Suryaprakash

Carnatic Musicians
rajeshnat
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#1

Post by rajeshnat » 04 Oct 2008, 21:47

Last year around Nov 2007, when I was abroad away from chennai at work in US , I typed 2 long posts one on manakkAl rangarAjan and the other on SuryprakAsh. Posted the manakkAl and I just forgot to paste the suryaprakash post then .
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I just thought I could truthfully write about SuryaprakAsh after reading vishnu's post(http://rasikas.org/viewtopic.php?id=4017) .I would like to organize my thoughts chronologically, more centered on what I have experienced in the last 6 years.

SuryaprakAsh is now aged close to 40 years ,that means he is just reaching his noon of his career. His music started at the age of 12 more guided by his athimbEr ,thirukOdikAval ??? who was one of the disciples of semmangudi.Strangely even though academically proficient, he got totally absorbed in CM and decided to forego a seat in BITS, pilAni and land in MCC college for a Bsc Chemistry.

All the years in MCC gave him an oppurtunity to participate and he has finished in the top rank in all the competitions , where some of today's contemporary musicians finished behind him. He started to get a feel of ganakalAdhara Madurai Mani Iyer , and his perspective of CM just took a bigger picture. He decided to be a sishya of Shri TV sankaranArayanan, interestingly when Shri TVS was little apprehensive to take a sishya because of his frequent tours, SuryaprakAsh sang a very elaborate RNS of the popular bhairavi krithi koluvaiunnaDE of thyarajAr. Shri TVS was just amazed and took him as his sishya immediately.

In 1989 he decided to enter concert platform on his own also apart from giving vocal support to his Guru shri TVS.From 1999 he is giving concerts on his own. Well certainly I had not seen or heard him at all till 2002 . Infact what all I have documented above , I have only heard thru him in our rasikas.org concert (thanks to :cool: karni ) when I had a chance to talk with him.

The year 2002 was my first encounter with suryaprakAsh.It was in Krishna ghAna sabha, where I decided to hear a prime evening concert where suryaprakash was singing in the previous slOt. I was just noticing him where he was singing a tillAna in hamsAnandi .The tillAna was wonderful and he did not announce the composer. ONly after many years I knew it was his own. Still did not care enough to hear him again. Those years 2002 and 2003 , I did not have enough maturity to hear different artists , but I was more interested in going to concerts which The Hindu recommends and almost zeroed on the top 5 artists who had the marketing might.

Sometime in 2003-2004 things changed a lot for me.After beginning to post reviews in sangeetham , to a great extent I started appreciating independently and I did remove lot of fixations and prejudices . Once I heard an outstanding sarasa sAma dhAna in kApi nArayAni by SuryaprakAsh with a rAga alApanai of KApinArayAni(heard kApinArAyani alApanai for the first time in my life then).He brought in some outstanding manOdharma swara patterns. After few months gap I went for another concert in which he sang an out of the world devi neeyE thunai in keeravAni and he sang one of my favourite MMI krithi vijayAmbike vimalAmbike in vijayanagari. 2004 Academy was a watershed year for me, I heard him sing a beautiful intha sowkya in kApi with some fantastic swara prasthAram with very good support by our mannArkOil balAji.

Year 2005 experience was more perfect to hear Suryaprakash's natural open throated singing. My first experience of listening to pantuvarAli was SG kittappa's immortal kOdaiyiLe viruththam. Quite amazed with his voice felicity and range. Few months later he sang one beautiful neraval of tAye yashOdA in tOdi in 2005. Just lifting those lines which got buried in sangeetham.com.

<Someting unique and specical about the Neraval in the main krithi>
Little detour and a certain frame of reference from how we all hear a traditional neraval line in a main krithi will help. Atleast to most of us , taking a neraval line in a main krithi and in a pallavi line of RTP are equivalent.(Would like to hear if there is any difference ???). I know of atleast one illustrious Madurai mani who sings the Intha Sowkhya in kaapi as a main krithi ,where he always refreshes his memory by sequencing the swara-rAgamaliga and then ends up with the nearaval line in that raagam.Of course the line at the end of the swaram will just highlight the raagam that he handled before !!!

