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Conducted by rasika ranjani bhakta samAjam trust .
Accompanied by mullaivAsal chandramouli - violin and tree vAn drum
balAji -mridangam1A. vakrathunDa mahAkAya - sAveri
1B. sarasooda (varnam) - sAveri - patnam
2. cUtAmu rArE (S)- Arabi - T
5 mins swaram
3. rAmanAtham bhajeham (R N) - paNtuvarAli - MD
7 mins alApanai , 4 mins violin and 6 mins neraval
neraval in "kumAara guruguha viditam. kapibrNDAdisannutam"
4. cittam irangavillaiyO(R,S)- shrIranjani-Panchapakesha Shastri.
5 mins alApanai , 3 mins violin and 4 mins swaram
5. pAhi mAM ratnAcalanAyaka(R) - mukhAri - md
6. sArasamukhi (S)- gowDamalhAr - HMB
6 mins swaram
7A. kripayA pAlaya shaurE(R N S T) - cArukEsi-ST
15 mins alApanai , 7 mins violin , 9 mins neraval and 11 mins swaram
neraval in "nAradha mukha muni nigarAjayE charita"
7B. 6 mins tani
8. ayyE metta kaDinam - punnagavarAli + kAmbOdhi - GKB
9A. viruththam "kAmakshi meenAkshi visAlAkshi "- shree rAgam - ??
9B. karuna joodu - shree rAgam - SS
10. eppa varuvArO - jONpuri - GKB
11. pavamAna + mangalam - sowrAshtram + shurutti + madhyamAvati - T
7B. tani
One of the finest attributes that suryaprakAsh has got is his v o i c e p o t e n c y , the p o t e n c y is there throughout . When I mean voice potency I mean in the context where every phrase be it R N S there is a strong emphasis without any sag . When coupled with maNodharmam in abundance with splendid support by tree like drum balAji and sweet nAdham of chandramouli , it was a definite hit.
In Raga Alapanai there was potency, the submain pantuvArAli was excellent , shree ranjani was a half notch higher , but the alAPana in chArukesi was one of the best alApanais that I have heard , he kind of styled it more like TNR's chArukesi, lot of patterns overlapping with nAdaswara piDi.
In the Neraval there was so much of voice strength, his paNtuvarAli neraval was excellent but the best again went to chArukesi for the lines "nAradha mukha muni nigarAjayE charita??", he went fairly non stop and did not go with much violin return or rather chandramouli played it very short for few avarthanas and gave more time for suryaprakAsh to exhibit.
But the best was his swaras , on spot manodharmam was outstanding . In the early Arabi it was having quite a lot of semmmangudi touches with minimal breadth cycle. In the shriranjani I think this krithi being popularized by DKJ who used to sing in a few iDam thalli pattern.The 11 minutes swara pattern was exceptionally well done resembling TNR style . The day's best was his gowda malhAr , I have heard him sung atleast 5 or 6 times and have
2 recordings , the patterns were so beautifully sung and was a fine exhibition of on spot kalpana swaras rather rote singing .
Chandramouli had a very sweet nAdham , his play for Arabi and charukesi had a lot of VVS style in terms of sweetness. Tree drum balaji played beautifullly azhuttam of palakkAd raghu lived through his hands , excellent left -right combination.All songs he played excellently, not sure why he curtailed the tani (possibly sAstri hall exodus was the reason)
Few Shortcomings:
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1. The concert was for 2 hours 25 minutes, he could have gone for atleast another 15 or 20 minutes , since the start was 06:15 pm I was expecting it would go till 9 pm.
2. The viruththam was very curtailed infact he did not do much justice
Overall an excellent team work and concert.