The list is as below:
1. Sami nee - Pantuvarali - Adi - Varnam
2. Vallabha nayakasya - Begada - Rupakam - MD
3. Marivere dikkevarayya Rama - shanmukhapriya - adi - Patnam (alapana, neraval)
4. Nimma bhagya doddado - Atana - Rupakam - Devarnama of Purandaradasa (alapana)
5. Kaa Vaa Vaa - Varali - Adi - PS - swaram only (Came in as swaras were going to end.)
6. janani ninnuvina - misra chapu - reetigowlai - subbaraya sastri
7. sarasa sama dana - kapinarayani - T - neraval swaram
8. Maragatha valleem - Kambhoji- MD (raga, swaram, tani)
9. Prana natha paliso - suddhasaveri - Khanda chapu - devar nama of Purandaradasa
(chittaswaram composed by Srimushnam Rajarao )
10. thenpazhani - virutham in miya malhar, rageshree
followed by ninakkada neramillai - rageshree - adi- yazhpanam veeramani
11. Mayi sanwarae - sindhubhairavi - teen tal - Meera
12. pavamana (sourashtram) - and mangalam kosalendraya (madhyamavathi)
A shower of Swaras in Varali greeted my daughter & I as we entered the Rama Lalitha Kala Mandira at around 6.30.pm. Suryaprakash sprang a surprise on me by announcing that the next song "is for my friend Shrinivasan". (In a response to Rajeshnat's review of his concert at Sringeri Temple I had mentioned that Janani Ninuvina was a particular favourite of mine and I was a little sad to miss the concert. It was indeed a touching gesture on the part of Suryaprakash to recall that review and sing the song!)
Janani Ninuvina brings out the essence of Reetigowla and Suryaprakash did not disappoint. This was sung with a lot of weight and feeling. Sarasa saama dana was sung briskly and had a great Neraval at the charanam hitavu mATalentO.
Khamboji Alapana saw Surya in pristine form and his manodharma in full flow as he moved into the upper registers with ease. The final finish had touches of MS to it as he moved on the grand composition of MD , Maragatha Valleem which had its full impact with a garland of kalpanaswaras in two speeds. H. N. Bhaskar was excellent on the violin with his deft fingering.
The chittaswaras by Suryaprakash was memorable in Prana natha paliso . In spite of the complicated Kannaku, at no stage was the flow of the raga lost.
The fame of Miya ki malhar has spread to Bengaluru too
! Suryaprakash announced he had a request for an RTP in the raga , but due to lack of time he would present it on his next trip. Nevertheless he sang a brilliant Viruttam "thenpazhani " in the same Raga. What I found noteworthy was that though the Virutam was in Tamizh, Miya ki Malhar was sung like how a Hindustani musician would have sung it.(without any Carnatic traces)H.S.Sudheendhra on the mridangam is a boon for the main artist. The rythmic patterns he weaves is quite amazing and his Tani was a class act. Not a single person walked out.
There was a modest crowd of approximately 100 listeners but a highly disciplined & appreciative lot. Amongst them I noticed the former Chairman of the Karnataka Legislative council and an ex minister Mr C.V Chandrasekhar with his wife sitting very unassumingly in the 9th row.
PS: This is the 2nd time in my life that some one has "dedicated" Janani Ninuvina to me in a concert ! In 1984 while travelling for the Tiruvaiyru Aradhana with my family and Semmangudi Mama, Mama suddenly expressed his desire, after we reached Kumbakonam at night, to go to his village which was not too far away. He asked me whether I wished to accompany him and I said "yes" without any hesitation! As we travelled, Mama (as he usually does) kept humming a few Ragas and swaras under his breath. I was sufficiently close enough to tell him that I would love to hear him sing Janani Ninuvina and he promptly obliged.
In the year 1991 (seven years later) at my wedding reception, Semmangudi Mama sang the same song in the course of the concert, & subsequently came up to me at the reception and said. "Kettaiya, Naan Onakaha thaan Janani Ninuvina Padinein"
A truly great man!