Vocal : R Suryaprakash
Violin : C N Srinivasamurthy
Mrudangam : T S Sundaresan
01.vanajAksha ninnE kOri ( varNam) – rItigauLa – Veena Kuppaiyer
02. gaNanAthanE guNabOdhanE – sAranga – Periyasami Thooran ( O,S )
03. jAlandhara supIThasthitE- valaji – Muthaiah Bhagavathar ( A,N)
neraval @ ‘navashakti swarUpiNi’
04. ranganAyakam bhAvayE – nAyaki – Dikshitar ( Short sketch)
05. sEviykka vENDum ayyA – AndOLika – Pananasam Sivan ( S )
06. nimma bhAgya doDDadO namma bhAgya doDDadO – aThANa – Purandara Dasa ( A )
07. nItu charaNa pankajamulE – kalyANi – Pallavi Gopala Iyer ( A,N,S,T )
neraval & Swara @ ‘O jagajjanani manOnmaNi OmkAra rUpiNi kalyANi’
08. RTP – brindAvani – trisra triputa (purngam in khada nadai, uttarangam in chatusra nadai)
pallavi line ‘ unnata venkaTa ramaNa gOvindA, pannaga shayana mukundA’
ragamalika swaras in ‘brindAvani, behAg, rEvathi’
09. varugalAmO ayya – mAnji – Gopalakrishna Bharathi
10. veLLAi tAmarai – bhImpLAs – Subramanya Bharathi
11. SLOkam ( yOgindrANAm. ) – ??, Sivaranjani, sindhubhairavi
venkaTAchala nilayam – sindhubhairavi – Purandara Dasa
12. tirupugazh – hamsAnandi
13. mangaLam – saurAshtram , surutti – Thyagaraja
To a sparse audience in the majestic hall at the Unnati Center, Sri Suryaprakash presented a extremely pleasing and beautifully conceived and presented concert. It was sad to see such a fine music is received by only a few ears for a musician of such status. However those attended and listened were rewarded by a classy , enriching music. He might not command the aura of some of the ‘performing’ musicians on the stage, and might not have the exaggerating mannerisms of an all encompassing stage artist, but his music grows into you with its simplicity and its trueness to the fundamentals. One will not experience the adrenalin rush, or any innovations in the presentation to talk about, but do experience the refreshing calmness in the concert.
Concert started 15 mins late from the stipulated time ( possibly due to the delayed arrival of the violin accompaniment) with the Reetigaula varnam. Saranga was a nice choice for the Ganesha kriti, which was presented with few rounds of kalpana swaras. First detailed alapana was in Valaji and ‘jAlandhara’ was the only choice. He did a detailed neraval, and did not sing any swaras. The neraval line itself was rather too short and did not give a feeling of completeness.
Very emotive nAyaki, not so impressive andOLika kriti ( I was almost frowning my face, but he brought this back with some brilliant kalpana swaras) and an interesting devarnama in aThANa came in before the main. Swaras of Andolika and the short alapana of athana were pretty nice.
Kalyani was main ( frown again? No..) with some classy alapana, long, beautifully build up and developed in the familiar passages and phrases. A feat reproduced ( including the arohana/avarohana phrase) by the violin artist. The kriti chosen was very interesting. I was prepared for one of the ‘navarathri’ specials, but he decided to go for one of the not often heard kritis in the concerts. The kriti and the long neraval that came in were top class. He probably rushed through a bit in the kalpana swaras. Tani avartanam by Sundaresan was apt, adding on to is very supportive percussion during the concert.
Pallavi was in the offing. Both alapana and tanam ( with percussion joining in) was very good. Pallavi was pretty complicated with different nadai for ‘purvangam’ and ‘uttarangam’. The team executed the nadai complexities with ease, including the trikalam. Kalpana swaras were alternated between Khanda Nadai and chatusra nadai. No much importance to the ragamalika swaras, however the revathi swaras were pretty nice.
Post pallavi had a slew of short pieces. The ragamalika slokam and the sindhubhairavi kriti of Purandara Dasa were notable among them. A tirupugazh and the mangalam concluded the evening. Very well executed concert by Suryaprakash and the team.