A two-and-a-half hour vocal concert by R Suryaprakash in Thrissur recently was marked by perfect sruti alignment and clarity of diction. Effortless rendition coupled with a seasoned voice was another feature that endeared him to rasikas. Moreover, he proved a traditionalist by sticking to the concert format by opening with a varnam and concluding with a thillana.
The Todi varnam in Adi ‘Roopamu joochi’ is historically significant as the original tana varnam composed by Ramaswamy Dikshitar. It was converted into a pada varnam for Rugmini Devi Arundale by Tiger Varadachari and popularised by MD Ramanathan. The number received an energetic treatment.
Achuthadasar’s ‘Sadananda tandavam’ in Bahudari, Adi, was notable for ultiple sangatis as also for the brigha succinctly employed by the musician. Niraval at ‘Mutharum sitharum’ was chromatic and lengthy. A short Purna shadjam found expression through a Tyagaraja composition ‘Lavanya Rama’ set to Roopakam.
The rare raga is a janya of Kharaharapriya and a powerful one too. Kalyani with all its concomitant niceties appeared in the essaying of the raga that was prolonged to such an extent that the audience mistook it for the main raga.
Suryaprakash has a penchant for embellishing each number with a surfeit of swaras in order to paint the varied shades of the raga. This aptitude was clearly evident in this. Also he appeared comfortable while traversing the three sthayis. The niraval was at ‘Om jaga jananni’ and the composition, ‘Needu charana pankajamule’ of Pallavi Gopala Iyer, set to Adi tala.
‘Mayamma yani ne’ in Ahari, a Syama Sastri composition set in Adi tala, was rendered in a low tempo, which added to its appeal.
Swaras in fast tempo was the hallmark of the rendition of the famous composition ‘Sara sama dana bea dandha’ in Kappinarayani of Tyagaraja.
Percussion support
He took Kapi as the main raga for the concert. Although the elaboration was all-embracing, he veered round the raga for a while before arriving at it precisely. The composition was ‘Intha saoukyamu’ of Tyagaraja.
VV Suresh proved a worthy violist by directly entering into the raga and narrating its essential features clearly in the tani.
Palakkad A Ganeshan on the mridangam did a commendable job while following the music as well as in the tani, ably assisted by Elamkulam Deepu on the ghatam.
After ‘Ninakkatha neramillai’, a light number in praise of Muruga in Rageshree, he presented an excerpt from Sivastothram in virutham and soon entered into ‘Eppo varuvaaro’ in Jonpuri that was rendered alluringly. Tillana in Suddha Saranga marked the finale.
The concert was organised by Sree Thyagabrahma Sangeetha Sabha as part of its monthly programme.