Suryaprakash took the long line "kAlinil shilambu konjak-kaivaLai kulunga muttu mAlaigaL asaiyat-teru vAsalil vandaan" for full close to 4 or 5 minutes in Todi(sounded a very good TOdi, but nothing unique and special).Then to my surprise he just <u>carried out the same Neraval linesin quick succession without losing the sarvalaghu style to Behaag , Kaapi and Malayaamarutham(each again for atleast 2 to 3 minutes)</u> . In each of the neraval lines, he took 2 words as a pivot . What I mean as a pivot if you listen to any one singing this popular neraval line (mmi is my frame of reference) one generally stays longer and brings the Todi rasam in just 2 words Kalanil Silambu !Here Suryaprakash took Malaigalai Asaiya as a pivot in Malayaamarutham . I cannot recollect what he did for the middle two as during this two it did not strike me . In short,he sang the neraval lines in all 4 ragams for full length and also as a pivot, without refreshing the memory with swarams. I am not sure if any one else has done that (Opening up as question, most of you know more???). This is an outstanding manodharmam to me .

After that he took the 4 ragams for a short swara pattern , 1/2 short swara pattern and finished with a long swarams in todi .

</Someting unique and specical about the Neraval in the main krithi>

SuryaprakAsh unfortunately (as vishnurAmprasad mentions )generally gets treated as a non prime artist . But even when he sings a 2 hour concert and yet he gives a performance of 2 and half hours + .In the last few year I had an occassion to hear few memorable 2 hour minus concerts. In NCA , a simply outstanding neraval "intha varam tharuvAy" and swaras in dazzling speed of Sivan's ambA manam kanindhu in pantuvarALi followed with a super on spot manOdharmam where he sang swara prasthAnam in "intha sowkhya" kApi with a doze of great creativity where he sang a short swara prastharAm than sang "swara",then sang a brief alApanai and then added "rAga" and then added a sprinkle of kanakku swaram and added "laya", connecting the neraval line swara rAga laya.

Another occassion in TTD temple where he sang a back to back mA jAnaki in KAmbOdhi followed with sukhi evarO was aesthetically perfect.His 1 hour and ten minutes of chakkani rAja last year at alwarpet Astika samajam was superb , not heard such a great neraval and such a long swara patterns in kharaharapriya. His RTP in simm madhyamam and mOhanarama in rasikas concert was also great.

One incident just wanted to share which is kind of quite unique , perhaps more indicative of how Carnatic Musicians perform in circumstances where it even becomes difficult for a layman rasikA to even concentrate. I did not write this anecdote then for that concert as I was confused then to write or not. In a concert in Sastri hall last year SuryaprakAsh was accompanied by vellOre ramabadhran and VV Ravi. There was a beautiful shreevaralakshmi in shree which just got over , it was SuryaprakAsh's turn to sing one high speed krithi before jumping to main.He took ManavyaaLagincaraa(S) in naLinakAnti , a dazzling sarvalaghu electric downpour of swaras just begun. A middle aged women who was one row in front of me who was always swaying her head and engrossed suddenly got into epilepsy with she screaming loud just before she getting that unfortunate fit .We all did not know how to handle and the whole concert was suddenly stopped for a minute . A typical indian mentality was prevailing no one knew what to do next inclusive of me? Suddenly with more froth coming from that lady's mouth, 2 of us just lifted her chair and took her down, just as the tension was clearing vellore ramabadran started stroking in his sarvalaghu style , from there suryaprakAsh exactly took the swara patterns and sang for another 5 minutes to give a well rounded swarakalpana of naLinakAnti. I always see his swara kalpana manOdharmam is top notch.

