[email protected] on Apr 14th,2018

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rajeshnat
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#1 [email protected] on Apr 14th,2018

Post by rajeshnat » 15 Apr 2018, 08:56

[email protected] on Apr 14th,2018
-----------------------------------------------
Vocal : Suryaprakash
Violin : S Varadarajan
Mrudangam : Arjun Ganesh
Ghatam : S Venkataramanan

Concert Type : Nirvana - no concert to follow
Day/Duration : Saturday/ 3 hours and 20 mins - 06:20 to 09:40
Concert Type/Crowd : Free concert
Hall : RKM School, T Nagar
Occasion : The day was Thamizh New Years Day

There is just way too much to talk about this concert but i am just restricting to RTP, Main and Submain.

7A. RTP in shanmughapriya for 1 hour and 15 mins exclusive of tani
25 mins alapana
14 mins non metered and non metered taanam
Pallavi in kanda jAthi triputa in two nadais chatushram in purvangam and tisram in uttaranaga
Pallavi line -->>>> Thenparen giri valar muruga guhanE vandarul vadivelanE
Pallavi neraval was for 9 mins
swaras for 30 mins in shanmughapriya + revati + soorya and then brindavani + hamsanandi + darbAr + sindhubhairavi

#1. The Raagam unfolded with its characteristic grandeur of bold expressions after all it is lord shanmughas most priyan(liked ) raga . The contours of raga alapana by suryaprakash was very detailed with the first half having more share of brigas like sunaada vinodhan Tanjore S kalyanaraman with surefooted Madurai somu power packed pidis here and there. The shanmughapriya brigas first round was followed by varadu quick succession and varadu played beautifully. The second round of alapana roared much more culminating in tara stAyi sA with special applause , suryaprakash voice was reaching the crescendo of ringing bell of say tiruchendur murugan kovil. Varadu returned sharing aggression with suryaprakash.

#2. The taanam was fantafabulous , it is quite rare to get 14 mins taanam after a 23 mins alapana. But there are atleast not many who do that . taanam was non metered to start with and the s kalyanamam got slowly jettisoned and semmmangudi took over . The taanam continued with mrudangam what a joy it was usually when mrudangam joins the taanam .The taanam generally gets tapered for want of sangathis in the head of the vocalist when mrudangam joins in . But suryaprakash managed very well with terrific round of support by varadu with continous sarvalaghu power by Arjun ganesh.

#3. The pallavi line was in khanda jathi triputa and the nadais were in two sets . The pallavi line was Thenparen giri valar muruga guhanE vandarul vadivelanE with the vandarul vadielanE in utttarAngam in misram and the first half then paren giri valar muruga guhanE vandarul taking the poorvangam structure in chatushram . Adequate trikalam was done and the bit of laya mathematics was inevitable as it is dwi nadai. The pallavi neraval was for 10 mins

#4. After 43 mins Ragam taanam and pallavi neraval , the swaras began .In swaras he joins the elite say 10 top musicians . The swaras in shanmughapriya was heavenly with extreme focus on mel kala sA . Then he jettisoned the primary ishta devata Lord shanmugha and anchored with repeated Ni ni ni , i meant Nishadam and the Lord subramanya gave his baton to Lord SHiva. The raga was revati with repeated Ni and the flying patterns in Nishadam had its aesthetic roots in vedic chants . Revati was double heavenly. Varadu played with ecstasy he is a thyagi and handed over the baton without going overboard.

#5. Then with Nishadam gone , it was da da da , The dA was dhaivatam .i have only graduated from disambiguating hindolam and soorya/chandrakowns cluster . He sang soorya and the contours of swaras in soorya had a shade of surely TVS , his guru has brilliantly sung a RTP in soorya but the patterns were way too more elaborate than TVS.

