Lecture on MDR by Prof. P.P. Ramakrishnan

Prof. P.P. Ramakrishnan, disciple of Sri M.D. Ramanathan (MDR), presented a lecture demonstration on the maestro and his compositions at the Narada Gana Sabha Mini Hall in Chennai today. He was accompanied by his son Vid. Easwar Ramakrishnan on the violin and by Vid. Kallidaikurichi Sivakumar on the mrudangam. The 1.5 hour lec dem was organized by Narada Gana Sabha as a part of its golden jubilee celebrations and to mark the 23rd anniversary of the demise of the maestro.

Sri Krishnaswamy, Secretary, Narada Gana Sabha, introduced Prof Ramakrishnan and spoke at length about his own association with MDR. He said he had handled two legal cases for MDR as his lawyer and had the opportunity to move closely with the maestro. He said the way MDR used to speak in Palakkad Brahmin language and address him as “Oy” was still ringing in his years. He introduced Sri Ramakrishnan as a senior violin artist, a former professor of violin in SST College of Music, Trivandrum and former Principal of Chembai Memorial Government Music College, Palakkad and said that he was serving currently at Kalakshetra Chennai, the same place where his guru MDR taught for a number of years.

The lec dem started with a composition composed by Prof. Ramakrishnan on his guru MDR in the rAgA rItigauLa, rendered by the professor’s student Vid. Shilpa Shankar. The song went like this (noted down while the song was being rendered; corrections welcome):


vAggEyakAram lakshya lakshaNa sangItagyam

bahu bhAshA panDitam mahA gAyakam


dEvEsha putrau vyAghrasya shishyam

kEraLa sutam bhArata padma shrIyam


ghana shArIram AjAnu bAhum

guru rAmanAtham shishya krishnadAsoham

manasA smarAmI

shirasA namAmI

vacasA vacAmI

Prof. Ramakrishnan started by addressing Sri M.D. Ramanathan as ‘Majestic Dexterous’ Ramanathan, ‘Maha Divya’ Ramanathan and ‘ManoDharma’ Ramanathan. He presented the following songs:

1) vighnarAja ninnu cAla nammiti – srIranjani – Adi – m.d. rAmanAthan (ANS)

2) tyAgarAja gurum AshrayE – kEdAram – Adi (tisra gati) – m.d. rAmanAthan

3) saraswati sarasa vANi – khamAs – Adi – m.d. rAmanAthan

4) padayugamunu nammiti – janaranjani – Adi – m.d. rAmanAthan

5) sAgara shayana vibhO – bAgEshwari – Adi – m. d. rAmanAthan

6) dhIm nAdhrudhIm dhIm (tillAnA) – ranjani – Adi – m.d. rAmanAthan

I must confess that his voice was attractive and loud to the extent required and he pronounced the words clearly. Wonder why he doesn’t give vocal concerts.

Excerpts from the lec dem (which had content on MDR as well as advice to present day students) are as follows. This is based on notes I took while Sri Ramakrishnan spoke and there is a possibility that some errors might have crept in. Corrections, if any, are most welcome.

  • MDR was a great bhakta of Saint Thyagaraja, Lord Rama and his guru Tiger Varadachariar. He used the mudra “varadadAsa” (dAsa of Tiger Varadachariar) in his compositions. (Prof Ramakrishnan uses the mudra “krishnadAsa” as he is a devotee of Lord Krishna and also a disciple of veteran violin maestro Sri T.N. Krishnan, apart from being a disciple of Sri MDR)
  • A person gets one-fourth of his knowledge/education in any field from his teacher, one-fourth on his own by practice and by applying his own intelligence, one-fourth from fellow students, and the remaining one-fourth gradually over time through experience

