In honour of maestros

Chaitanya Brothers gave a nuanced rendition of compositions by different Vaggeyakaras.

September 04, 2014 06:48 pm | Updated 06:50 pm IST

Chaitanya Brothers at the Bhadrachala Ramadas Jayanti celebrations in Visakhapatnam. Photo: C.V. Subrahmanyam

Chaitanya Brothers at the Bhadrachala Ramadas Jayanti celebrations in Visakhapatnam. Photo: C.V. Subrahmanyam

Exponents of Annamayya compositions Varanasi Venkateswara Sarma and Bukkapatnam Krishnamachari popularly known as Chaitanya Brothers form a distinct duo that combines musical flair and devotional passion in an optimum measure. To them singing is an absorbing process of devotional expression on a meditative plane.

Being disciples of Nedunuri Krishnamurthy, their precision in expression in execution of intricate phrases is noteworthy.

This aspect once again commendably came to fore during their recent rendition of Vaggeyakara Vaibhavam under the aegis of Delhi Telugu Academy at Kalabharati auditorium, Visakhapatnam.

The duo sang krithis of different Vaggeyyakaras touching upon varied expressions in devotional fervour. It was, in a way, a nuanced performance.

A mood of supplication, a sense of unswerving and total surrender at the lotus feet of the Lord, singing glories of God in devotional ecstasy ...all in a rich range of emotional shades found appealing expression in their rendition.

Precise and pleasant raga essays for Bahudari for Brovabharama of Thyagaraja and raga Sindhubhairavi for Venkatachalanilaya of Purandaradas were remarkable for their neat presentation. Srikrisna yanu naama mantra ruchi of Amar Nareyana was another composition that found favour with the audience. Though a major part of the rendition remained a straight rendition, with no frills attached in terms raga essay or its improvisation, the duo successfully plumbed the devotional depths that the compositions were rooted in and brought out its inherent vibrancy.

The duo commenced the rendition with Gajananayutam of Muttuswamy Deekshitar in raga Chakravakam. With a firm grip over both musical and lyrical aspects of composition, they ably brought out its rich emotive element keeping the audience in thrall.

The notables in the session included Ninu bonichhedana in raga Kamaz and Bhalira vairagyamuto of Ramadasin raga Kalavati, Paramapurusha of Narayana Theertha in Behag and Okaparikokapari of Annamayya in raga Kharaharapriya.

Mavuduru Satyanarayana Sarma’s share of violin further enriched its appeal, Mandapaka Ravi on mridangam, Kumarbabu on flute and A Anand on table lent good support.

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