Vocal : R Suryaprakash
Violin : M A Sundareswaran
Mrudangam : C Cheluvaraju
Ghatam : Srishylan
01. shLOkam ( vakratuNDa mahAkAya) – nATa
shivatraya mahAgaNapatim – nATa – Svarna Venkatesha Dikshitar ( S )
02. rAmanAtham bhajEham – pantuvarALi – Muthusvami Dikshitar ( Short Sketch , N,S )
neraval & swara @ ‘kumAra guruguha mahitam kapi vrindAdi sannutam’
03. sEvikka vENDum ayya – AndOLika – Muthu Thandavar ( A,S )
04. sItAvara sangIta jnAnamu – dEvagAndhAri – Thyagaraja ( A )
05. kA vA vA – varALi – Papanasam Sivan ( S )
06. chakkani rAja mArgamu – kharaharapriya – Thyagaraja ( A,N,S,T )
neraval & swara @ ‘ kaNTiki sundara taramagu rUpamE ‘
07. ninna oLumegE nAnu – sAramati ? – Purandara Dasa
08. RTP – sumanEsha ranjani – khanda triputa x 2 kalai , +1 from samam
pallavi line ‘ mAnini nigamAgama sanchAriNi , sumanEsha ranjani’
ragamalika swaras in janaranjani and shivaranjani ( not sure if there was one before this)
09 eppO varuvArO – jOnpuri – Gopalakrishna Bharathi
10 Western Notes
11 thillAna ( nAdru dhIm ta shim nAdru dhIm ) – shuddha sArang- R Suryaprakash
12 shrikAntha enagiStu dayamADO – bhAgEshrI – Purandara Dasa
13. mangaLam – saurAshtram / srI- Thyagaraja
What a cracker of a concert. From the start, it was an awesome fare. Lasting nearly three and half hours, Sri Suryaprakash, enthralled the audience with some outstanding singing. Taking the clue from the pallavi line of the main kriti one asked himself “When there are excellent royal paths, why enter bylanes, O Mind?”
On such an evening, it is difficult to pick and highlight what stood out. The majestic and ‘royal’ kharaharapriya , the impressive pallavi in sumanesa ranjani , brilliant and refreshing andolika alapana or the impressive list of post pallavi kritis. One can pick any from the list above and he did a great job for eah of these pieces.
Concert started with a rather rare Nata kriti of Svarna Venkatesh dikshitar, making his presence felt with some smashing rounds of swaras. Launching into a short sketch of pantuvarali, he moved on with the Dikshitar’s master piece ‘Ramanatham bhajeham’. I always love a pantuvarali or purvikalyani up in the list, beginning of a concert. More so, if they are without or short alapana but necessarily with neraval and swaras. Exactly that was given. Good enough ( by duration) neraval at the predictable ‘kumara guruguha’ and some classy kalpana swaras was the highlights of pantuvarali.
A very refreshing alapana of andolika with many nontraditional sangatis was a treat. Sri Sundareswaran was equally brilliant, giving us some phrases of ‘ragasudharasa’ in his return. But it was ‘sevikka vendum ayya’ adorned with some good rounds of swaras. Yet another impressive alapana came soon in devagandhari , yet again M A Sundareswaran gave us hint of ksheerasagara. He sang seethavara, I would have been ok with either. Another Mani Iyer classic of kA vA vA received with some admirable responses from the audiences. HE added a few rounds of quick fire kalpana swaras. Appreciatively, he chose to sing the swaras at two places alternating between kA vA vA and pazhani malai urayum muruga vA ( if I remember correctly) and it had an immense impact.
When he started the first phrases of kharaharapriya, there was an enthusiastic response from the violinist. He sang a splendid alapana of kharaharapriya, meticulously detailed and appropriately stretched with careful build up. M A Sundareswaran started off by playing ‘samAnamevvaru’ eliciting some laughter across the hall. The duo made some appreciative remarks before continuing. It had to be chakkani raja, despite the samanamevvaru prompt. With the memories of Mani Iyer’s singing in mind, it had to match the expectation. Sri Suryaprakash presented the kriti with all the grandeur and royalty. Superb and very elaborate neraval at ‘kaNTiki’ and equally apt kalpana swaras to live upto the expectations of the musician and the kriti.
Cheluvaraju and Srishylan played a good tani avartanam. The duo was playing to the occasion with some nice finger works , specially sri Cheluvaraj, who invoked some sublime sounds while accompanying the kritis, also by keeping away from playing allowing the essence of the music to sync with the audience.
For a usual concert it was now time to enter the closing up kritis. He sang a devarnama, probably in sAramati, post the main.Prior to the concert when I met up with Sri Suryaprakash, he hinted at a special RTP for the day and he kept me guessing without letting out any hint. Since the time is already around 7:45 nearly 2:45 mins into the concert, I wasn’t hoping for a pallavi. He however announced sumanesa ranjani to the delight of the audience. Alapana was pretty nice, as Sri Sachi mentioned, it was something appropriate for his style of singing.After his turn he said, we all want to listen to the veteran artists to show us the merit of the raga asking Sundareswaran to play. He played a shorter version of the same. Tanam was again very well rendered, with Cheluvaraju chipping in. Pallavi, coined by him less than 48 hrs ago ( he said) had some good swarakshara use. He did use the pallavi line ‘mA ni ni’ very effectively in the swara singing. Trikalam was done effectively for a couple of rounds. He also added a couple of raga malika swaras, both janaranjani and shivaranjani were brilliant , especially the ‘radio tune’ start by Sundareswaran in his turn.
Probably there were a couple of requests most of them were his guru’s or parama-guru’s favorites. Wome one requested for a thillana of his composition, and he obliged with the sudha sarang thillana of his own. There was more requests, again he sang a devar nama in bhageshri before the mangalam.
Fabulous concert, very satisfying and fulfilling. All that is expected and more was delivered. Music of high quality and aesthetics. One of the best concert of the recent times for me. Kudos to the artists.