AchAryAt pAdam AdattE pAdam shishya svamEdhayA

pAdam sA brahmacAribhyAh pAdam kAlakramENa ca

  • MDR started off by singing like his guru Sri Varadachariar and later evolved a distinct style of his own that suited his shArIram and his vidwat. Today’s students should not plainly copy the style of their guru blindly. They must adapt it to suit their own shArIram and level of knowledge. They must imbibe the style and as the shlOkA above says, refine it by observation and with experience
  • MDR bought sAhitya bhAvam into his renditions. There was once a period in carnatic music when sAhityA was not much stressed upon because it was not available like it is today through various channels (like books and the internet). Access to words and meanings was very limited and artists back then had to do a lot of hard work to get hold of the correct words and their meanings. Our ancestors have struggled a lot to bring the art to the form it is in today
  • The tradition of singing according to a particular school is slowly disappearing in Carnatic Music as these days gurukula vasam is almost non-existant and institutes/universities are the places of learning. Though students may get to learn from teachers belonging to different styles, they do not get training a particular bANi. They get patantaram of different styles. He sang the dharmavati kriti “bhajana sEya rAdA” as an example in Sri T.M. Thyagarajan’s patantaram
  • The first kriti sung in the concert “vighnarAja ninnu” is in the Thyagaraja mould
  • The second kriti “thyAgarAja gurum AshrayE” is in the Dikshitar mould, reflected especially in the madhyamakAlam used towards the end of the caraNam.
  • The fourth kriti “padayugamunu” has been composed in Syama Sastri style
  • The fifth kriti in the list above “sAgara shayana vibhO” was composed by MDR after getting inspired from a lec dem on Dhrupad style of Hindustani music which he attended one fine morning at the Music Academy, Chennai. He got so impressed that he came home and composed this composition on Lord Padmanabha in the rAga bAgEshwari (bAgEshrI) in the afternoon itself.
  • It is a common misconception that tillAnAs should only be fast paced. MDR has composed several gems in slow pace. The ranjani tillAnA (the last item in the song list above) is a masterpiece
  • Many people had this misconception that MDR was not strong in kaNakku (calculations) while singing. This is false. Though he did not use much kaNakku usually in his concerts, he made full use of calculations while composing ciTTaswarams for many songs. MDR had a passion for composing ciTTaswarams and he did this not only in his compositions but also for songs of other great composers like Sri Muthuswami Dikshitar. Prof Ramakrishnan sang ciTTaswarams composed by MDR for the three kritis “hariharaputram” (vasantA), “chandram bhaja mAnasa” (AsAvEri) and “divAkaratanujam” (yadukulakAmbOji) and also for MDR’s own composition “thyAgarAja gurum AshrayE“.

Calculations for last avartanam of the ciTTaswarams in this song as sung by the professor were as follows:

  • 1 Avartanam of Adi tALam (tisra gati) = 48 aksharams
  • Last avartanam of ciTTaswaram had the kaNakku: 6 + 15 + 10 + 5 + 1 + 5 + 1 + 5 aksharams to make a total of 48 aksharams
  • It came like

tha dhi ki Na thom , (6)

tha ; dhi ; ki; Na; thom; (15)

tha, dhi, ki, Na, thom, (10)

tha dhi ki Na thom, (5 + 1)

tha dhi ki Na thom, (5 + 1)

tha dhi ki Na thom (5)

  • Equivalent swaram representation was sung as

S S M G M , (6)

G; R; S; N; P; (15)

G, R, S, N, P, (10)

G R S N P, (5 + 1)

R S N P M, (5 + 1)

M G R S R (5)

Prof Ramakrishnan felt that the time given to him to talk about a maestro of MDR’s greatness was very less. He said he had wanted to cover a lot more things but couldn’t for want of time. Hope other sabhas/organizations take a cue and invite him for similar lec dems.

Neyveli Santhanagopalan @ STSVS, Chennai

Venue: Sri Thiagaraja Sangeetha Vidwath Samajam, 5, Thiagarajapuram, Chennai

Date: 25 Apr 2007

Organizer: Sri Thiagaraja Sangeetha Vidwath Samajam (Sri Thiagaraja Jayanthi Concerts Series)

Vocal: Sri Neyveli Santhanagopalan

Violin: Sri M.A. Sundaresan

Mridangam: Sri Tiruvarur Bhaktavatsalam

Ghatam: Sri V. Suresh

List of songs:

1) sObillu – jaganmOhini – rUpakam – thyAgarAja (OS)

2) rAma bhakti sAmrAjyam – sudha bangALa – Adi – thyAgarAja (OS)

3) vADEra deivamu – pantuvarALi – Adi – thyAgarAja (ANS)

4) entani nE – mukhAri – rUpakam – thyAgarAja

5) krupaju – chAyAtarangiNi – adi – thyAgarAja

6) kadanuvAriki – tODi – Adi – thyAgarAja (ANST)

7) entamuddO – bindumAlini – Adi – thyAgarAja (O)

8 ) vinAyakuni – madyamAvati – Adi – thyAgarAja (S)

9) nI nAma rUpa mulaku (mangaLam) – saurAshTram – Adi – thyAgarAja

(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)

A nice concert by Sri Neyveli Santhanagopalan and his team of experienced accompanists. tODi stood out. Sri M.A. Sundaresan was brilliant as usual.