Of late there are also few Somu style renderings that he has given like madurai arasAlum and few swara patterns . There is one memorable darbAri kAnaDA swara he rendered a year before a long one for 5 minutes or so ,where Shri UKS weaved his magic skills where he played mridangam more like tabla. A rendition of brindAvana SArangA last year at MFAC is still fresh where his swara patterns where more like thumri, very very imaginative.

Also he has composed few no's , I have heard his long rAgamAliga devargAl arul seidha which is well received. His swarakshara of bhavapriya which he performed in our rasikas concert ,thillanas in hamsAnandi and vasantA. A very complete musician . Like any musician he also has few weakness .

1. He should add more base to his voice , it is getting more and more better but still adding more base will be wonderful.

2. At times he has to understand and play within the limits of what the accompanist can take. His speed and manOdharmam just does not at match well with the accompanist(especially mridangists are slipping ).

On a flipside , he is certainly most underrated musician who unfortunately has not got a senior artist status. I guess there are just 2 reasons,One he has no contacts and no push from anywhere, the other is CM is always groupism oriented art and he has been sidelined a lot by few or all (just leave it at that).These adversities have to be taken positively by suryaprakAsh and perhaps with gods grace he has to push more to do more asura :( sAdhakam :) to understand the magnificence of CM and deliver more great music .

I am sure SuryaprakAsh is going to be one musician who will be most talked in centuries to come as he came up by only musical merit. :):)
Last edited by rajeshnat on 04 Oct 2008, 22:12, edited 1 time in total.
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Nick H
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#2

Post by Nick H » 04 Oct 2008, 23:41

Fascinating and personal write-up, and as interesting for its insights into yourself as those into Suryaprakash. Thankyou.

I can thank Cool too, for introducing me to this singer. The concert a few months ago in which he took a Hindustani raga was fascinating, fresh and refreshing.
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arasi
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#3

Post by arasi » 05 Oct 2008, 02:13

Rajesh,
Kudos to you for your post!
Suryaprakash's manOdharmam and that voice alone should have catapulted him to fame many years ago! You are right. While even one mere gift among his several gifts has made stars out of several singers, where mediocrity is no barrier to stardom, what is the reason for Suryaprakash's stagnant state?
As you say, he does not have the 'publicity vehicle' which some other artistes have access to--for example, film music (his voice would reverberate in the minds of fans)! Of course, he is not 'well connected' as some others who attract the notice of organizers and journalists.
I call it the 'gap factor'. He falls through the gaps of all these elements which are at work in the CM capital.
I came to know of Suryaprakash only a few years ago. That too because Jayalakshmi Santhanam said to me that I had to listen to one Suryaprakash who sings 'kOdaiyilE iLLAippAtrikkoLLum' as if S.G.Kittappa were singing it--no, even better! That is how I got to hear him for the first time at Petachi auditorium and was amazed by his voice, bhAvam, imagination and verve. I was introduced to him as a composer and when he showed interest about my songs and someone said, 'you have to sing her songs. they are good', I added, 'yes, I would really like that. With your bhAvam, they would sound very nice, indeed'.
Suryaprakash is friendly and has no airs. I have come to know his family, meet his sweet daughter, wife and parents at his concerts, have been invited to their house, but you know that during the season it is impossible for him and us to meet --though I am looking forward to that cup of coffee with a major rAgam and Sarasvati too, at your place, Rajesh :)
Back to Suryaprakash, I am very happy to say that he sings my kalyANa vasantham inRu varuvAnO? beautifully.I heard him at Parthasarathy Swamy Sabha, to the accompaniment of Sundaresan and Bhaktavatsalam (morsing Kannan too??). His singing my song has nothing to do with it--he is such an easily approachable person besides being a sparkling singer.
Ever since we have known him, we have wished that he should do much better professionally, something he no doubt deserves.
Before someone comments that it all sounds like a recommendation letter, I ask that person to listen to him and then agree with me or not. I would also like to hear from others who have enjoyed listening to him besides Rajesh and Nick.

