SuryaprakAsh@NGS on Jan 04th,2009
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Accompanied by MA sundaresan ,Vellore Ramabadhran and TV VAsan in violin,mrudangam and ghatam respectively.
A different review more centered on the great mrudanga vidwan vellore rAmabadhran.
Vellore Shri ramabadhran must have two distinct phases of mrudanga nAdham in his illustrious career. He was called rightlty nAdabhadran in his early years from mmi-ssi to santhAnam days assuming during all these golden years of his play till the last few years he was a darling for many top artist as he was just following the kalApramAnam of the vocalist and violinist. Then the kAlapramAnam was lead by the vocalist and violinist and shri vellore rAmabadran was a faithful follower.
But in the last few years , any violinist and vocalist should have a big constraint .The kAlapramANam is preset by vellore rAmabadhran , a fairly steady state nAm dhim Nam takita , both the vocalist and violinist have to adjust their manOdharmam on this. So in short vellore rAmabadran set the kAlapramAnam and Suryaprakash and MAs had to live with this constraint . How did these two artists adjust with this constraint is what I was focussing.
Incidentally SuryaprakAsh got this concert as OS Arun cancelled this concert and RR Sabha gave the oppurtunity in NGS (main)for a prime 6:30 pm slot at the end of their function.This was not advertised in the paper as it was a late afternooon cancellation.
1A.aRut jyothi deivam - bahudAri - thiruvarutpA
1B. sadA nanda thAndavam (S)- bahudAri - AchutadAsar
2. paripAlaya mAm - reetigowlai - ST
The first no in an expressive bahudAri was somewhat muffled , as always you lose the first number due to poor sound adjustments in NGS, especially MAS was a bigger casualty .From midpoint of swaras the speakers opened and with that the voice and violin also opened up.The next no was just a ok to good reetigowlai , there was a strain of seasonitis from suryaprakAsh.The second no was a bit of letdown, Incidentally that was the point I just noticed the rhythm and kalApramanam from shri rAmabadran that was dictating everything.
3. pAhi JagajaNani (R N S) - hamsAnandi - ST
AlApanai for 8 minutes , neraval in "sArasa dhala nilayE " for 6 minutes and swaras for 5 minutes
4. evarUrA - mOhanam - T
This is the point where the concert went into excellent to outstanding zone through out from there .Here SuryaprakAsh was singing in a fine bass voiced hamsAnandi in a slightly slower pace that was very good . To me he was building up his voice strength. This krithi exploded in a typical hamsAnandi fire from the neraval in "sArasa dhala nilayE" , with MAS and suryaprakash perfectly adjusting to the constant rhythm of percussionist. Mohanam was a good and decent rendition.
SuryaprakAsh@NGS on Jan 04th,2009
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rajeshnat
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5. tAye yashoDA(N) - tOdi - OVK
neraval in kAlaniL shilambu konja for 7 minutes
6A. KANa KaNN kOdi veNdum (R N S T) - kAmbOdhi - psivan
16 minutes of Alapanai , 5 minutes violin return , 7 minutes neraval in "maaNikkam vairam mudal navaratnaabaraNamum" and 11 minutes swaram
6B. tani for 3 minutes after 45 minutes of main krithi and two neravals
SuryaprakAsh started from anupallavi in tAye yashodA , and went into a finest of fine neraval in this famous line of OVK. It was a brilliant move to go for a very long alApanai of kAMbODhi and it was definitely a very complete , he is one of the best KAMbOdhi singer and I am assuming he had the constraint in mind . I have not heard him sing this master piece psivan krithi directly in a live concert , his neraval and swaras were just excellent to outstanding avoiding mmi patented ga ma pA ma gA , with superb returns by MAS , Incidentally during neraval and swaras there was rotation where TV vAsan was playing for suryaprakAsh , in a way that was little blessing as there was definite change of rhythm that was partially championed by TV vAsan
SuryaprakAsh after sweating for 45 minutes in KAMbOdhi and just when MAS kept his bow down and started putting thAlam the tani was over in 3 minutes, incidentally during the first round when vellore gave it to TV vAsan , TV vAsan was playing a fairly good 1st round ,rAmabadhran directly went to the last round and wrapped the tani. This kAnna kAnn kOti has a long thamizh lyrics to be sung at the end of neraval so in a way another 3 minutes to wrap must have been taxing.
7. devaNukE paTi indra (R) - darbAri kanaDa - ST
8. ninaikAda neramillai - rAgeshri - madurai somu
9A. slokham "yOgeendrAnAm ...mukthibhajAM"??? - kApi + sindhubhairavi - ???
9B. rAmachandra prabhu - sindhubhairavi - ST
10. pavamAmana in sowrAshtram + vAzhiya seNthamizh in madhyamAvati
From there he sang a medium length alApana in darbAri and then decided to move to a krithi of swathi which was just dipping a bit in quality. The ninaikAda neramillai of somu in rageshri was a good drop perhaps to retain rasikas and was well received . A very elaborate slOkham in a glorious cold coffee (NGS ac was freezing) and then wrapped up well in sindhubhairavi.
MAS was brilliant throughout and really adjusted very well. Particularly when the mridangist is playing with feather touch strokes , the ghatam artist was forced to play with ultra feather strokes , at times only MAS had only his own thAlam and layam to guide.
On a side note,Incidentally SuryaprakAsh had a Jan 2nd Jog RTP concert, he had two back to back concerts in Jan 3rd in pammal and west mambalam , the 4th concert was within 3rd day , he just exhibited vidwat, musical excellence and exuberance and all were all in place from no #3 . On a side note there was about 250 folks in NGS main , certainly most of them came to hear OS arun only, they stayed and there was not much exodus. There were 2 reasons one was the sustained musical excellence and quite honestly the much bigger reason was the 3 minute tani .
Hopefully from now onwards this year is a good omen for suryaprakAsh .To me this was long overdue , NGS slot in the evening is certainly SuryaprakAsh's long overdue gift. MAS's brilliance in HamSAnandi and Todi neraval overcoming maximum constraint was truly outstanding.
The chemistry and exuberance of MAS and suryaprakAsh with the constant rhythm constraint of both nAdabhadran and TV vAsan was Overall an excellent concert.