#6. While upto this point there are say 5 to 10 musicians like him but what he said for few mins was musical honesty at its best . He said some thing like this in English . I am taking one note after another as an anchor so far . Now I am going to experiment and I am doing it as in all fairness to test myself , Varadu is playing with spontaneity and said he wants to join the discovery where he is also spontaneous in covering new ragas .He jokingly said i dont know what ragas are going to come from now on with a huge round of applause . This is musical honesty at its best. All along in his 1 min explanation arjun ganesh was still giving sarvalaghu power. This is what he did next

#7. He repeated few patters of shanmughapriya and did an anchor on some note , I forgot that , but he began with a very very brilliant and defining note of brindavani pa ma ri with a little extra swing in ri . My head was breaking then O my god what a beautiful raga i enjoyed so much with my heart but I did not get the raga name in my head . Despite varadu playing superbly I just did not get that Brindavani raga

#8. Then he moved to sa ri gA , ri ga mA and symmetrical patterns . IT was a sitter and the raga was hamsAnandi .HamsAnandi is an expansive swara raga maliga raga and it was heavenly. THe patterns were intensely ganakalAdhara and it was deep and long.

#9. Then he moved with a repeated stress of ga gA ri , with some repeated stress of ga gA ri it was evident that he is singing darbar . So as such my mind thought at that time bloody he is not faking on point 6 and he is surely ideating on the stage. To sing and incorporate say hamsanandi is quite easy (I am not challenging a bunch of musicians here), but to incorporate a darbar as impromptu in stage is quite an achievement.

#10. Then he moved with another anchor note that was sindhubhairavi . Sindhubhairavi many a times atleast to me is a bit of fast food like raga it incorporates a lot of alapana and ghazalish phrases . I used to wonder if musicians sing sindhu bhairavi swaras thinking some popular sindhu bhairavi tukkada and go along with it. I have seen many inclusive of suryaprakash also doing that . But he took sometime to anchor in the note with a little longish mrudangam play as stop gap. IN sindhubhairavi he moved with a distinct swara pattern like pa da pa mA gA and moved on , the key is there was no alapana or ghazalish phrases in sindhubhairavi. No ta da ri nafying alapana and bringing that as swaras.

#11. Finally He travarsed all ragas picking up the tributaries from sindhubhairavi to darbar to hamsanandi to brindavani to soorya to revati and merged with mel kala sA in shanmughapriya . Incidentally rajesh who was a flickering tubelight who did not get brindavani despite Long pattterns in forward direction , I only got during the reverse . it just happened i cannot believe i did not get one of my favourite raga brindavana saranga/brindavani. The swara ragamaliga alone was for roughly 30 mins or so and what an energy nothing sagged .

#12. I can surely say one thing . When it comes to swaras and the organic growth with either the RTP or krithis ,Suryaprakash is surely #1 and the #2 is atleast 10 miles behind him. Please also consider one thing this vidwan does not go with one set of accompanist and it is a joy especially to hear with his brilliant team of varadu, arjun ganesh and s venkataramanan , this pallavi can be compared to few pallavis like gnb natttaikurinji, mmi keeravani , ssi bhairavi etc .
Last edited by rajeshnat on 15 Apr 2018, 19:03, edited 4 times in total.
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#2 Re: [email protected] on Apr 14th,2018

Post by rajeshnat » 15 Apr 2018, 08:58

Submain and Main
-----------------

2. Devi Neeye tunai (R N S) - keeravani - Papanasam sivan
2 mins alapana without violin return
neraval in malaimaghaL kalai maghaL paNi kIrvANi amudanaiya iniya muttamizh vaLartta for 7 mins
swaras for 9 mins

AND

6. idarinum Thalarinum (R,S) - kedaragowlai - tevaram from sambandar
11 mins alapana and 5 mins violin return
4 mins swaras

#If RTP was more of music and less of lyrics the main and submain was a culmination of every important facet with the core building block being krithi and language thamizh . The submain devi neeye thunai is perhaps the most thrust worthy krithi in emote worthy wrapper -the raga keeravani . Raga alapana had superb thrust and he jumped with no violin return. It is just some times a waste of aesthetic time to keep on giving returns to violinist

# The krithi devi neeye thunai , here i could see extremely high quotient of sunaada vinodhan S kalyanaraman and the greatest living genius madurai tn seshagopalan . The thrust of voice opening out in devAdi devan sundaresan in full throttle and seguing to neraval lines thamizh valartha pani kirvani was well done .Then he moved to swaras with magical speed with more give from suryaprakash and less pointed surgical take from varadu was superb.