Suryaprakash,
I may miss your MA concert because of the date, but will surely catch up with your concerts later in the season. In every concert of yours, I see an audience which is energized by your music and leaves the hall satisfied, whether it be an old MM fan, or someone who enjoys your music independently of your connection with the great vidvAn.
Of course, we all have room to grow, and you will grow and prosper too, with a bit more encouragement from the music world. Have a great season!
And here at Rasikas, we are cheer leaders for fellow forumites. Hope several of us are there at your concerts in December.

Rajesh, if only you could let us have the recording of one of those moments you describe--hope Suryaprakash obliges...
Last edited by arasi on 05 Oct 2008, 02:20, edited 1 time in total.
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vijay
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#4

Post by vijay » 05 Oct 2008, 12:44

That was a great post Rajesh and your deep fascination with Suryaparakash' music is readily evident. I join you in your hope Suryaprakash becomes among the most talked about musicians, being a great fan of his music myself...and also that when he does, you are appointed as his biographer!
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rajeshnat
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#5

Post by rajeshnat » 31 Dec 2008, 21:49

Express review of [email protected] with vintage songs:
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I did not attend this concert in bharat kalAchAr , because I thought it would be less classical .Incidentally in this concert he even sang an RTP in kalyAni.Please remember certain vintage numbers that too tuned/sung by pApanAsam sivan ,Dandapani desigan ,sg kittappA are more difficult than even at times the best of trinity numbers .

He is one musician with an allround ability, remember his core strength is primarily madurai mani sarvalaghu , which as a matter of absolute fact nobody comes close to SuryaprakAsh , yet he has to travel more to reach the zenith of gAnakalAdhara madura mani(he has reached madurai mani but may take some time hopefully to reach madura mani :) , when I say madurai mani sarvalaghu swara patterns and when I say madura mani the sowkhyam associated with that ). This review came in express, btw look at indian express too.

================================================================

A Carnatic, vintage blend


Pavithra SrinivasanFirst Published : 17 Dec 2008 11:01:00 PM IST

CLASSIC Carnatic music is the hallmark of any Margazhi season - but innovations are always made and welcomed with much gusto, in fact. One such occasion was at Suryaprakash’s concert at the Bharath Kalachar - and his audience seemed to like his creative approach to classical music very much indeed.

He chose several well-known ragas, sang an item each in Carnatic music, and supplemented them with a dose of vintage songs. Y G Mahendra and ARS, who acted as comperes for the evening, made for a healthy musical feast, indeed.

Suryaprakash kicked off his performance, titled Amudhum Then, with a Carnatic number in the raga banthuvarali, everyone’s favourite - and followed it up with M K Thyagaraja Bagavathar’s Amba manam kaninthu, from the movie Sivakavi. Soon after came Rama Ninne Nammi, in raga Huseni, equated to Rajan maha rajan, from the movie Shyamala.

Suryaprakash made certain changes whenever he shifted from carnatic to vintage - he sang at 2-kattai shruthi for his classical numbers, while he chose 4 - close to MKT’s own pitch - for the vintage songs. It was as though the legend himself was singing: a fact aided by Suryaprakash’s attire, and his subtle, melodious voice.

Next came Dandapani Desigar’s Kana Vendamo from Nandanar, and P U Chinnappa’s Namakkini bayamedhu - but the piece de resistance, obviously, was S G Kittappa’s Kodaiyile Ilappari, sung in a ragamalika, and which tried both his endurance and voice. "I should have taken several B12 injections just to try this one,"
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rajeshnat
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#6

Post by rajeshnat » 01 May 2009, 14:17

# 30 years back singing a darbAri kAnadA in CM concert must have been unaccepted and rare to start with. As of today , darbAri has gone so much into CM that every musician takes it. Similiarly a "HM transplant into CM body of the concert(RTP) is attempted by this musician", this transplant is more difficult when compared to darbAri as darbari had atleast few reference CM krithis .

