The torch-bearers of Mysore Violin bani,Mysore Nagaraj and Dr. Mysore Manjunath bring in their own distinctive style to mark their legacy. Trained by their father veteran Prof. Mahadevappa, the Mysore Brothers have created an unrivalled record as star performers all over the globe.

At their recent concert for Bidaram Krishnappa Rama Mandira’s centenary celebrations, they displayed how one can stay true to the grammar yet push the creative boundaries. Throughout the concert the melody remained intact despite the artistes bringing in  uniqueness to their presentation. The jam-packed Bidaram witnessed one of the most memorable concerts in recent times. It was a perfect ambience at the century-old heritage venue of cultural capital with star performers performing for highly receptive audience last Sunday.

They made a grand opening with a Kriti of Thyagaraja “Ra Rama enti” in the raga Asaveri with the essence of raga reflecting in every note. Similarly, the swarakalpana that followed the next piece ‘Maarubalka’ in Sree Ranjini was a charming cluster of swaras.

‘Mamava meenakshi’ in Varali, a Dikshitar composition , was given  momentous treatment. When Nerval is almost a forgotten subject with respect to instrumental playing, the duo relinquished an approach to subtly intonate the beginning of the lines ‘Shyame,’ ‘Shankari’ ‘Digvijaya’ delivering a pure and class definition for Sahitya Vinyasa. Tyagaraja’s ‘Sarasa Saamadhana’ and ‘Marugelara’ were fillers before the main piece.

The effulgent Kamboji was given note-to-note treatment in all the three octaves during the alapana.  The already established sangatis of the raga were either suffixed or prefixed with natural manodharma patterns which added luminosity to gold. Towards the end of the alapana, a fragile kakali Nishada prayoga was Lakshya-Lakshana sampradaya portrayal of the raga lakshana. A vilamba kriti “Oo Rangashaayi” drew several sangatis giving a fine sketch of the raga.

The musical world has to be indebted to Saint Thyagaraja  for endorsing his musical brilliance into a compositional form. ‘Bhuloka Vaikuntam’ was treated with brisk Swara patterns followed by a Korpu and Mukthayi.

The veteran Dr. Umayalapuram Shivaraman played in a vivid manner as he always does; his showmanship coming to the fore in the thani with Giridhar Udupa. Shivaraman has an incredible reputation as a king of mridanga in modern times. The duo’s rhythmic sallies were like a pyrotechnic display. The closing part comprised the delicate ‘Nannu Vidachi’ in Reetigowla (Tyagaraja), the spry ‘Radha Sametha Krishna’ in Yamuna Kalyani and the lilting Western votes pupularised by Madurai Mani Iyer.

—Vidwan Rao R. Sharath