Taniavartanam by Sri Bhaktavatsalam and Sri Suresh comprised chatusra and tisra naDais and a kuraippu. Kuraippu started like a kanDa kuraippu. First two rounds were played starting 2 beats (8 aksharams) after samam as 4 patterns of 5 aksharam each first in chatusra gati, then in kanDa gati and then again in chatusra gati (total = 2 beats gap + 14 beats of patterns = 16 beats = 1 avartanam of Adi tALam – 2 kaLai). The basic structure in the next round consisted of 3 patterns of 6 aksharam each with a one aksharam kArvai between the first and second and between the second and third pattern ( 6 + 1 + 6 + 1 + 6 = 20 aksharams). This was played starting 2 beats after samam, first time in chatusra gati, next in kanDa gati and then in chatusra gati (total = 2 beats gap + 5 beats in chatusram + 4 beats in kanDam + 5 beats in chatusram = 16 beats = 1 avartanam of Adi tALam 2 kaLai). The same structure was used in the next round except that the patterns were played now in double speed as “(6 x 1) + 2 aksharam gap + (6 x 2) + 2 aksharam gap + (6×3)” in place of the earlier “6 + 1 gap + 6 + 1 gap + 6” in normal speed. The combination of slow and fast speeds went on for one more round. The next few rounds all followed the structure of the first two rounds, viz 20 aksharams taken after 2 beats from samam and played in chatusra, kanDa and then back in chatusra gati one after the other. The half avartanam portion was played starting one beat after samam (or mid-point of the avartanam) as 2 x 5 aksharams in chatusram followed by 2 x 5 aksharams in kanDam followed by 2 x 5 aksharams in chatusram (total = 8 beats). The quarter avartanam portion was played starting 0.5 beats after samam (or after each 25% point of the avartanam) as a 5 aksharam pattern in chatusram followed by kanDam followed by chatusram again. After this, normal patterns in chatusra naDai for quarter avartanam portions started.







Sangeetha Sivakumar @ Saraswati Vaggeyakara Trust, Chennai

Venue: Narada Gana Sabha Mini Hall, TTK Road, Chennai

Date: 24 Apr 2007

Organizer: Saraswathi Vaggeyakara Trust (Sri Thyagaraja Jayanthi)

Vocal: Smt. Sangeetha Sivakumar

Violin: Sri R.K.Shriramkumar

Mridangam: Sri Poongulam Subramaniam

Ghatam: Sri S. Karthick

Tambura: Sri Ganesan

List of songs:

1) vidulaku mrokkEdA – mAyAmALavagOwLa – Adi – thyAgarAja (ONS)

2) vAcAmagOcaramE – kaikavasi – Adi – thyAgarAja

3) bhaktuni caritramu vinavE – bEgaDa – Adi – thyAgarAja (AS)

4) raghuvIra raNadhIra – husEni – rUpakam – thyAgarAja

5) yajnAdulu – jayamanOhari – Adi – thyAgarAja

6) endu dAginADO – tODi – misra cApu – thyAgarAja (ANST)

7) ennaga manasuku – nIlAmbari – Adi – thyAgarAja

8 ) tava dAsOham – punnAgavarALi – Adi – thyAgarAja

9) jayamangaLam nitya shubhamangaLam (mangaLam) – ghanTA – kanDa cApu – thyAgarAja

(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)

This is the second concert of Vid. Sangeetha Sivakumar I attended in the past 2 days. What impressed me most was the selection of songs, many of which are not heard much in the concert circuit today. I am hearing the bEgaDa composition and the mangaLam for the first time.

Detailed raga alapanas were done for bEgaDa and tODi. Both Vid. Sangeetha and Vid. R.K. Shriramkumar excelled in their raga delineations. All the kritis were sung very well to some explosive percussion support. Vid. Shriramkumar played with a lot of involvement for all the songs. Neraval and kalpana swarams were put for “vidulaku mrokkEdA” at “kamalA gaurI …” and for “endu dAginADO” at “alanADu kanakakashipu ….”. Kalpana swarams were put for the bEgaDa composition at “bhaktuni caritramu“.

