Tag Archives: Suswaralaya

R Suryaprakash @ Suswaralaya Festival, Sri Rama Lalitha Kala Mandira , 29th Oct 2017

Vocal : R Suryaprakash

Violin : Mathur Srinidhi

Mrudangam : Srimushnam Raja Rao

Ghatam : Trichy S Krishnaswamy

List :

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 It indeed was a fitting grand finale for the 18th Annual Festival of Suswaralaya College of Music. Fabulous concert by Sri Suryaprakash.


Posted by on October 30, 2017 in Uncategorized


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Vani Satish, Rama Lalitha Kalamandira , Suswaralaya Annual Festival 01 Nov 2012

Vocal : Vani Satish

Violin : Mathur Srinidhi

Mrudangam : J Vaidyanathan

Ganjira : B S Purushotham


01  chalamEla jEsi – nAtakurinji – Rangaswami Nattuvanar

02  vandEnishamaham vAraNa vadanam – hamsadhwani – Mysore Vasudevacharya ( S )

03  vAncha tOnu nA – karNa ranjani – Jarikeshanallur Muthaiah Bhagavathar

04  rAma rAmayani chintincha rAdA – yAgapriya – Bellari Raghavendrachar

05  srI chamunDEshwari dEvi tava pAda bhaktim – kannaDa – Jayachamarajendra Wodeyar ( O,S )

06  nArAyaNa ninna – Sudha dhanyAsi – Purandara Dasa

07  ELarA krishNa – kAmbOji – Thyagaraja ( A,N,S )

      neraval & Swara @ ‘nAgashayana nAgaripu nuta thyagaraja karArchita’

08  okapari jUDagA – kalAvathi – Thyagaraja

09  nambi kettavar illavO – kalyANi – Purandara Dasa  ( A,N,S,T )

      neraval & swara @ ‘ garuDa gamana srI purandara viTTalana ‘

10  ugabhOga ( giriya mariyanu tandu ) – dEsh

       kula kula kulavendu – dEsh – Kanaka Dasa

11  thillAna ( tadara tAni udana tOm tOm ta) – rEvathi – ?

12 mangaLam jayamangaLam – madhyamAvathi – Purandara Dasa(?)

 This is the first time, I am attending a concert of Smt Vani Satish. I’ve seen a couple of her concerts on TV earlier. Hence, I had no preconceived notions about her singing, and that helps at times. I was in two minds about attending this concert, on a cold rainy day.

Concert started after the crowd was initiated with some “light refreshment’ provided by the organisers. The small hall was literally packed with connoisseurs and students ( of Suswaralaya ). This provide a fitting audience for a beautifully executed concert by Vidushi Vani Satish and the team. It is important to state the way the supporting artists lifted the overall effect of the concert, each excelling in their own department to provide a wholesome concert experience.

On her part, Vani Satish started the concert a bit slow. She grew in stature as the concert progressed and finished brilliantly. Natakurinji varnam and the hamsadhwani kriti were sung in quick succession, mostly got the performers together as a team. The swara for hamsadhwani was crisp and sweet. We could see J Vaidyanathan quickly getting into the groove, along with Purushotham. Until late, violin had no individual role to play apart from accompanying her for kritis. Quick karnaranjani and another brief kriti in yagapriya came in succession. Yagapriya kriti, she explained later, which was composed by Bellari Raghavendrachar, had some moving ‘prayogas’ , which was sung beautifully.

Until now, there was no detailing of any kriti and I was sort of getting jittery about my decision of coming all the way daring rain and chilly weather. She started with a very brief Kannada alapana, with a shorter violin return. The Wodeyar kriti was good, and luckily she sang few round of swaras for Kannada.
Five kritis are over, no detailed alapana, no neravel and only two short kalpana swaras. Moreover, every kriti thus far was in Adi Tala ( not that it is a crime). The tempo slightly changed when she sang ‘nArAyaNa ninna’ in khanda Chapu, albeit without any alapana or swara.

From this point, the concert moved to a different level. She started elaborate kAmboji alapana. Though she deployed the familiar phrases, it was neatly constructed and progressed. Some of the ‘akAra’ singing were very appealing. Srinidhi also joined the party with some good return play. ELarA rishna wasnt expected and it was indeed a pleasant surprise. She sang this kriti fabulously, with elaborate neraval, which I cherished, and alpana swaras in two speeds, with some great percussion support. Lasting 40+ minutes, this is one of the longest rendition I’ve come across for this kriti and indeed a remarkable one. JV rejected her offer to play tani avartanam and giving us hope for another big one to follow, probably a pallavi.

