj started playing the alapa of Kedaragowla filling the atmosphere with not so familiar yet pleasing phrases,. Yet another kruthi of Tyagaraja ‘Venuganalola’ was a real musical treat. <br /><br />Another familiar kruthi ‘Makelara’ in Ravichandrike was played before starting the main raga of the day. Manjunath, who is more inclined towards virtuosity proved wrong by showering melodic Kalyani sangathis that were soothing in every phrase. <br /><br />The Daatu and shadja-panchama varjya prayogas many times resembled the western chords. ‘Biraanavara’ of Shyamashastry pleased one and all. After a fast ‘Sarasa saamadaana’ in Kapinarayani, Nagaraj elaborated Madhyamavathi emphasizing on rishabha and nishada. Manjunath continued it with his manodharma revealing two different personalities with one musical thought. It was ‘Unity in diversity’ with a difference. Taana too was so different and attractive.<br /><br />A pallavi ‘Sharavanabhava’ set to Adi tala was well handled decorating it with Dwijavanthi, Kapi,Revathi and Behag each in a very leisurely pace. Every raga was dripping with bhava . The percussionists deserve a special mention for adding considerably for the success of the concert with their soft strokes. Even the tani was soft and enjoyable. The slow ‘Krishna nee begane baro’ and ‘Madhava maamava’ brought the curtain down.</p>
<p>Ganabharati had organised a violin duet by the famous brothers of Mysore, Nagaraj and Manjunath at the Veene Sheshanna Bhavana on December 16. This programme was sponsored by Desi Raju Srinivas in memory of his parents. </p>.<p>Nagaraj and Manjunath have been considered as top most of the violinists of our country. They have emerged not only as the best accompanists but also as fine solo performers. The pleasant tone and the greater modulation control they exhibit speak of the quality of their music. The wide exposure and experience have helped them acquire distinctive qualities required for a violinist along with the mastery over the instrument.<br /><br />They were accompanied by two fine mridangists A U Jaychandra Rao and B C Manjunath. it was the Gayaki ang that dominated the concert throughout. This concert was purely melody oriented unlike their jugalbandhis. Instead of virtuosity, it was melodic creativity that reigned. The very opening was so serene . ‘Tera teeyagarada’, the pleading of Tyagaraja to Lord Venkateshwara to lift the veil of jealousy created the right mood. <br /><br />The majestic keerthana in Gowlipanthu did the magic. All the compositions they had selected for the day were once popular, hence nostalgic to many rasikas. After a short alapana in Devagandhari, ‘ksheere sagara’ flowed from their bows in unison. ‘Brochevarevare,’ the utsava sampradaya keerthana of Tyagaraja in Sriranjini was embellished with very attractive kalpana swaras. <br /><br />Every keerthana they played were treated with utmost care. Nagaraj started playing the alapa of Kedaragowla filling the atmosphere with not so familiar yet pleasing phrases,. Yet another kruthi of Tyagaraja ‘Venuganalola’ was a real musical treat. <br /><br />Another familiar kruthi ‘Makelara’ in Ravichandrike was played before starting the main raga of the day. Manjunath, who is more inclined towards virtuosity proved wrong by showering melodic Kalyani sangathis that were soothing in every phrase. <br /><br />The Daatu and shadja-panchama varjya prayogas many times resembled the western chords. ‘Biraanavara’ of Shyamashastry pleased one and all. After a fast ‘Sarasa saamadaana’ in Kapinarayani, Nagaraj elaborated Madhyamavathi emphasizing on rishabha and nishada. Manjunath continued it with his manodharma revealing two different personalities with one musical thought. It was ‘Unity in diversity’ with a difference. Taana too was so different and attractive.<br /><br />A pallavi ‘Sharavanabhava’ set to Adi tala was well handled decorating it with Dwijavanthi, Kapi,Revathi and Behag each in a very leisurely pace. Every raga was dripping with bhava . The percussionists deserve a special mention for adding considerably for the success of the concert with their soft strokes. Even the tani was soft and enjoyable. The slow ‘Krishna nee begane baro’ and ‘Madhava maamava’ brought the curtain down.</p>
