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Rich musical experience
WHEN MUSICIANS of equal mettle blend harmoniously, the effect is sheer magic. This was what made the concert organised by the Sree Poornathrayeesa Sangeeta Sabha, Thripunithura, so special. R Suryaprakash, a disciple of T. V. Sankaranarayanan, found his accompanists matching him phrase to phrase, combining to make the concert balanced and memorable.
Suryaprakash began with the Adathala varnam `Viriboni... ' in Bhairavi. This was followed by `Vallabha nayakasya... ' in Begada, spiced with crisp swaras to complement. TVS always reminds one of his guru and mentor Madurai Mani Iyer, they were so similar in their scale, range, liberty they take with krithi rendition and their penchant for swaraprasthara. But Suryaprakash, following the same bhani, goes for a more patterned rendition of krithis, and swara singing happens to be his forte too.
`Evarani... ' in Devamrithavarshini was rendered with fervour. The repeated sangati in `ri ga ri' in the upper octave was presented well. A short alapana of Poorvikalyani ensued with supple briga-laden sangatis. `Deva Deva Jagadeeswara... ' of Swati Tirunal was the krithi presented. Clarity of diction is yet another feature of Suryaprakash's singing. This was obvious when he sang `Bhujagashanavaahana' as a single phrase as against `shanavaahana' as a separate phrase; a common error committed by many a vocalist. When he took the improvisation in the neraval to the upper 'ma,' it sounded gawky, and Suryaprakash glided down immediately. Swaras were presented with precision, calculation and finish. Abhogi was a pleasant variation with `Hariharasuthane... ' by Periyaswami Thooran. If at the onset one wondered how far the vocalist could deliver with a voice, slightly towards the thinner side and the `bhava' low key, Suryaprakash went on to really surprise when he went on to render the main piece. The voice achieved a fresh roundness in the detailed delineation of Kharaharapriya. `Chakkani raja... ' followed, not missing even one of the almost six sangatis in the pallavi. The flamboyant shades of TVS in the `pa dha ni dha' essays during the swaraprasthara could not be missed. V. L. Sudarshan complemented him well on the violin.
Swara singing with Suryaprakash is totally spontaneous and there was no trace of even a shade of `kalpitha.' The sadhakam' is displayed in vakra usages and he seldom went for `alankara prayogams.' Young Mannargudi Subramaniam, the grandson of Papanasam Sivan and a disciple of Karaikudi Mani, revealed the rich legacy. His thani was vibrant and meticulous. At the end of the piece one was left with a sense of fullness.
`Ittu Sahasamunu... ,' a rare Telugu composition of Swati Tirunal in Saindhavi, a janya of Kharaharapriya was rendered with gusto. `Yogeendranam... ,' the sloka was succeeded by `Krishna nee begana... ' in Yamuna Kalyani. An exquisite Meera bhajan in Sindhubhairavi, `Mayee sanware rang raachee... ' marked a finale to a full three hour concert where potential talents teamed up to give a truly professional musical experience.
HAREESH BAL
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