After a quick kalavathi kriti, she launched into another long alapana of Kalyani. Alapana was decent (inspite of my deafness to Kalyani beyond 2 min), with equally good return play by Srinidhi. It was not a pallavi, but Nambi Kettavar Illavo, by Purandara Dasa. A shortish neraval line was pretty effective and nice. She chose to sing kalpana swaras in the same speed as the concluding neraval speed, which was also pretty good. Vaidyanathan and Purushotham, took over from three with a brilliant tani avartanam in Mishra chapu, with some interesting patterns. A student who identified the korvai was awarded cash prize, an innovative idea by H S Sudheendra.

Vid H S Sudheendra spoke for a while praising the aritsts for their spirited performance. Taking individual artists with their ancestry and their musical lineage he showered his praises to them, which took a while.  Post speeches, she sang a beautiful ugabhoga in dEsh a fantastic thillana in rEvathi ( it was a kannada composition with the charanam line starting at ‘tanayuDanchi..’) before the mangalam.

A beautifully conceived and executed concert yesterday by Vani Satish, on the first day of the Suswaralaya Annual Music Festival.

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Posted by on November 2, 2012 in Concert songlist


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T M Krishna @ Suswaralaya Music , Banashankari 08 Nov 2009

Vocal : T M Krishna

Violin : H K Venkatram

Mrudangam :  T K Murthy

Ghatam : Trichy Murali


01 era nApai ( varNam) – thODi –  Patnam Subramanya Iyer

02 bhuvini dAsuDane – srIranjani – Thyagarja ( O,N,S )

     neraval & swara @ ‘ nI padamulE gati tyAgarAjanuta’

03 eTula brOtuvO – chakravAkam – Thyagaraja ( A,S )

04 kanukoNTini – bilahari – Thyagaraja ( O,S )

05 gIthArthamu – surutti – Thyagaraja  ( A,N,T )

    neraval @ ‘ hari vara rUpuDu harahaya vinutuDu’

06 RTP – tarangiNi – tisra triputa , 2 kaLai

     pallavi line ‘ mAdhava tarangiNi guruguha mAtuLa ranjani’

     ragamalika swara in  Anandabhairavi &bhairavam  ( anandabhairavi&bhairavi in violin reply), behAg ( behAg&hamIrkalyANi in violin reply)

07 nirai mathi mukham ( thirupugazh) – hamsAnandi – ?

08 mangaLam – saurAshtram – Thyagaraja

A fine concert by T M Krishna and team yesterday to conclude the 10th Suswaralaya Mucis Festival.  The concert started almost 45 minutes late after the felicitation of T K Murthy and an early taniavartanam by the organiser in the form of ‘thanks giving’. The team was eager to get on withthe concert, and one could see TMK gesturing to Sudheendra, to get it over with.

Concert started traditional way with a varnam 🙂 . Sriranjani krithi was the warmer, with some good neraval and swaras.  The first alapana came with chakravakam, and I thought HKV did a splendid job there. Bilahari , which followed next had some brilliant swara singing, with an apt support by violin and T K Murthy. Surutti main was leisurely paced, with an elaborate neraval. Surprisingly, he turned to T K Murthy after the neraval , without singing swaras. 

T K Murthy, started the concert bit loud, got into the groove pretty soon. What followed since then was awesome. His soft finger touches,  some of the patterns that he exhibited and executed were amazing.  During taniavartanam too, he was all class, to the praise of every one in the stage as well as in the auditorium. 

Tarangini pallavi was a surprice. Krishna announced that he will sing a short pallavi. Tarangini alapana and the tanam were excellent. So was the return by H K Venkatram.  There was no trikalam, but the ragamalika swaras were very nice. Krishna moved from tarangini to anandabhairavi easing into bhairavam. On his return, HKV played Anandabhairavi and bhairavi.  The second set of swaras saw him playing from behAg to hamIr kalyAni ( kind of grahabhedam ) and returning back to behag.

There was again a round of speech, curtailing the post RTP tukkadas. It was already late and Krishna closed the concert with a tirupugazh before the mangalam. Overall a fine concert.


Posted by on November 9, 2009 in Concert songlist


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