The fourth day of the festival saw a grand vocal recital by Malladi Suribabu along with his sons, Srirama Prasad and Ravi Kumar, popularly known as “Malladi Brothers”. They were provided support by H N Bhaskar on violin, MLN Raju on mridangam and Trichy Murali on Ghatam.


Breaking the tradition of opening the concert usually with a varnam, they chose to open with a beautiful kriti “Raga Ratna maalikache’” of Tyagaraja in Reethigowla raagam in roopaka talam. The alapana by Suribabu was pleasing and the rendering of kriti by the trio was melodious and attractive. The diction, thanks to their Telugu, was lucid and clear. 
 
Later, they presented “Sri Naadaadi guruguha”, a sparkle from Dikshitar in Mayamalavagowla set in adi talam. They rendered the kriti with full vigour and all three presented swarakalpana in turns showing their individual skills, giving an impression that this raagam rendition was a cakewalk for them.
The next one “Entharanee tana” of Tyagaraja in Harikambhoji was a googly. The rendering of alapana by Ravi Kumar was pleasing and presentation of the kriti was excellent. The bhava expression was commendable. 
 
“Eti Janma Meedi” of Tyagaraja in Varali, a ghana ragam, in misra chapu was a right selection, because of change in talam and moving from ‘sudha madhyamam’ to ‘prati madhyamam’. Varali is a melodious, karuna rasa and philosophical ragam with suddha gandharam as anya swaram found in many places. That puts lot of depth into the raga giving it a different flavour. The presentation of alapana and kriti was praiseworthy and captivating.  Expression of bhava once again remains their trademark. 
 
Later, they briefly presented “Ika Kaavalasina Demi Manasaa”, a rare kriti of Tyagaraja in Balahamsa, a janya of Harikambhoji.
 
The brothers chose to present” Nanu paalimpa” of Tyagaraja in Mohana in chowka kalam as the main item of the concert. Mohana ragam is a jewel, so is the kriti and the presentation by the trio was no less. The alapana, kriti rendering and swarakalpana were all outstanding. Flawless diction and measured delivery added grace to their melodic rendition in impeccable adherence to tradition which was praiseworthy. Such was the fluency of their rendering during neraval at “karamuna shara kodanda” and swarakalpana phase, the beauty of the raagam was retained in all its majestic glory. The tani avarthanam complimented the good presentation by the trio. A special mention about Bhaskar on violin is warranted. 
 
It was really a sight to watch the father along with his proud sons presenting a grand concert. They were well prepared with excellent understanding of the music and of each other as a musician which needs special appreciation. The sruti and laya were well maintained. It gave a feeling that Lord Rama blessed the trio with melodious voice and excellent musical knowledge and the listeners through their music.