Vid. Poongulam Subramaniam and Vid. S. Karthick played taniavartanam in misra cApu tALam with eDuppu at samam. It comprised of two chatusra naDai portions followed by a kuraippu.

Sangeetha Sivakumar @ STSVS, Chennai

Venue: Sri Thiagaraja Sangeetha Vidwath Samajam, 5, Thiagarajapuram, Chennai

Date: 23 Apr 2007

Organizer: Sri Thiagaraja Sangeetha Vidwath Samajam (Sri Thiagaraja Jayanthi Concerts Series)

Vocal: Smt Sangeetha Sivakumar

Violin: Sri M.A. Krishnaswamy

Mridangam: Sri Shertalai Ananthakrishnan

Ghatam: Sri Trichy K. Murali

Tambura: Sri Ganesan

List of songs:

1) karuNimpa (varnam) – sahAnA – Adi – tiruvOtriyUr tyAgayyA

2) tuLasI daLamulacE – mAyAmALavagowLa – rUpakam – thyAgarAja

3) vinatA suta – jayantasEnA – Adi – thyAgarAja

4) ETi janmamidi – varALi- misra chApu – thyAgarAja (A)

5) lAvaNya rAma – pUrNashaDjam – rUpakam – thyAgarAja

6) vara rAga layajnulu – cencukAmbOji – Adi – thyAgarAja

7) Emi nEramu nannu – shankarAbharaNam – Adi – thyAgarAja (ANST)

8 ) parulanamATa (jAvaLi) – kApi -rUpakam – dharmapuri subbarAyar

9) karpUram nArumO – khamAs – kanDa chApu – ANDAL

10) bhArE pAnDurangA (abhang) – mAND – Adi – tukArAm

11) nI nAma rUpa mulaku (mangaLam) – saurAshTram – Adi – thyAgarAja

(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)



I love to listen to Vid. Sangeetha Sivakumar live in concerts and am so happy that the frequency of her performances in Chennai are on the rise.

Vid. Sangeetha started her concert with the sahAnA varnam “karuNimpa“. “tuLasI daLamulacE” was sung next with neraval and kalpanA swaram at “sarasIruha punnAga …”. Next came a beautiful rendition of “vinata suta“. Even the poor audio system couldn’t mar the beautiful way in which it was sung. Bhrigas seemed to flow so easily !!!!
The first alapana of the day was that of varALi. Vid. Sangeetha touched panchamam of normal octave only after about 2 minutes. Till then she doled out delightful patterns in the lower octave and lower half of the normal octave. She built the alapana step by step. The entire alapana lasted for about 8 minutes and every second of it kept me completely interested and involved. Vid. M.A. Krishnaswamy showed good control over his instrument while playing the alapana. His alapana was also very enjoyable. Special mention must be made of Vid. Shertalai Ananthakrishnan who played very well for the song “ETi janma“. Vid. Trichy Murali followed him well.

The main raga of the day was shankarAbharaNam. The number of “aahaa“s, “sabhAsh“s & “balE“s the 13.5 min raga alapana elicited from the audience was testimony to its brilliance. Neraval and kalpana swarams were put in the kriti “Emi nEramu” at “dIna bandhuvani dEvadEvuDani“.

Taniavartanam was played for eDuppu of 1.5 beats after samam in Adi tALam (2 kaLai). It comprised the chatusra and tisra naDais. There was a misra kuraippu. It started with the usual 7 aksharam pattern played 8 times to cover 56 aksharams (=7×8) within 14 beats starting with a gap of 2 beats after samam in the first round. In the second round, Vid. Shertalai Ananthakrishnan did tisram and played a pattern of 7 aksharam 12 times (7×12=84 aksharams) within 14 beats starting with a gap of 2 beats after samam. In the third round, instead of playing the 7 aksharam pattern 12 times, he played the following in tisra gati:

3 patterns of 7 aksharam each = 21 aksharams

3 patterns of 6 aksharam each = 18 aksharams

3 patterns of 5 aksharam each = 15 aksharams

3 patterns of 4 aksharam each = 12 aksharams

3 patterns of 3 aksharam each = 9 aksharams

3 patterns of 2 aksharam each = 6 aksharams

3 patterns of 1 aksharam each = 3 aksharams

adding to a total of 84 aksharams within 14 beats, started after 2 beats from samam.