# The rAga close to darbAri and this rtp was sung in 2008-2009 kutcheri season (attn coolkarni and nick ,this is not the one that we all attended and I reviewed,this is much later).

# In my opinion singing a pallavi line in the lines "Kuzhaloodhi manameLLAm KoLLai KOndaanadi Maaya Kannanadi" is an apt line as the attempt brings more HM-CM marriage effective, say when compared to the pallavi line in sanskrit .

# rAgas are created by god ,and it is upto musicians to mingle with songs with the right bhAvam . Quite an apt 2 liner end with his megarAgamAliga krithi "devargaL arul seidha rAgangale andha bHAvangalil adhiL thozhntha pAdalgaLe" (just two lines there as I dont have the complete recording)

# Also note the swara rAga mAliga in 3 rAgas (expressive kAmbOdhi not expressed as mmi + tvs , fast behAg swaras is rare + evergreen sindhubhairavi )all exquisite and apt to the pallavi.

Can I say if it is a successful transplant, the plaintiff suryaprakash is fighting a case to be known as HM into CM in untried untested rAga miyAn ki malhAr .Jury is neither in north or south , It is in the east , ofcourse suryaprakAsh is not the jury, nandagOpal of kolkata is the final jury. Thanks to :cool: karni who was instrumental in bringing this gem to the plaintiff.

suryaprakash-rtp-miyAnkimalhAr-swararAgamAliga.mp3 can be downloaded in
http://www.sendspace.com/file/f6q9ud

Note: recording is not perfect as there is little hiss hiss noise .
Last edited by rajeshnat on 07 Nov 2009, 22:07, edited 1 time in total.
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knandago2001
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#7

Post by knandago2001 » 02 May 2009, 15:41

Rajesh: thanks for the RTP recording..

Suryaprakash: the pallavi "amaippu" was indeed very enjoyable.. yeh dil maange more!!
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cienu
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#8

Post by cienu » 02 May 2009, 23:27

The RTP was wonderful. Enjoyed every bit of it. :)
Thanks to rajeshnat for uploading.
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rajeshnat
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#9

Post by rajeshnat » 04 May 2009, 23:05

bilahari wrote: I have listened to parts of Suryaprakash's Miya ki Malhar RTP that Rajesh had uploaded and there really isn't very much of a Carnatic trace.
bilahari
YOu said this in the other post , just curious to know more about what you mean by no carnatic trace.is it plus or minus or some what 50-50.
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bilahari
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#10

Post by bilahari » 05 May 2009, 07:47

Rajesh, I'm going to listen to the whole RTP this evening and I'll revert with my comments. But I just flipped through some timepoints in the alapanai to try to get a feel for the ragam and I just felt the exposition was completely Hindusthani (well, so is the raga). It was just a general observation, though I have to say that having heard Sanjay's recent rAgEshri pallavi, I have decided that I have significantly less understanding of these purely Hindusthani ragas. I just cannot get a hang of their melody and as a result my appreciation is hindered.
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shripathi_g
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#11

Post by shripathi_g » 06 May 2009, 05:11

Has Suryaprakash sung a RTP in Jog as well? I remember reading something to that effect but it could be my own imagination. If he has, I'd love to get a copy of that.
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bilahari
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#12

Post by bilahari » 06 May 2009, 08:15

I listened to the miyAn ki malhar RTP and take back what I said about not getting the melody. It is very similar to darbAri kAnaDa, like Suryaprakash announces. This is the first recording of Suryaprakash that I'm hearing and his voice sounds so much like MMI's! Very impressive manodharmam as well and the thanam was very well executed. Now I understand why Rajesh keeps saying that Suryaprakash packs a lot of power in even a short time... the pallavi felt complete even though it was only 26 min. My only grouse is, as usual, rapid entry into ragamaliga swaras without singing exhaustive swaras in the main raga.
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VISHNURAMPRASAD
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#13

