It is not often that one gets to see an event featuring leading musicians of the caliber of Malladi brothers along with a  presentation by young and talented dancers who are pursuing degrees in engineering at MIT. This unique event was hosted by the Youth Cultural and Educational Program wing of the New England Hindu Temple, Ashland MA. By putting together this event which was held on 26th October, 2007 at Woodrow Wilson Elementary School in Framingham, MA, the New England Hindu Temple clearly showed its support for the cultural efforts of the youth in the community while also showing its commitment to presenting concerts by leading artists.

Ten dancers, including Mohini Jhangi the daughter of Rohit Jhangi who has served the New England Hindu Temple for many years in various capacities, presented a Bharatanatyam recital that served as an opening act for the event. Chandini Valiyathan, Mohini Jhangi, Samiksha Nayak, Shriddha Nayak, Renuka Ramanathan, Amrita Saigal and Jeyanthi Jaykumar performed a short margam that included Pushpanjali, Kavituam, Jathiswaram and Tillana.  "We are so grateful that the temple asked our dance group to perform. We appreciate the opportunity" said Chandini Valiyathan. MIT Natya is one of the very few groups run by second generation Indians Americans that is working on keeping Bhartanatyam alive at Universities. Watching the event one felt comfortable that Lord Nataraja's great art will continue on the American soil for many years to come.

The dance was followed by the main event of the evening which was a vocal  recital by the Malladi Brothers who were accompanied by Embar Kannan on the Violin and Sri Neyveli Naryanan on the Mridangam. A review of the concert by music connoiseur Bhanu Jay follows. All in all a very special event for the audience and we hope New England Hindu Temple brings more such events our way.

-------------------

Malladi Brothers Ravikumar and Sriram Prasad started the concert with the ever appealing spiritual ‘Om’! It was refreshing to hear a short and sweet alapana before they began with the ‘Begada’ varnam. It did bring nostalgic memories of Nedanuri’s rendering. Delivery was ‘spashtam’, with good diction and was at a good pace. Chittaswaram was very melodious bringing Begada’s own ‘ni’ so well. Further it was energetically rendered without ‘noise’. The next piece ‘Sangeeta Sastra Gnanamu’ in Mukari –once again Nedanuri’s specialty, Sri Ravikumar and Sri Sriram Prasad while displaying their technical prowess maintained and accentuated the ‘bhava’ ably, and handled the ‘Brigas’ gently. ‘Sringara Rasa’ – tapered so beautifully though one thought ‘Vatsalyamu’ could have handled with more ‘vatsalyam’!!!!! Bringing the folklore aspect of Mukari so beautifully and employing staccato 'swara prastara' together with sarvalagu and flashes of ‘kanakku’ on the violin Embar’s presentation was a delight to the ears. In all, the piece was well rendered. A thought though – ‘ma’ could have been accentuated a little?

‘Pahimam Sri Rajarajeshwari’ in janaranjani was ‘suddham’ even at a fast space. Neyveli Narayanan’s accompaniment on Mridangam was very supportive and ‘sukam’. Embar excelled in ‘sartaprastra’ in 3 octaves with pauses in between. Silence is also music – which he showed very well. Swara prayoga by Sriram Prasad - ’ma-da-pa-ma-ri’, ‘da-pa-ma-ri’,’ri-ga-ma-da-pa-ma-ri’,pa-da-pa-ma-ri’ - was a pleasant approach. One request – could the speed be reducedso that swarastanam is not sacrificed?

The pathos of ‘Varali’was exhibited with soaking ‘bhava’ – especially by Ravikumar. Embar literally sang on his violin. Mellifluous bowing, pronounced enunciation of swaras, pure and outstanding swaram pidis’ – superb!

Savadanam, Sowkyam, ‘Sukam’ . Swara prastaram by the Malladi brothers was so well knit and coordinated that they seem to sing in unison. Embar Kannan ‘s imagination and flow was above par; it was especially pronounced when he touched the ‘sa’- if he could have stayed a trifle little longer one could have experienced the meditative spell and the pathos.

‘Aravinda Patra Nayana’ – what power, emotional empathetic rendering – Mridangam accompaniment could not have been better – especially when following ‘na-ya-a_na’. Once again during swara prastara the brothers seem to sacrifice purity of notes for speed. Embar compensated for that. Need to add that his ‘prastara’ was the precious jewel on the crown. The satusranadai swara prasatram was well presented by all.

After ‘Nadupai’ followed Bilahari. It was refreshing to hear this not often sung raga (at least in this part of the world). Both Ravikumar and Sriram Prasad complemented each other as well as excelled in their own arena. Ravikumar’s rendering the essence of Bilahari in all 3 octaves was a great attempt and he did full justice to it. Embar was outperforming – showed expertise, creativity, and flashes of genius throughout the alapana. Sri Narayanan’s soft yet firm, and mellifluous following of swarams was music to the ears. The descending glide of Embar was out of the world. Was I imagining? A few times I heard mohana kalyani quite distinctly. Tani was simple with elegant patterns beautifully handled, sweet, and crisp. Liked the early introduction of ‘thisra nadai’. The next piece in shanmugapriya (kannanai pani maname) was a sweet relief after soaking in the ocean. I like the way the brothers approach alapana- starting solo, then the other one intermingling inobtrusively. The concert concluded with pieces in Kundalavarlai, Ahriri, and Suruti.


One should add that Malladi brothers with Embar and Sri Narayanan enjoyed themselves which added to the beauty of the concert and became contagious among audience.

|