The fourth round was an exact reverse of the third one.

Then started the half avartanam rounds, first with normal chatusram (4×7=28 aksharams started 4 aksharams i.e., 1 beat after samam or mid-point of avartanam) and then with the same played in slow speed tisram (3×7=21 aksharams started 3 aksharams i.e, 1 beat after samam or mid-point of avartanam). Then came the normal 4 beats and 2 beats rounds followed by a a few avartanams of normal chatusra gati leading to mOrA and kOrvai.

Next comes my plea to the organizers. Since the artists are only allowed about 2 hours time for the concerts and are asked to finish off by 8.30PM, it will be beneficial for rasikas if the organizers at the samajam curtailed their tendency to give long speeches after the main song of the day and allowed the artists and rasikas to enjoy 2-3 additional songs. It is extremely disheartening to see speeches that tantamount to almost nil value addition being made by the organizers who are musicians themselves. It would also be helpful if the audio system were a bit better. The amplification in this series sucks big time.

Vijay Siva @ STSVS, Chennai

Venue: Sri Thiagaraja Sangeetha Vidwath Samajam, 5, Thiagarajapuram, Chennai

Date: 22 Apr 2007

Organizer: Sri Thiagaraja Sangeetha Vidwath Samajam (Sri Thiagaraja Jayanthi Concerts Series)

Vocal: Sri N. Vijay Siva

Violin: Sri R.K. Shriramkumar

Mridangam: Sri Manoj Siva

Khanjira: Sri B. Sreesundarkumar

List of songs:

1) sadA bAla rUpApi (slOkam) – hamsadhwani – Adi shankarAcArya

2) nAda tanumanisham – cittaranjani – Adi – thyAgarAja

3) ninnE nera – pantuvarALi – rUpakam – thyAgarAja (NS)

4) evarikai – dEvamanOhari – misra chApu – thyAgarAja (A)

5) srIpatE nIpada – nAgaswarAvaLi – Adi – thyAgarAja (AN)

6) graha balam Emi – rEvagupti – Adi – thyAgarAja

7) raksha beTTarE – bhairavi – Adi – thyAgarAja (AST)

8 ) nI dayacE – yadukulakAmbOji – Adi – thyAgarAja

9) Emani vEgintunE – husEni – Adi – thyAgarAja

10) nI nAma rUpa mulaku (mangaLam) – saurAshTram – Adi – thyAgarAja

11) swasti prajAbhyah paripAlayantAm (slOkam) – saurAshTram

(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)

Attending a concert at the samajam sitting in front of the sannadhi of Saint Thyagaraja is a different experience. Listening to an exclusive Sri Thyagaraja compositions concert there is blissful. When such a concert is presented by a great singer like Sri Vijay Siva, the experience becomes almost divine. The only crib was the poor audio system which started singing on its own from time to time.

The concert was very enjoyable and left me craving for more when it ended rather soon after 2 hours. I especially loved the nAgaswarALi piece. Sri R.K. Shriramkumar was his usual self accompanying very well for all the songs.

Tainavartanam played by Sri Manoj Siva and Sri B. Sreesundarkumar comprised of the chatusra and kanDa naDais followed by misra kuraippu and mOrA and kOrvai in tisra gati.

Music Competition @ Rasika Ranjani Sabha, Trichy

Rasika Ranjani Sabha, Trichy, established in 1914, has been conducting music competitions since 1984 to encourage students learning both vocal and instrumental music. Apart from giving many prizes to the winners under each category in various groups, the Sabha has been conferring the coveted title “SANGEETHA SRI” to the outstanding competitor in senior group from 1991 onwards. Also, for the outstanding competitor in the Junior group “L. V .Memorial Prize” (in memory of the sabha’s former Hon. Secretary Late. L.Venkataraman) is being given every year from 1999 onwards.

This year’s competition is being conducted in the month of June. For more details and rules governing the conduct of the competition in different categories, please contact: Sri N. Sekar, Hon. Secretary, Rasika Ranjani Sabha, 146, West Boulevard Road, Tiruchirapalli – 620 002; Ph: 0431-2704736; email: rrsabha@dataone.in

General rules are as follows:

1. Applicants should submit age proof certificate. (01-07-2007 is the basis for age consideration).

2. Application (Vocal / Instrument) can be obtained in person from 1st May-2007, at the cost of Rs. 15/- from the Sabha office (5.00 p.m. to 8.00 p.m. on all days except Sunday). (To obtain through post, add Rs. 10/- towards postage).