Post by VISHNURAMPRASAD » 06 May 2009, 18:00

I agree with Bilahari on this point. The ragamalika swaras could be avoided for such a short duration pallavi as ragas like MKM are rarely being heard in our concert stream and that itself can give a refreshing feeling the audience. The entire 26 min of pallavi could be dedicated only to such rarely heard ragas with little more neraval and swara prastharas (may be a good round of 7-8 avarthanas touching each jeevaswara of the raga). I have 7 or 8 such recordings of Shri MMI dealing with Lathangi, Keeravani, Simmendramadhyamam (which were considered as new pallavi ragas during his period) just focussing on those ragas with equal measures of raga alapana, thanam, pallavi neraval and swaras followed by a short thani avarthanam.

Now a little bit about Surya from my observations.

Shri Suryaprakash could also handle anuloma prathiloma while singing pallavis in major ragas even if his guru Shri.TVS never handled it. This could also add to the versatality of his style.

I have heard that MMI used to sing thrikaalam during 1930s like every other senior vidwan of his period, which he avoided later after poor health dominated him for many years.

In the current scenario we come across new singers creaping to popularity and never sustain for a longer period for whatever reasons. Shri Suryaprakash has really sustained in the field for more than 2 decades and still working hard to make it to the top.

There were many Vidwans like Sarvashri.Chengalpet Ranganathan, J.Venkataraman or A.Sundaresan, whose music sounded great to my ears as much as that their more popular contemporaries , yet they could not hit the lime light. Our forum is one such rare one which consist of those great rasikas who could echo about the greatness of such unsung heroes.

In one way I feel that Shri Suryaprakash's hard work is not going in vain, and atleast being put to use in those Sub-Senior slots. I really appreciate his attitude and earnestness to sing at whatever slots he has been given, with the same level of commitment and enthusiasm. I am sure he would make it to the top and become a Sangeetha Kalanidhi in coming years as the popular word goes, slow and steady wins the race!.

RajeshNat has already discussed on the plusses and the minusses of this Vidwan. From my side, i would like to say "Please do not give up, take whatever oppurtunities you get, study the Audience, Accompanists and the Acoustics and plan the concert accordingly. Continue to give your best to them and the rest will follow!"

All the very best to this musician and pray god for good health and trouble free personal life to mingle more and more with Music in coming years.
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coolkarni
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#14

Post by coolkarni » 06 May 2009, 19:20

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coolkarni
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#15

Post by coolkarni » 07 May 2009, 09:12

..
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balu
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#16

Post by balu » 07 May 2009, 12:35

Beware .the moment you started puling good crowd people will say you too have started playing to the galleries
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rajeshnat
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#17

Post by rajeshnat » 07 May 2009, 21:31

shripathi_g wrote:Has Suryaprakash sung a RTP in Jog as well? I remember reading something to that effect but it could be my own imagination. If he has, I'd love to get a copy of that.
Jogger,
He has sung a jog rtp , certainly no imagination there. The only copy is a video copy that delhi sundarrAjan's sishya who recorded it as per suryaprakAsh. The review of that concert is in
http://rasikas.org/forum/viewtopic.php? ... -2009.html
Unfortunately suryaprakAsh did not record it , even if he records it he has got a lousy recorder.

That particular day more than the jog , my periappa liked his kalyAni a lot it had lot of GNB style fast pidis.
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rajeshnat
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#18

Post by rajeshnat » 10 May 2009, 16:07

Intha sowkhya (kApi) - Indru varuvAnO (kalyAnavasantham) what a combination:
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I feel suryaprakash is able to go on and on in one rAga without drying up in manOdharmam. That is kApi, two kApi's came to my mind , the first best was a inthasowkhya(R N S T)@NCA which I have already mentioned about in the first post , where his swara prasthara connecting swara ,rAga and laya was awesome . Then I recollect an academy 2003 concert where suryaprakAsh- mannArkOil bAlaji paired up.