# The main was kedaragowalai . I have no clue on this tevaram and it looked his diction was giving a run for money for extremely established diction specialist of today . Suryaprakash love for thamizh does not lose music , his love for music did not lose thamizh verses of tevaram . I was bit disappointed when he wrapped the kedaragowlai swaras where he started and anchored alternately with idarinum and thalarinum like a typical shree ranjani alternate anchor of swaras in sogasuga krithis where mrudanga and talamu are alternated.

Few words on Varadu - S Venkataramanan and Arjun ganesh
---------------------------------------------------------
# Varadu and Suryaprakash have grown up in early years in chromepet so their early long years grooming had produced this excellence . There are two things i like about varadu, 1. When vocalist sings he is completely giving the baton to the vocalist and at that moment he is a well tuned shruthi patti 2. When he plays returns he is concise and keeps within the gamut of what was given by vocalist

# S venkatarmanan is not an aggressive kanjira artist . He takes orders not in power sense but he exactly knows when the energy level for mrudangam is going down , he is a live UPS backup for mrudangam

# What can i say about Arjun ganesh . THere will be a stage where the youngest Arjun Ganesh who will go to the stature of Trichy Sankaran sir where he looks back this concert as an MMI/SSI- LGJ/MSG- Harishankar etc where he played . His asset is mainly on two points 1.He keeps strokes in plenty but reduces the overall volume , he is a 4th generation student of Pazhani subramania pillai 2. Filling with long pattern of strokes with high energy that came extremely handy with taanam and swara ragamaliga pallavi . That required atleast 45 + minute of non stop energy

All said suryaprakash is maturing from an anchor of ganakaladhara mmi towards semmangudi whatever he sings be it krithi R, N or S it is intensely aesthetic.
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#3 Re: [email protected] on Apr 14th,2018

Post by rajeshnat » 15 Apr 2018, 09:01

[email protected] on Apr 14th,2018
-----------------------------------------------
Vocal : Suryaprakash
Violin : S Varadarajan
Mrudangam : Arjun Ganesh
Ghatam : S Venkataramanan

Concert Type : Nirvana - no concert to follow
Day/Duration : Saturday/ 3 hours and 20 mins - 06:20 to 09:40
Concert Type/Crowd : Free concert
Hall : RKM School, T Nagar
Occasion : The day was Thamizh New Years Day

Understandably all songs were on language thamizh to commemorate Thamizh PuthAndu nal vazhthukkal

1.Al ilai mEl kann valarndha - tanavarnam - mohanam - Tiger VaradAchariar
2. Devi Neeye tunai (R N S) - keeravani - Papanasam sivan
2 mins alapana without violin return
neraval in malaimaghaL kalai maghaL paNi kIrvANi amudanaiya iniya muttamizh vaLartta for 7 mins
swaras for 9 mins

3. kA guhA shanmughA (R) - kosalam - Koteeswara Iyer
8 mins alapana and 5 mins violin return
2 mins swaras
4. enraikku siva kripai (starting with kanrin kuralil) - mukhari - neelakanta sivan
5. oruthi maghanai pirandu (S) - behag - Andal thiruppavai
5 mins swaras

6. idarinum Thalarinum (R,S) - kedaragowlai - tevaram from sambandar
11 mins alapana and 5 mins violin return
4 mins swaras

7A. RTP in shanmughapriya for 1 hour and 15 mins exclusive of tani
25 mins alapana
14 mins non metered and non metered taanam
Pallavi in kanda jAthi triputa in two nadais chatushram in purvangam and tisram in uttaranaga
Pallavi line -->>>> Thenparen giri valar muruga guhanE vandarul vadivelanE
Pallavi neraval was for 10 mins
swaras for 30 mins in shanmughapriya + revati + soorya and then brindavani + hamsanandi + darbAr + sindhubhairavi

7B. tani for 5 mins

8. pArukullE nalla nAdu - jonpuri - mahakavi bharathiyar

9A. viruththam kanneru vArADHU - KAPI + Gangai malai mangai - sindhubhairavi + dhanyaSi pAginii?? - dhanyasi + nattaikurinji VAzhum - nattaikurinji + sAveri pAdinEn- saveri + AnandamAi varuvai murugA - Anandaragam - Thirukooda Rasappa Kavirayar(subramanya thiruviruththam)

9B. azhagiya mayiliniL adivAi - aananda ragam - Composer ?? (madurai somu popularized no)

10. kAda MOdi - shankarabharanam - thirruppugazh
11. thillana - nadhiru dheem - yAridam muraiiDuven - sudda sarang - suryaprakash
12. vazhiya senthamizh - madhyamavati - mahakavi bharathiyar

I did see Crama, SRK, mudhras (no surprise there) and I think I also spotted sridhar_rang . May be little more kedaragowlai would have made me slightly more happy.

