Iyer Brothers attracted from the list of vast performances of compositions in their Veena concert

Iyer Brothers, Ramnath and Gopinath, presented a well -planned concerted concert at Karthik Fine Arts’ Margazi Festival 2024. Photo Credit: Srinath M

When two or more veena players meet together to introduce a Kachhery, and when they use the arrangement for their benefits, the concert becomes a pleasant exercise.

The Iyer Brothers – Ramnath Iyer and Gopinath Iyer – performed excellent in plan and presentation in their recent concerts for Karthik Fine Arts. Chidambaram S. with him. Mridangam and Adambakkam with Balashankar. Shankar was included on the Ghatam.

The brothers started in Ata Tala with Pallavi Gopala Iyer’s little vanam ‘Kanakangi Nee Chelimi’. Varnaam, which is quite challenging, was cleverly played, moved the speed one notch from the Charanam section.

Muthuswamy is an all -time classic in Dikshati’s ‘Mahaganapatim’ Natai and was taken with an attractive Swarakalapana Khand in Mel Kalam. The brothers turned the last Kalpneshwar focused around the fifth to build aesthetics.

The brothers have a list of huge performances, which R. Pichumani Iyer and Trivandrum R. Thanks for his protection under stallwarts like Venkataraman. In his Kannada raga, anyone can notice his different -different left -handed technology. He played the role of another supervision work ‘Sri Mathruubham’, a song where composer he meditates as Trisiragiri or Thiyumanavar of Tiruchi.

Ramnath Iyer and Gopinath Iyer Chidambaram S. Mridangam and Adambakkam with Balashankar. Shankar to Ghatam. , Photo Credit: Srinath M

Before presenting Tyagaraja’s ‘Sogasuga Mridanga’, Gopinath raised an alpana of Sriranjani, in which his presentation was banned till the upper Shadjam, after which Ramnath covered high reach. His chanting stood for some single Meetu long phrases that extended from the lower SA to the upper re. Subsequently, he played Kalpneshwar at two speeds, which ended with a swara centered around Dhawam. Terchcinists detected some patterns and enthusiastically included themselves, which were played by the Veg.

As a filler, the popular work ‘Ganmurte’ was played. In ‘Neva Megha Megha’ detailed Sangatis demonstrated Veena’s ability to increase the presentation of a composition. The main raga for the evening was Kalyani, where the maturity of the artists shone when he propounded a free-watery Alpana, which employed through the technique of pulling some beautiful prayers. Their body included working around separate octas with accuracy measured and was decorated using Jantai Swaras and Fast Meets. The pair presented the pair, it was Tyagaraja’s ‘Itvunra’.

In the Mysore tradition of playing Veena, compositions called ‘Nagma’ were first composed by Veena Venkatagiriyappa. These compositions, which were inspired by Hindustani harmonium rendering, are purely self-based and are centered around a avoidance, around which other melodious explores have been created. Iyer Brothers played the role of a Nagma in Raga Sindhubhairavi by Mysore Veena Doreshwamy Iyangar at Adi Tala. This piece indicated how brothers are constantly expanding the list of their performances. Rikital concluded with a Lalguri Jayaraman Thilana in Mishra Shivranjani.