Sri Kamalakiran - Violin
Trivandrum Sri Balaji - Mridangam
Sri Ghatam Karthik. - Ghatam
1. Sloka:
Buddhirbalam yasodhairyam nirbhayatvam arogata
Ajaatyam vaakpatutvam cha Hanumat smaranaat bhavet
Pavanaatmaja Aagachha - Nattai - Adi - Dikshitar
2. Evaranee Nirnayinchirira - Devamritavarshini - Adi -Thyagaraja
3. O Rama Nee Namam Entaruchira! - Purvikalyani - Adi - Bhadrachala Ramadas
Neraval and swaras at charanam: Tumburu Naradulu Dambu Miraga Gaanambu Jesi Namamemi ruchira
4. Sakala Graha Bhala Neene - Atana - Khanda Chaapu - Purandara Daasar
5. Endraikku Shiva Kripai Varumo - Mukhaari - Neelakanta Sivan
6. Manavyala Kinchara - Nalinakanti - Adi - Thyagaraja
7. Chakkani Raja - Kharaharapriya - Adi - Thyagaraja
8. Devargal Arul Seitha Ragangale - Ragamalika - Adi - Suryaprakash
9. Viruttam:
Nanmaiyum Selvamum Nalum
Tinmaiyum Paavamum shidainthu teyume
Janmamum Maranamum Indre Teerume
Immaye RaMayendra irandezhutthinal
Ramanamame Tuthi Maname - Desh - Adi - Thanjavur Shankaran Iyer
10. Mangalam : Ni Nama Rupa Mulaku Nitya Jaya Mangalam - Saurashtra - Adi - followed by Vazhiya Senthamizh.
This was a concert that included songs from a number of composers, on a number of deities.
It was a very well-attended concert. I arrived early and expected only a handful of people to attend, as it was the night before Thanksgiving. But a surprisingly large number showed up. The concert was held at an Anjaneya temple, and the concert began aptly with the sloka and composition on Sri Hanuman. Kamalakiran showed himself to be in form right away, with his swara returns to Sri Suryaprakash's kalpanaswaras.
Both of them performed beautiful alapanas in Purvikalyani. Somehow it felt like it was Hanuman who was extolling the sweetness of Sri Rama's name. I enjoyed SP's full throated climb to the upper ga with gently modulated glides from ga to da and from the high ga down to Ma in his swaras. Kamalakiran's playing was totally unobtrusive. Everyone on stage was subdued when they had to be, and strong when they found the right moment, the percussionists filling silences with rhythm. These great artists were fabulous and yet did not seem to be trying to make it about themselves. These days I go to concerts feeling apprehensive about the percussionists, but this team was wonderful.
The next two songs were begun at the Anupallavi, which is not my favorite thing, but somehow the Mukhaari song was appealing with its higher start, with the description of the cow's attentiveness to the call of the calf and then expressing for the first time the Pallavi's longing for the similar comfort of Shiva's compassion.
I always wish Manavinala Kinchara is not sung too fast, as it is about the compassion of Sri Rama, but it was sung at a very high tempo, but then the lightning swaras were thoroughly enjoyable. Suryaprakash clearly enjoyed Kamalakiran's return. As in most of his kalpanaswara interludes, Suryaprakash had his signature pre-pattern with dramatic climbs up the scale in single or jante swaras interspersed with dramatic pauses, which preceded his final korvai. Percussion support was very subdued, because of the speed, a simple running rhythm mostly, which did not overwhelm the music, but rendered a lot of beauty to it. The very dynamic swaras made me forget my disappointment at the speed of the song and I know that Nalinakanti lends itself beautifully to a higher tempo.
The Kharaharapriya with Chakkaniraja was of course the main piece. A cat had been strolling about among the seats and in front of the stage during the previous song and during the Kharaharapriya alapana, and Suryaprakash said to smiles from the audience that our cat friend there thought it was a (in song) Chakkani Raja Maargamu, and he then started the song after a pause. Towards the end of the alapana, he had performed a Grihabhedam as he returned to the middle octave from the higher octave by first offering a longer-held Ma. During this Grahabheda interlude, KK played a straight madhyama in support. I could clearly tell that he was performing one but could not switch gears to identify the raga quickly enough. Kamalakiran offered a beautiful alapana with many sensitive touches, including the Grihabheda, very nicely done. Suryaprakash announced at the end of the violin alapana that it was Senchurutti.
I was a little disappointed with the choice of song. Both of them had offered sancharas in the alapana which brought to mind Senthil Andavan and though I am not naive enough to imagine that it was an indication of what he would sing, it made me wish for the song
. Neraval and swaras at Kantiki Sundarataramaku Rupame (muk), followed by an excellent Tani-Avartana, much appreciated overtly by Suryaprakash who exclaimed to Trivandrum Balajee after his first interlude, "Aha! Thank you, thank you!" It was nice to see. Ghatam Karthik worked his powerful fingers like a precision machine whirring with the most minute, yet crystal-clear notes. There were many appreciative exclamations throughout from everyone on stage. By now everyone on stage was showing great enjoyment and respect for each other, with very appreciative applause from he audience after each individual interlude. At the end each percussionist requested special applause for the other, and Suryaprakash wanted more applause for both of them, everyone was more than willing to keep clapping. It was lovely.
Suryaprakash performed a quick sketch of Hamsanadam (which I didn't identify immediately) following it with his own ragamalika composition. The composition, as many of you probably know, includes some 25 Ragas, and Sri Suryaprakash has composed each line in the closest heart of the raga, making each most readily identifiable to the experienced listener. I was however confused by the first raga, somehow it sounded like Sumanasa Ranjani. But I just listened to my phone recording, and it is clearly Hamsanadam, as the singer told me after he concert. In fact I am feeling a little shocked to hear how, for the first time hearing again this briefest sketch of the raga (on my phone), this Hamsanadam actually sounded like the voice of a swan. I mean it as a compliment, though the swan is not known for a beautiful call, yet if a singer is able to evoke with his voice (in my mind at least) the timbre of the swan in a raga whose name refers to it, I think it is remarkable! If anyone wants it, I will try to give you a snippet of just that part and you may be able to see what I mean, I hope Sri Suryaprakash won't mind. ( Sir, if you read this and you do mind, please message me to let me know) I'm feeling rather stunned to realize that the raga may be aptly and not arbitrarily named with a pretty sounding name.
The Desh viruttam and Kriti were very sensitively rendered. After the mangalam at the end of the concert, Suryaprakash thanked the audience and wished us all a happy Thanksgiving saying that it was a thanksgiving concert for him too, as he was returning to India e next day.
I enjoyed the concert very much, and though I don't remember who were on the original team for an earlier concert in Virginia, which was sadly cancelled, this one felt like a blessing. Sincerely, the team output was breathtaking and each artist was in full form.