SuryaprakAsh@rathnagireeshwarar temple on Feb 20th,2009

rajeshnat · Post by **rajeshnat** » 21 Feb 2009, 16:42

SuryaprakAsh@rathnagireeshwarar temple on Feb 20th,2009
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Acccompanied by violin - s.varadarAjan ,mridangam- thiruvArur bhakthavatsalam and BS PurushOtaman - kanjirA

1A.slokham vakrathunda mahakAya - nAttai -?
1B. mahA gaNapathim(S) - nAttai - MD
2. sabhApathikku (RS) - AbhOgi - GKB

3. Marivere dhikkeveraaya Rama(R N S) - shanmughapriyA - patnam
alApanai for 10 minutes, violin return for 4 minutes
neraval in "sannutaanga " for 7 minutes
swaras for 9 minutes

4. shree mAthrubootham - kannada -MD
5. vazhi maraittirukkudE (N)- toDi - GKB
neraval in "pArkka shaTrE vilagAdO mADu" for 7 minutes
6. manavyAlakincharA (S)- nalinakANthi- T

7A.kapAli(R S T) - mOhanam - Psivan
Alapanai for 13 minutes , violin return for 6 minutes, swaras for just 9 minutes.
7B.tani for 17 minutes
long speech

8A.slOkham "vande mAtaram ambikAm bhagavathim"- desh + hameerkalyAni + shivaranjani + shree rAgam
8B. karuna joodu - shreerAgam - ss
9. nAlai endru Oru nAl -sindhubhairavi- maduraisomu

10. eppo varuvAro - jOnpuri- GKB
11. note-->kesari and sundal
...

Pluses of the concert:

Hearing for the first time in this temple at besantnagar.

The shanmughapriyA krithi was excellent with a well rounded alApanai ,neraval and exceptionally well rendered sarvalaghu swaras.
The rare tOdi krithi is lyrically rich and I liked the neraval a lot , this vazhi maraittirukkudE before the nandi in easwara temple was very apt.
The contrast of a slow moving todi with a high speed nalinakanthi was excellent .

In the tukkada section I liked the slokha rAgamAliga vande mAtaram especially the start of desh and shivaranjani and that somu master piece nAlai enru .

varadarAjan's violin reply was superb especially in shanmughapriya and mOhanam. Both the percussionist played very good for every song rendition, especially I liked their returns during mOhanam swaras

Minuses of the concert:
Would have been nice if suryaprakAsh decided to start only one krithi from anupallavi onwards. he starting two krithis in kannada and tOdi could have been avoided.

sabhapatikku or Abhogi without a neraval or swaras was just too short, little slower karuna joodu in shree rAgam would have gelled well.Mohanam swaras were quite short.

The biggest crib was a hyper aggression tani ,all of a sudden shivan temple got an ayyappan temple look . I just wished shri bhaktavatsalam could have controlled his over overbanging tani .

The speech was bit too long and just ate away atleast 15 minutes of concert. Had to leave during the beginning of shankarAbharanam note with sundal and kesari

Overall a very good 2 and 1/2 hour concert , suryaprakAsh usually goes atleast half notch higher than this concert.

arasi · Post by **arasi** » 22 Feb 2009, 00:49

Rajesh,
Rasikas performers two, singing two days in a row in two cities, and the same khanjira player in the two concerts! Five rAgAs taken up which were the same--mohanam, Nalinakanti, tODi kannaDA and jOnpuri.
Neyveli in Bengaluru, Suryaprakash in Chennai.(I sound almost like you, here!)

Haven't heard Varadarajan accompanying Surya.

PUNARVASU · Post by **PUNARVASU** » 22 Feb 2009, 05:11

I also feel that starting a kriti from anupallavi makes the kriti very short. (It is in effect 'shorting'

the kriti) Most of the kritis have a lot of sangatis in the pallavi and by starting the kriti from anupallavi, it is as if the kriti is robbed of its splendour.
What is the logic behind this practice? I know that a few kritis -like ElA nI dayarAdA' -are sung this way.

s_hari · Post by **s_hari** » 22 Feb 2009, 07:00

And, arasi, NSG also sang two keerthanas from anupallavi - kanjadalaya & vinayakuni!! .... Ha haa..

-hari

arasi · Post by **arasi** » 22 Feb 2009, 08:17

You are right, Hari.

Punarvasu, you have a point there--which certainly applies to heavy songs with several sangatis in the pallavi (vAtApi, for instance).
Does it apply to breezy ones too? I don't know. Also, if the singer wants to inject some pep into the progression of songs, he might resort to this. I am not sure.

kamalamba · Post by **kamalamba** » 22 Feb 2009, 09:12

Thanks for the nice review Rajeshnat of the concert by Suryaprakash.

I realize some kriti's flow nicely when started from Anupallavi. the popular kriti in aTAnA, Ela nI daya rAda starting from bAlakanakamaya and the sAramati masterpiece Mokshamu GaladA starting from SAkshA... especially by MDR. Indeed MDR even starts Ksheenamai in Mukhari at Anupallavi.

Is aesthetics the only reason for starting kritis from Anupallavi or I have heard a musician friend tell me that this is also done when there is a shortage of time?

Any views.

Sorry for digressing from Suryaprakash's concert; which almost always has new elements and novel ideas in the recent years.

arasi · Post by **arasi** » 22 Feb 2009, 16:18

Kamalamba,
And he is a vocalist who is always brimming with energy--even though he manages two careers...

srinivasrgvn · Post by **srinivasrgvn** » 22 Feb 2009, 19:13

As Kamalamba said, Ela nI daya is almost unknown if people don't start with "Balakanakamaya"!!
Atleast "Mokshamu Galadha" is quite okay but "Balakanakamaya" has become mandatory!

bhaktha · Post by **bhaktha** » 22 Feb 2009, 23:26

srinivasrgvn wrote:"Balakanakamaya" has become mandatory!

I have heard a story about this somewhere and thought I might share it. Apparently, Ela nee daya raadu is the song that Sri Thyagaraja sings when he gets his first dashan of the Lord. He is overcome with joy at seeing the Lord and starts off the kriti from the anupallavi. Hence, it has become a practice to sing the kriti, starting with the anupallavi.
As for Vinayakuni, in my opinion, it's a great idea to start from the anupallavi, as many people are under the impression that the kriti is in praise of Lord Vinayaka. Starting off with Anatharakshaki would make sure people know it's a kriti on Devi.

arasi · Post by **arasi** » 23 Feb 2009, 00:54

Bhaktha,
Yes, to start with kAmAkshi and establishing that the song is about her and then sing the pallavi which speaks of her son is a good enough reason. Others of course are possibly a result of precedence, as with ElA nI dayarAdu.
Would really appreciate the performers on the forum speaking on their own reasons.

rajeshnat · Post by **rajeshnat** » 23 Feb 2009, 22:31

Apart from time constraint, I think anupallavi gives a better punch and expression , this is especially true when virutham/slokham ends with an anupallavi of the krithi.

In this concert of suryaprakash, for the gkb todi start of anupallavi line had the right punch, but the earlier kannada start with anupallavi did not come out well.