3. Application form duly completed in all respects (along with age proof certificate for Sub-Juniors & Juniors) should reach the Sabha office on or before 8.00 p.m. on Thursday 31st May 2007.

4. Money orders / Demand Drafts are to be drawn in favour of the “Hon. Secretary, Rasika Ranjana Sabha (Regd.), Trichy – 2”, for the request of applications and/or for entrance fees along with submission of the filled in applications.

5. The likely dates & time of competitions are as under.

Sub-Junior (Vocal) …….. 3rd June’2007 ( Sunday – 3-30 p.m.)

Junior (Vocal) …………..9th & 10th June’2007 ( Saturday 10-00 a.m. & Sunday 2-00 p.m.)

Sub-Junior, Junior

Senior (Instrumental) 17th June’2007 (Sunday 3-30 p.m.)

Senior (Vocal) …………….22nd,23rd & 24th June’2007 (Friday,Saturday 10-00 a.m. & Sunday 2-30 p.m.)

6. No change in the songs will be entertained after the submission of application. If an applicant does not fill up the details of required number of compositions for any composer, the applicant will be debarred from participating in the particular division.

7. The contestants should be present in the Sabha atleast thirty minutes before the commencement of the competition.

8. The exact date and time of competitions will be notified in the notice board provided at the Sabha office at 6-00 p.m. on Friday, 1st June’ 2007.

9. The decision of the Judges and the Special committee constituted by the Sabha for the conduct of the Music Competition- 2007, shall be final.


I Prize: One who obtains not less than 60% and stands first among the competitors.

II Prize: One who obtains not less than 50% and stands next to I Prize winner.

III Prize: One who obtains not less than 40% and stands next to II Prize winner.

The contestants shall not be eligible for any prize inspite of their ranks unless they secure minimum percentage of marks as set out above.

11. Prize Distribution: A celebrated dignitary will award Prizes and Title to the winners at a special function.

12. Contestants for instrumental competitions have to make their own arrangements for prompting thalams.

13. In Sub-Junior category (Vocal) and in all caterories (Instrumental) those who had obtained the first prize in the earlier years are not eligible for contesting again in the same category.

14. The Sabha will provide lodging facilities for candidates participating from other states. Transportation and boarding are to be borne by the candidates. To & fro Second class conveyance charges, by train will be reimbursed for candidates securing a minimum of three (3) prizes, to facilitate them for coming in person to receive prizes.

R.K.Shriramkumar @ NSTSS, Chennai

Venue: Ranjani Kalaikkoodam, NSTSS, Nanganallur, Chennai

Date: 19 Apr 2007

Organizer: Nanganallur Sri Thyagaraja Sangeetha Samajam (NSTSS)

Occasion: Sri Syama Sastri Jayanthi

Vocal: Sri R.K. Shriramkumar

Violin: Sri Mullaivasal G. Chandramouli

Mrudangam: Sri J. Vaidyanathan

Tambura: Sri Balaji

List of songs:

1) dayAnidhE mAmava (varnam) – bEgada – Adi – syAma sAstri (S)

2) pAhi shrI girirAjasutE – Anandabhairavi – rUpakam – syAma sAstri

3) ninnuvinaga mari – pUrvikalyANi – misra cApu – syAma sAstri (ANS)

4) dEvi brOva – cintAmaNi – Adi – syAma sAstri

5) janani natajanaparipAlini – sAvEri – Adi – syAma sAstri (A)

6) kAmAkshI (svarajati) – yadukulakAmbOji – misra cApu – syAma sAstri 

7) nannu brOvarAdA – gauLipantu – misra cApu – syAma sAstri

8 ) sari yevarammA – bhairavi – kanDa jampai – syAma sAstri (ANST)

9) mAyammA yani nE – Ahiri – Adi – syAma sAstri

10) karuNajUDa ninnunammina – srI – Adi – syAma sAstri

11) kAmAkshI lOkasAkshiNI (gItam) – madyamAvati – misra cApu – syAma sAstri

(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)

Popular violin artist Sri R.K. Shriramkumar presented a nice 2.5 hr vocal concert on Sri Syama Sastri kritis. Special mention must be made of Sri J. Vaidyanathan who played well for all the songs.