An audio-visual tribute to Seshachary of Hyderabad Brothers

Daruri Seshachary, who paired with his sibling Daruri Raghavachary to form Hyderbad Brothers, passed away on Feb 24, 2024. Below is a tribute to him.

What was Seshachary’s USP?

His singing conveyed the underlying feeling behind the raga and the lyrics

Well trained voice that was sensitively modulated style and at once was powerfully energetic. A baritone voice with tinge of huskiness that merged with the thambura

Seshachary's voice had a range from Athi Mandhara Shadjam to Tara Shadjam – easily three octaves

The duo understood and practised the art of concert dynamics without overdoses

Imaginative interpretation of krithis and raga alapanas such as in Evareni (Devamruthavarshini)

Master of laya

Seshachary formally learned mridangam from his uncle, Vidwan Sri K Sudarsanacharya and was staff mridangam artiste of AIR, Hyderabad. Mridangist Trivandrum Balaji, (Raghu’s foremost disciple) who accompanied Hyderabad Bros since 2010, notes Seshachary’s grasp of laya: “My tradition followed the Kappi vadhyam (a type of mirdangam design) and on the behest of Seshachary I switched over to the Kuchchi vadhyam, another category of the instrument, and played on it for an entire music season”

Mridangams are of two types – kutchi and kappi. In the former, thin wooden sticks or reed (from a plant) are inserted under the top layer of the skin, which gives the mridangam its distinctive sound. In kappi mridangams, a crushed black paste is spread between the underlying wood and first layer of skin. This gives the kappi mridangam a more tabla-like sound. Seshachary had a penchant for padams and javalis.

FAQs

What was the lineage of Hyderabad Brothers?

Hyderabad Brothers were trained initially by their father Daruri Ratnamacharyulu. Mother Sulochana Devi was also a Carnatic musician who must have shared her knowledge. Raghavachari had further training from Vidwan Late Sri Susarla Sivaram. They often got guidance from stalwart M Balamuralikrishna

What awards did the Hyderabad Brothers get?

Early in their career, the Bros were recipients of the Best Talented Young Artists title (Govt. of AP) in 1977-78 and were also honoured with the Central Sangeet Natak Akademi Award in the year 2013. The Madras Music Academy bestowed on them the best vocalist’s award for three consecutive years – 1990, 1991, and 1992.

They were also honoured by the prestigious Krishna Gana Sabha as Best Vocalists in 1988, 1990 and 1991. In 2012, the Hyderabad brothers were felicitated with the Kalarathna award from the Govt. of Andhra Pradesh. Sri Kanchi Kamakoti Peetam made them their Asthana Vidwans in 1992.To recognise their contribution to the Indian classical music they were conferred the title Sangeetha Choodamani by the Indian community in Austin, Texas.

The Govt. of Telangana on its formation day (2nd June, 2014) honoured them with a special award, in which 50 persons of eminence from various fields were honoured simultaneously. Sri Tyagaraja Seva Ratna by Sri Krishna Gana Sabha, Chennai (2016) and Sangeetha Kalasagara (2004) by Kalasagaram, Secunderabad were titles/awards they received further.

What was a big miss?

Music Academy did the gravest of errors by not giving them the much-coveted, much-deserved Sangita Kalanidhi. To say the least, the Academy would have done itself proud by doing so.

Features of their musical career

Over the years, the Hyderabad Brothers performed in various reputed musical forums, including All India Radio and Doordarshan apart from going abroad on concert tours. They have at least 50 musical CDs and cassettes to their credit.

Voices

Palghat Raghu, a laya vidwan nonpareil, singled out Seshachary’s “voice as the most ideal one for Carnatic music”.

Mridangist Trivandrum Balaji who accompanied with “Hyderabad Brothers: It appears as though I got paid to listen and enjoy Seshachary garu’s concerts by sitting next to them on stage”.

Bharath Sundar, a star of the modern era, recounts in an emotional tone: “Seshachary garu may appear casual, but the moment he goes on stage would transform into seriousness personified. I remember a concert at Ragasudha Hall, Chennai, where Seshachary began the Adi Tala Varnam, “Tharuni” and the opening Pa note hit me so powerfully that it resonated with me for a good couple of days”

D B Ashwin: “I was fortunate to come under the tutelage of Seshcharygaru, when I was desperately seeking a Guru. I trained under him for more than ten years. Karubaru (Mukhari), Pankaja Lochana (Kalyani) and Seshachary’s outstanding rendering of Peridi Penchina in Madhyama Sruthi (Kharaharapriya) were my favourites. He never spent time in mic or audio adjustment. He would hum slightly into the mic to do a simple test and then jump right into the varnam or a composition of his choice. I got the gift of notation from him”.

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