Mysore Brothers enhances its traditional aesthetic with creativity and imagination
Sadly for Carnatic music connoisseurs who gather from different parts of the world in Chennai every December, Margazhi 2021 is running in a hybrid mode. So while there are few opportunities to listen and discuss music as a shared experience in a gathering or canteen, most of them are still online. ,
While listening to a virtual violin concert by the Mysore Brothers – Nagraj and Manjunath – hosted by Karthik Fine Arts, some imaginary conversations came to mind. The concert began with the raga Sindhu Ramakriya (‘Sudha Madhurya’, Tyagaraja), a raga not often heard on the concert stage. From “The Gardener Will Play It Beautifully, High Notes Too…,” from Husbandwho had hoisted her sari a foot above her ankles and walked through the waterlogged streets to the gathering. A gesture from me, while the friendly young man on my left, surfing Facebook, tells MS to sing ‘Devadidev Sadashiv’. “It’s available on YouTube Husband, Brilliant! Rajiv Gandhi, MGR, PV Narasimha Rao and P. Chidambaram were in the audience.” As soon as this reverence was broken, the fast singing was coming to an end and Bhai Sundar went to Vasantbhairavi, a born of Vakulabharan.
soulful presentation
A soulful short accompaniment was followed by the composition of ‘Ni Dayaradha’ (Tyagaraja) in medium art, presented with elegance and balance. A concert of Mysore Brothers is always marked by skill, virtue and adherence to classicism. His scholar-father Prof. Trained by Mahadevappa, troubled people carry forward the legacy. It is also significant that he has enhanced his traditional aesthetic with creative spirit and personal imagination, making his presentations at once emotional and intellectual. Sahana was proof of this – Nagraj painted a leisurely and contemplative portrait of the raga, developing each swara with restraint. In contrast to today’s trend of breathless productions, alapan was woven with pauses, and Manjunatha joined them to elaborate gamak phrases, each detailing the meaning of the other. Even Kriti and Swaraprastar maintained Sahana’s restraint. Manjunath picked up the pace to third pace and managed to keep the mood intact.
Purvakalani was a masterpiece. The troubles worked in turn to portray the raga in this RTP – it appeared meditatively, presenting the distinctiveness of the raga in its various uses. Except for a few phrases in the higher octaves, it was an aesthetically pleasing piece. overall structure of Taunt There was a judicious mix of reflection and joy. His rendering was also a demonstration of his complete understanding, always working to complement each other and never overshadow. Pallavi ‘Madhura Puri Nivasini Mampahi’ was sung melodically by Manjunath before she started playing it. She wore lehenga in Dwijwanti, Saveri, Kantamani and Desh, making it the most memorable part of the concert.
Arjun Kumar and Giridhar Udupa on the mridangam played a scintillating Tani Avartanam for the RTP set of the complex Khandajati Triputa Taal. In fact, he delivered a melodious and restrained backing through the concert, taking the focus off the main cast.
Husband Called the young man. “Can I listen to this concert on YouTube again,” she asked, taking out her Android phone from the cloth bag. We exchanged seats, and tutoring began.
Journalist based in Bangalore
He writes on art and culture.