Overall an excellent to outstanding concert for 3 hours and 20 mins,
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#4 Re: [email protected] on Apr 14th,2018

Post by CRama » 16 Apr 2018, 15:52

It was a spellbinding concert by Suryapraksh and team. The varnam in Mohanam by Tiger was new to me. The second song Devi Neeye Tunai brought the desired verve to the concert in the start itself. Though the ragam was brief, the elaborate neraval at Alai magal Kalai magal and the arresting swaras with the concluding avartanams resting at mel ri were all delightful. Raga Kosalam was conveyed with minute nuances that showed the contours very clearly for this vivadi ragam and the Koteeswara Iyer kriti was rendered with full fidelity to the mind of the composer. Oruthi maganai was rendered in jet speed – to take the place of Nenarunchinanu. Not necessary that there should be a fast filler because all songs are in Madhyamakalam only. Lovely swaras in behag added lustre to the song.

Raga Kedaragowla was presented with its characteristic pidis and gamakams. The tevaram is new to me. The pallavi was simply great. The manodharmam, confidence, energy level of Suryaprakash was at its peak and the audience were there for a grand treat- RTP for about one hour and fifteen minutes which is a luxury in today’s concert scenario. The pallavi structure in two nadais, elaborate swarams encompassing the two nadais, a complicated korvai as the shining crown, the imaginative ragamalika swarams- all simply outstanding. Details have already been given by Rajesh. Here I am privileged to say that the RTP was a request by me. The story goes like this. During the last season, I attended Suryapraksh concert in Parthasarathy swami sabha where he sang Shanmugapriya as a sub main (Andavane). After the concert I very much appreciated his Shanmugapriya and requested him to sing RTP in this ragam instead of ragams like Desh, Hamsanandi, Brindavansaranga etc. (This is the current trend. But I do long to hear RTP in ragams like Shanmugapriya, Natakurinji, Kedaragowla, Madhyamvathy, Mohanam etc ) Keeping that in mind, he had selected Shanmugapriya for this concert as he knew that I will be coming for this concert. I express my sincere gratitude for his concern and going an extra mile to please sincere rasikas.

Even if it was past three hours of the concert, Suryparakash did present a few tail end pieces including the virutham in a delectable manner. I presume a portion of the virutham was on the spot creation by him (including the names of the team members) following Madurai Somu and his Guru TVS in this aspect.

S.Varadarajan, Arjun Ganesh and Venkatramanan contributed immensely for the success of the concert. The alapanas and violin returns of Varadarajan were most appropriate and imaginative- but following the exposition by Suryaprakash. The percussion team – with the right volume level added energy to the concert. Thani was brief- for about five minutes- both the percussion together which was most ideal considering the time.

Sitting along with Sivaramakrishnan and enjoying the concert discussing intricate things increased the listening pleasure.Myself and Rajesh do long for concerts of three hours plus which has become a scarce event to happen nowadays. This concert went upto three hours and twenty minutes. Thanks to Suryaprakash and the team and also to MUDHRA- the organisers.
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#5 Re: [email protected] on Apr 14th,2018

Post by sridhar_ranga » 16 Apr 2018, 17:03

Very happy to have attended this blissful, all-Tamil kritis concert on Vilambhi thamizh puthaandu day......I had to leave after 9A due to hunger pangs! The RTP and the raga essays in Shanmukhapriya, Kosalam and Kedaragowlai were out of the world! A big thanks to Suryaprakash & team and Mudhra.
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#6 Re: [email protected] on Apr 14th,2018

Post by Sivaramakrishnan » 17 Apr 2018, 08:27

It's always a wonderful experience to attend concerts in the company of forumites.

*Suryaprakash's selection of kritis exhibited good contrast.

* Pallavi of the Sambandhar Tevaram (on the Lord of Tiiruvavaduthurai) in Kedaragoula had a varnamettu similar to that of the celebrated Saragunapaalimpa. I am eager to know who the tunesmith is.

