Vocal : R Suryaprakash
Violin : Mathur Srinidhi
Mrudangam : Srimushnam Raja Rao
Ghatam : Trichy S Krishnaswamy
01 shLOkam ( vakratuNDa mahAkAya) – rItigauLa
vanajAkSa ninnE kOri (varNam) – rItigauLa – aTa – Veena Kuppiyer
02 brOva bhAramA – bahudhAri – Adi – Thyagaraja ( S )
03 sahasrakara maNDitE – vAcaspati – Adi – Muthaiah Bhagavathar ( A,N,S )
neraval & swara @ ‘ kara sahasradi varava koDuva ninna caraNa kamalavanu shiradali dharisi‘
04 nimma bhAgya doDDadO namma bhAgya doDDadO – aThANa – rUpakam – Purandara Dasa ( A )
05 tUkkiya tiruvaDi tuNai ena nambinEn – shankarAbharaNam – Adi – Suddhananda Bharati ( N,S )
neraval & swara @ ‘ettanaiyO piravi eDutteDuttEn iLaittEn’
06 kaligiyuNTE gada – kIravANi – Adi x 2 – Thyagaraja
neraval & Swara @ ‘bhAgavatAgrEsarulaku nArada’
07 RTP – vasanta – tisra tripuTa , samam eDuppu
pallavi line ‘ ninna nODi dhanyanAdenO , shESAcala vAsA
rAgamAlika swaras in behAg, kEdAragauLa , nihara, darbAri kAnaDa
08 shLOkam ( pUjyAya rAghavEndrAya)
thillAna ( nAdru dhIm nAdru dhIm tana dhiraNA) – sindhu bhairavi – Srimushnam Raja Rao
09 mangaLam – saurAStram – Thyagaraja
shLOkam ( mangaLam kOsalEndrAya) – madhyamAvati
Splendid concert , befitting the grand finale of the ‘Suswaralaya Music Festival’ at Sri Rama Lalitha Kala Mandira by Vid. R Suryaprakash. Every thing he sang was brilliant, not a dull moment through out the concert. Mathur Srinidhi was at his sublime best, playing outstandingly good. Senior Vidvan Srimushnam was at his usual exuberance, albeit a notch on higher side, as one would expect.
There was a short delay to begin the proceedings as the organiser ( H S Sudheendra) spoke for 5-10 minutes on the final day of the three day long festival, thanking all those were involved in making it a success ; from Gurus, desciples, mike man, SRLKM, Audience, patrons ,sponsors etc etc. It did not in any way hamper the musical proceedings as Suryaprakash did not compromise and sang well over three hours.
Into the music now, after the lady interrupted him as he started the shlokam for some long introductions, he started with the reetigowla varnam of Veena Kuppaiyer. Things quickly changed gear with a brisk bahudhari kriti and some mesmerising swaraprasthana, reminding one of his ‘parama guru’ Madurai Mani Iyer. Srinidhi added to the flair. Beautiful vachaspati alapana came soon, very impressive. Muthaiah Bhagavathar’s composition in Kannada, was again a speciality of the Mani Iyer clan. A top class neraval at ‘kara sahasradi’ and another rounds of brisk swaras.
A shortish atana alapana preceded the devarnama. He did not sing all the charanams though, before switching over to my personal favourite ‘tUkkiya tiruvaDi’. As expected there was neraval at ‘ettanaiyO piravi’, in typical Mani Iyer style. This seems to have gone very well with the audience as well as the fellow accompanying artists.
Keeravani alapana was grand, and he did move through some of the not often heard phrases. To me, having used to listen to often repeated keeravani alapana, this was refreshing. Srinidhi, went a step further, taking off at a unique place, receiving immediate response from every one. Kaligiyunte, was nice but what was striking was the hange in the neraval line from the standard ‘baguga sri raghu rAmuni’. This , I think was clever from the artist and was very impressive.
Tani Avartanam was very long. One can understand that, on this occasion. He played some delectable rounds and was indeed loud. But, I am not going there. Trichy Krishnaswamy was all in awe of the maestro and played a subdued ghatam through out the evening.
There was more to come in the form of a pallavi. Nice alapana by both the artists. Tanam started very well, but was joined by the percussion from the second round. I am in support of a passive percussion follow for tanam, just to add to the laya aspect, but yesterday it was an active mrudangam accompaniment for tanam and it took away the charm of tanam singing. This is my personal opinion and preference. So, no offense meant. Pallavi, said to be a composition of Srimushnam Rajarao. Nothing great on the pallavi line or the tAla. Eduppu or arudi also had nothing spectacular to talk about. However, I was educated that the ‘sAhitya’ had some intricate laya aspect to it, as none of the ‘syllable’ falls on the beat. Sounds interesting. I need to check if ‘Shale’ still has the concert available online. Ragamalika swaras had nice twist. He sang swaras in a rAga called ‘nihara’ ( announced by the artist) and the glide and oscillation of notes sounded it like a hindustani one. This was later clarified as a janya of pantuvarali with ” S,g,m,d,N,s / S,N,d,m,g,s” scale. Vidvan Suryaprakash concluded the concert with a thillAna of Srimushnam Raja Rao in sindhubhairavi.
Concert was attended by a large crowd and was webcasted live by Shale.com. It indeed was a fitting grand finale for the 18th Annual Festival of Suswaralaya College of Music. Fabulous concert by Sri Suryaprakash.