It was a simulating combination of Carnatic rendition by Malladi Brothers and discourse on renditions by Chaganti Koteswara Rao commenting on divine applications of the kirtana content. The event was held in Vivekananda Hall of Ramakrishna Math, Domalguda. It was Malladi Brothers — Sriram Prasad and Ravikumar rendering compositions of Thyagaraja on the first day, Ramadasu kirtanas on second day and those of Narayana Teertha on the final day, with Chaganti commenting on the text revealing inner meaning of compositions. This event was organised by Nadaprabha.
The first day event covered seven select scintillating kirtanas of Thyagaraja. Chaganti explained the unusual projection of dancing Ganapathi, not associated with dance like that of Lord Siva or Lord Sri Krishna. On a rare occasion when a penitent Celestial Chandra approached him seeking forgiveness, Sri Ganapathi danced in ecstasy in a benedictory mood, he informed.
The next number was Yepaniko Janminchitinani in Asaveri. Chaganti highlighted the intimate imploration of the Saint pleading with Rama to fathom his heart to learn the purpose of his birth. Evarikai Avataramettitivo in Deva Manohari, they presented later, was explained by Chaganti taking references from ‘Bhagavadgita’ and ‘Valmiki Ramayana’. ‘Alakalallalada’ in Madhyamavathi of Thyagaraja presented vivid picture of relationship between Guru and Sishaya like Viswamitra had with his disciples Rama and Lakshmana, Chaganti explained. Malladi brothers were in their element delineating the raga in detail. Ma Janakini in Kambhoji that alludes Lord Rama gaining glory solely by marrying Sita was another impressive presentation.
On the second day it was discourse on Ramadasu and his compositions. This time Malladi Brothers were joined by their illustrious father Suribabu, who rendered some verses from Dasarathi Satakam. Chaganti narrated about hard days of Ramadasu, yet never losing unswerving dedication to Sri Rama. Anta Ramamayam in Varali, Ramabhadra Rara in Sankarabharanam, Enno Vidhamula in Kambhoji, Paluke Bangaramayana in Bhairavi, Nanu Brovamani in Kalyani were some of the numbers they rendered with Chaganti explaining their context, also saying that employing native Telugu idioms produced maximum effect.
The third day was dedicated to Sri Narayana Teertha, who penned ‘Tarangams’ that belong to Bhajana Sampradaya. Chaganti narrated the life and times of Sri Narayana Teertha and said the works covered Bhagavata episodes from childhood of Krishna to his wedding with Rukmini. Malladi Brothers excelled in rendering the select Tarangams meaningfully and with right mood. Jaya Jaya Ramanatha in Nata, Alokaye in Hussaini were some of them. The discourse by Chaganti, presenting entire Bhagavatam in a nut shell, was mesmerising.
The accompanists who shared the three-day event were violinisists Dinakar Rama Raju, Dwaram Satyanaraya Rao and BS Narayan and mridangam artiste Parupalli S. Phalgun, DSR Murthy and Mahadevu Narayana Raju.
