Vocal concert presented by Pathangi Brothers (Dathare and Dhruva) on Othukadu Venkatakavi Day. , Photo Credit: Velankanni Raj B

As adventurous as a special Othukkadu Venkata Kavi concert may be for the artistes, it is equally a divine gift for the rasikas, thanks to its lyrical abundance, melodic richness and the rhythmic wizardry that his compositions contain. Presented with such an opportunity, the Pathangi brothers – Datare and Dhruv – rose to the challenge and emerged with a brilliant performance.

The mere mention of the name of the musician automatically connects the mind with Krishna Ganam. As Narada Gana Sabha and the International Foundation of Carnatic Music (IFCM) celebrated Venkata Kavi Diwas at the Sabha’s mini hall recently, the brothers explored this and much more in their vocal concert. VSP Gayatri Sivani on violin and Surya Nambisan on Mridangam complemented the duo with an invigorating accompaniment.

It was a mesmerizing rendition from the young siblings, who displayed confidence and ability in equal measure. ‘Sindhithavar Nenjila Iruppadhu’, a melodious song on Ganapati in Nattai, set the tone for an energetic performance, and the swara interplay in ‘Kachiyena Thagum’ was lively with both Gayathri and Surya Nambisan making brilliant contributions.

an unusual feature

In Asaveri, ‘Vijayate Govinda’ Mishra came forward giving an atmosphere of peace with Chapu’s gait. The Madhyama Kala section consisting of three verses sequentially to end the Charanam – an unusual feature – was the icing on the cake, and the singers rendered it with gusto.

The ‘Guru Padaravinda Komalam’ in Abhogi is based on Roopakam, one of the many Guru Keertanams of Venkata Kavi (in which he does not consider anyone other than Krishna as the Supreme Guru, although he refers to the Lord as only Gurunath, Sadgurunath, Gurudev, etc.), provided the most wonderful flavor of the evening. After Datare and Dhruva had beautifully traversed the outline of the raga, the brush of Siwani’s bow added an exquisite resonance.

The Anupallavi line ‘Param Yoga Yaga Vedam Padithilen, Padithadhu Pol Nadithilen’, which was taken for Niraval, presented a fascinating blend of humility and pride of the composer at the same time (“I did penance, sacrifice or learned or practiced the Vedas , nor have I ever pretended to learn them”) It was an inspired rendition in which the singers accompanied each other with delicate modulation and expression of the composer’s feelings. It was a small mistake by Datare to mispronounce the words a few times in the fast tempo. The duo completed the song with sparkling vocal parts in the beginning of Pallavi. began to perform, with accompanists providing uninterrupted support to increase appeal.

fine work

The siblings’ willingness to work hard was evident when they performed two kritis in rare ragas. The first was Lalitgandharvam, which was composed by combining the Aarohanam of Shankarabharanam and the Aarohanam of Hansadhwani. Datare and Dhruva presented the Sanskrit composition ‘Sri Shivanayake’ on Madurai Meenakshi with clear diction. He then went up a notch with his portrayal of Hamasgirvani (Simhendramadhyam sans ‘Ni’ scale). The brothers crossed the rope with ease, before presenting ‘Raga Rasanand Nartan’, another composition in Sanskrit on Krishna. The two-speed vocal essay in the opening Pallavi culminated in a subtle Korvai, with the accompanists playing ideal accomplices, before Nambisan’s smooth and clear strokes highlighted the Tani Avtaranam in the Aadi Talam.

By the time the Pathangi brothers ended their recital with ‘Vaiyam Alandhu Van Alandh’ in Nadanamkriya and Mishra Chapu – which features a delightful blend of Jathi, Swara and Sahityam in the final phase followed by typical Madhyam art – they left a lasting impression on the audience. .