Why this long kApi story,

I just discovered a treasure while googling . A gentleman (Mr vaithianathan hariharan)has posted a complete concert of [email protected] swami sabha on Dec 2007 which arasi attended who has mentioned in her earlier post(I did not attend this concert).Here there is a kAPI and is the second best that I have heard still not as great as NCA one, this is excellent one not an outstanding one.

Hear atleast 2 of the songs in this concert ()
## 05-Intha sowkhya (AlApanai)-Kapi and 07 Intha sowkhya (krithi neraval and swaras)
## 10 -viruththam followed by indru varuvAnO of arasi
http://arvindsdad.blogspot.com/2009_04_17_archive.html

As a bonus , hear our arasi's composition of Indru varuvAno (kalyAna vasantham)with a mega rAgamAliga cocktail viruththam before (arasi madam this must be a terrific feeling when you were applauded ;) ,so much of madurai somu like pidis everywhere in the tukkadas ,high energy concert ending with your kalyAna vasantham).

Also read the hindu url of the report where swaminAthan of the hindu has given a superb write up about kAPI . This kAPI is a kumbakOnam degree kApi served in starbucks large cup with a nice kAlyAna vasantam topping.I just wished this kind of concerts can be brought up by parthasarathi swami sabha directly as recording , this mp3 recording of this rasika is the best that we get it(thanks to Mr vaithianathan hariharan sir).

suryaprakash-MAsundaresan- tvr bhakthavatsalam- srirangam kannan have teamed up very well and excelled .
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arasi
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#19

Post by arasi » 15 May 2009, 07:27

Rajesh,
That kApi was memorable. The one who was having great fun with it was M S Anantaraman. at the end of the concert when I told him his son played his usual classy fiddle, he exclaimed: ivan maTTum enna? ennamAip pADinAn! Some praise from the veteran.
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rajeshnat
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#20

Post by rajeshnat » 15 May 2009, 09:40

"It was from him that I imbibed the gAnakalAdhara Madurai Mani Iyer bhani in all its intensity, particularly the art of sarva laghu swaraprasthara. My guru shri TVS always used to advocate purity of sruti and full throated articulations."

http://www.hindu.com/fr/2009/05/15/stor ... 960200.htm
Last edited by rajeshnat on 15 May 2009, 09:40, edited 1 time in total.
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#21

Post by rajeshnat » 09 Jul 2009, 23:28

The pallavi is in dharmavathi with swararAgamAligA, incidentally the tani is between the pallavi and swararAgamAliga.The composer of the RTP is the pallavi jAmbhAvan TRS .Pallavi line is "padamAm layamAm viNyAsamAm pallavi EnRAL".

SuryaprakAsh sings the pallavi with vittal rAmamurthy in violin and R.Ramesh (KM's sishya), this was relayed by AIR roughly a month back.You can dowload it from http://rapidshare.com/files/287417178/S ... i.wma.html
Last edited by rajeshnat on 01 Oct 2009, 22:50, edited 1 time in total.
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#22

Post by rajeshnat » 29 Sep 2009, 10:15

During last week in a sabha in hindu colony, nanganallur ,swamiji kAmAkshi dAsar gave an apt award and citation to suryaprakAsh. SuryaprakAsh was awarded the title "janaraNjaka shirONmaNi".Congrats a very apt one , as his music has appeal and depth, both are in plenty .
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#23

Post by cienu » 29 Sep 2009, 16:44

Congratulations to Suryaprakash :)
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#24

Post by rshankar » 29 Sep 2009, 21:33

Congratulations, Sri Suryaprakash!!
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#25

Post by arasi » 30 Sep 2009, 04:00

Congratulations, Surya!
Did not realize you are coming to our part of the world! According to their newsletter, you are singing at the Siva Vishnu temple's 25th anniversary celebrations. Would be nice if you post your schedule here, so that many on the forum can hear you in person.
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