* it's my personal opinion that routine kritis could replace RTP in thematic concerts (especially one of this kind) to offer better 'literary experience' for rasikas.

*Kosalam was the pick of the event for me.

Happy to have seen a Suryaprakash back from Cleveland, fully charged and brimming with confidence.
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#7 Re: [email protected] on Apr 14th,2018

Post by vijay.siddharth » 17 Apr 2018, 12:01

@Sivaramakrishnan,

I have heard that it was Ramanathapuram Sreenivasa Iyengar who was inspired by the tune of this Thevaram to compose Saraguna Palimpa.
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#8 Re: [email protected] on Apr 14th,2018

Post by CRama » 17 Apr 2018, 15:53

Sivaramakrishnan wrote:
17 Apr 2018, 08:27

* it's my personal opinion that routine kritis could replace RTP in thematic concerts (especially one of this kind) to offer better 'literary experience' for rasikas.
I am sorry to say that the above observation is quite absurd.
• It was not billed as any thematic concert. Being Tamizh New year day, Suryaprakash thought it appropriate to render all Tamizh songs. Bale to him.

• If thematic concerts should not include RTP, then concerts in Tamizh Isai sangham, Rama Navami concerts in Ram Seva Mandali, Gokulashtami concerts in Krishna Gana Sabha and Venugopala swami temple, Sivarathri concerts in Odukathur Mutt etc should not have any RTP. Our musicians have presented highly creative RTPs in all these venues which I have enjoyed a lot. I am giving just a few examples.

• Once on Jan1, Swati Tirunal Sangeeta Sabha organised Purandaradasa day with the concert of MLV. MLV sang many PD kritis, (one or two other kritis) and RTP in Kedaragowla on Purandaradasa. The Pallavi was Sree Purandaragurum vande Dasashreshtam dayanidhim. Mindboggling concert.

• TNS sang in Swati Tirunal Sangeeta Sabha in early 1980s accompanied by Lalgudi Jayaraman. Mridangam I don’t remember. Besides many ST kritis, he sang a RTP in Brindavanasaranga on Swati Tirunal.

• In TNS concerts in Tamizh Isai sangham on exclusively Bharatiyar kritis and also on Oothucaud kritis, he sang RTPs taking the pallavi from the songs composed by them.

• In the Deekshitar Special concert of MDR, he sang Sree Subramanyaya Namaste as RTP.

In the instant concert, he had sung enough songs to bring out the literary experience of Tamizh. If the musician should not sing RTP in a three and half hour concert, then where he should sing RTP. Whether it should be confined to Pallavi darbar and lec dems only.
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#9 Re: [email protected] on Apr 14th,2018

Post by sureshvv » 17 Apr 2018, 16:17

In some ways RTPs in concerts dedicated to a particular composer is taking the easy way out. It would be better to showcase a not-so-common kriti composed by them (and may be harder to do).
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#10 Re: [email protected] on Apr 14th,2018

Post by CRama » 17 Apr 2018, 20:21

Suresh, what you have told may be correct in a few instances. But not always. If MLV or TNS or TVS or Dr.Balamuralikrishna sang RTP in a Rama Navami concert, it is not because they cannot fill up the slot with kritis. Even MS Subbalakshmi sang RTP in Bhairavi in the Rama Navami concert in Rama Seva Mandali in the year 1980. In the PD concert stated by me, IIRC, MLV sang many PD kritis and the main song was a PD kriti in Thodi- Ninna nodi dhanynaneno. The rendering was simply outstanding. Endaro mahanubhavulu and Enthanivina (Oormika) were the only non PD songs in that concert. It is the creative musician in them besides the accoustics, accompanists, receptive audience, duration of the concert etc eggs them to go for a RTP. Now the standard duration of concerts have become two hours and on rare occasions two and half hours. So there is no space for RTP. In the Suryapraksh concert, when he sang for three and half hours, after a long list of kritis, RTP was not inappropriate.
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#11 Re: [email protected] on Apr 14th,2018

Post by CRama » 18 Apr 2018, 10:31

Why vidwans sing pallavis in temple concerts. I had an interesting discussion with Mahavidwan TNS in Bangalore some time in 92 or 93. It is worth sharing here.

