The concert day of the Malladi Brothers, with M.R. Gopinath on the violin, Burra Sriram on the mridangam, and Nerkundram Shankar on the khanjira, coincided with the janma nakshatra of Lord Krishna — Rohini. Fittingly, the evening was dedicated to compositions centred on Krishna, especially those of Narayana Theertha.

The brothers began with Sree Pathi Miha Nanda Gopa in Kambhoji, a Narayana Theertha Tarangam tuned by their guru, Nedunuri Krishnamurthy. This was followed by Mama Hridaye in Reetigaula, a soulful piece by Mysore Vasudevachar, and Govindam iha Gopikaananda kandham in Thodi, another Narayana Theertha composition. Narayana Theertha’s works, marked by simple lyrical beauty and deep devotion, capture the spirit of Krishna bhakti—portraying the Lord both as the divine child and the eternal protector of devotees.

A leisurely raga alapana in Saranga led to Varadarajam Upasmahe by Muthuswami Dikshitar, a composition in praise of Varadaraja Perumal of Kanchipuram. The temple at Kanchipuram is said to commemorate the Lord’s appearance in response to Brahma’s yagna—a legend that lent added depth to the rendition.

Other pieces included Venugana Loluni in Kedara Gaula, Ganamurte, and Enna thavam seidane in Kapi. The concert, steeped in bhakti and musical sincerity, created an atmosphere of devotion and joy. Malladi Sreeramaprasad’s act of strumming the tambura himself added to the resonance of the adhara shadja that filled the hall.

M.R. Gopinath’s violin playing was poised and sensitive, complementing the brothers’ music with finesse. Burra Sriram and Nerkundram Shankar provided rhythmic support with energy and precision, enhancing the overall impact of the concert.

It was an evening that beautifully celebrated both Krishna Jayanti and the timeless appeal of Narayana Theertha’s compositions.