1. ...
2. yOchana kamala(R,S) - darbAr - ThyagarAja
3. arunAchala nAtham (R)- sAranga - MD
4. saravana bhava Guhane (R ,S) - kannada - PS
5A. Viruttam "ThirumAlin sOdhari thiruverkAdu urai - pantuvarAli -
5B. ambA manam kanindhu (N,S)- pantuvarAli - pApanAsam Sivan
"indha varam tharuvAy jagadheeshwari" - neraval
6. intha sowkhya (R,N,S,T) - kApi - ThyagarAja
"swara rAga laya sudha rasa"
7A. viruttam "sotrunAi vediyAl" - behAg + sindhubhairavi - ?
7B. vishweshwaru darisAnu - sindhu bhairavi - ST
8. mangalam
Nungambakkam Cultural Academy is a stone's throw away from my house , perhaps it is my home ground like what Perth is to Adam Gilchrist. I was unfortunately 10 minutes late being Sunday,entering at 9:10 AM . I did not hear the first , but as I walked with two of my elderly relatives, I did hear a clean start with the distinct rAga swaroopam of darbAr, remainding the way ganakAladhara MMI starts every alApanai with a straight max 5 seconds perfect 10. It is certainly a good durbAr drop "yOchana kamala" with a distinct sarvalaghu krithi and swaram in full throttle, to clear the sunday drowsiness .
He gave fairly elaborate sAranga alAPanai (with no traces of hameer kalyani), the dikshitar's masterpiece was good with me getting the lyrics. The next kannada had an elaborate alApanai , which indicated me that he is going to make it to shri mathrubootam perhaps taking me to sAranga mood again. Nope it was the drop of Sivan krithi saravana bhava with an exceptionally good sarvalaghu swaram that followed(Surprise #1).
Atleast from all my collective experiences, PantuvarAli having heard SSI so many times is just one rAga that gives the best opportunity to experience open throated singing. THe viruttam was very good indicating may be he is not going to sing neraval and swaram as it is just a 2 hr concert for this ambA manam kanindhu.The neraval in the lines "indha varam tharuvAy jagadheeshwari" was awesome with him connecting all the swara laghu patters. If you subtlely observe , you can also see the small lining of SSI in a more prominent mmi bAni.I am not sure if anybody connects a tamil MKT no with this elaborate neraval and swaram(Surprise #2 )
The intha sowkhya (kApi) , I have only heard a R S T , only recently knew from a post that there is a neraval. He brought the neraval in the line "swara rAga laya sudha rasa".The neraval was very good with one exceptional Mega surprise #3 in the middle section not losing the shruthi suddham. The surprise #3 was he took up 3 patterns of swaram ,one sarvalaghu swaram ending with the line swara , next ending with a little alApanai ending in rAga ,and ofcourse with a very minimum kanakku swaram in laya. This #3 was awesome again. I am assuming this kind of mid section sarvalaghu is something that no one has tried (of course we will know after you all justify )
The last viruttam in a behAg and sindhubhairavi was excellent with he giving a correct and a good non tamil drop and ending with Swati's brilliant vishweshwaru just giving a right tukkada effect connecting SSI. I felt happy that it was not a tamil drop as pantuvarAli was more than enough for tamil.
TiruvArur Vaidhyanathan and Ghatam S karthik:
I always only get a chance to hear TiruvArur Vaidhyanathan with only sudha or rAmachandran. The experience of hearing his right hand stroking is always excellent. Infact I went one day on a memorable maharAjapuram Ramachandran concert at vanimahal I shook my hand with him but just got a feeling he was a boxer. brilliant korvai patterns in kApi. His tani or sarAnga was average but the rest of play is excellent.
IIRC,Ghatam S karthik (mostly playing only for Smt Aruna)wrote in his website or an interview sometime before that there is a technique of aggression that he picked up with Vikku vinayakaram and a technique to play in a softer way from Subhash(vikku's brother) . He displayed a very noticable aggression in pantuvarAli and then went to kApi in a subhash mode, possibly he must have shook hands with the boxe:Pr.
The violinist B U Ganesh prasad played the best in the rAga alApanai of kApi,bringing all the sowkhyam.
Replace what I have indicated as 3 surprises with manOdharmam . THese 3 manodharmAm( especially #2) I experienced for the first time.
There was a surpise #4 :rolleyes: not just for me but for the performers too .The curtains went down at 11:03 AM,when suryaprakash was about to nod to the team and get pavamAna approval .He sang a quickest madhyamavati alApanai and wrapped as another outstanding concert. Can someone fill the number one before darbAr ??
4 rAga alApanai, 2 neravals and 3 swarams in a two hour concert with the tani and adequate violin returns speaks a lot on his music. Suryaprakash just goes all out, like Adam Gilchrist few days back. I still dont get, why he is staying too long in an afternoon slot.Perhaps surprise #4 is a
declare .