I was in Bangalore during 87-95 when I attended maximum no of concerts throughout the length and breadth of Bangalore. In Gayana samaja, many times we were waiting for RTPs in the concerts of TNS given the good pakkavadyam, ambience, sufficient time etc. But it did not happen always. Then in 1992 or 93, there was his concert for Gokulashtami in the Venugopalawamy temple accompanied by H.K.Venkatram and Arjun Kumar. Those days there was no AC Hall in the temple. The Utsavamurthy would be decked with grand alankaram and kept in the mandapam in front of the sanctum. Concert will be held before this Utsavamurthy and we all would be sitting in the mandapam and adjoining places. So there will be an air of divinity prevailing throughout the concert. All will be patiently sitting throughout the concert. Very little disturbance. The concert mentioned above was a wonderful concert. His voice in good form, all the songs on Krishna- and he sang four alapanas in the concert. Arabhi (Sathinchane), Simhendramadhyamam (Narahariyay Vandan), Madhyamavathy (Adathu Asangathu) and RTP in Kalyani- Radha lola Chinnikrishna…. In Khanda Triputa which took nearly an hour with the ragamalika swarams. The concert went for nearly three and half hours. Many TNS rasikas may be having this concert. I only collected the recording and shared with many people.

The next day of the concert, I went to meet him in his father in law’s house in Seshadripuram. While discussing many things, I asked him- When you did not sing pallavi in a big Sabha like Gayana Samaja, what prompted you to sing such a big RTP in a temple concert. He said, it may be a temple concert- but those who have come to hear me are Sangeeta rasikas. It was not floating crowd. They enjoyed the concert with rapt attention, nobody left and seeing the Krishna idols in front of me, I thought of singing this pallavi.

Another instance. There is one US concert of TNS accompanied by Srivatsan and Trichy Sankaran. An excellent concert. The main song is Palimsu Kamakshi. After the thani avartanam, he sings a slokam. The last raga of the slokam is Suruti which he sang very elaborately- nearly 7 minutes followed by Tanam. Then he announces. Pallavi padama kutchery mudikka thonalay. He sings a Pallavi in Suruti.

Once TRS told me in Trivandrum. “I came prepared to sing a RTP in Hameerkalyani. But the organisers are not in favour of it. Hence today I am singing Hameerkalyani as the main song”.

Should we go back to the days quoted by TRS.
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#12 Re: [email protected] on Apr 14th,2018

Post by Sivaramakrishnan » 18 Apr 2018, 21:32

*Thanks Vijay for the 'Apoorva sandesam'.

*I congratulate myself for having prompted my next seater at this concert- forumite CRama - for his historical yet emotional notes on RTP's!
Seems he has missed the crux of my observation.
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#13 Re: [email protected] on Apr 14th,2018

Post by CRama » 19 Apr 2018, 13:11

Sivaramakrishnan wrote:
18 Apr 2018, 21:32
Seems he has missed the crux of my observation.
Sivaramakrishnan. I have understood the crux of your observation. And I have given reply to that in my first post. Still I will repeat the same.

It was not announced as All Tamizh songs concert. The audience never came there expecting it will be a Tamizh songs concert. The audience came to hear a good music concert and their expectation was more than fulfilled. Being Tamizh New year day, Suryaprakash thought it appropriate to render all Tamizh songs.

In the instant concert, he had sung eleven songs to bring out the literary experience of Tamizh.i.e, all the songs except the RTP. In the concert of three hours and twenty minutes, excluding the time taken for RTP, he has sung tamizh songs for two hours and ten minutes- i.e, duration of a normal concert.

Tamil Isai Sangham never says no to RTP to fill up with more no of tamizh kritis in its two and half hours slots.

If he had not sung the RTP, he would have sung Kapali for thirty minutes and would have concluded the concert after two hours and thirty minutes. Whoever was present there for the full concert enjoyed the concert, and will be thankful to him for the extra time he had sung.
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#14 Re: [email protected] on Apr 14th,2018

Post by Sivaramakrishnan » 20 Apr 2018, 00:20

Kapali? Not likely.
Suryaprakash must be having an excellent repertoire of Tamil compositions including those in Shanmukhapriya that could be taken up for 'Main'.
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