SuryaprakAsh@NCA on Apr 15th,2009

rajeshnat · Post by **rajeshnat** » 17 Apr 2009, 19:53

SuryaprakAsh@NCA on Apr 15th,2009
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Accompanied by KumbakONam M R gOPinAth - violin , kumbakOnam Saravanan - mrudangam and A S Krishnan - mOrsing

1. vasudevayaNi (RS S) - kalyANi - T
Swaras for 5 minutes with minimal violin return
2. brOached everywhere with -,,,,,,, - MV
* 3. submain (R N)"big surprise from this school of music" - - ThyagarAjA

4. saravana bhava guhaNE(S) -kannada - PSivan
swaras for 4 minutes.
* 5. big dose of creativity(R T S T) - - ThyagarAjA

6. ambA maNam kaNiNdhu - paNtuvarAli - pSivan
7. kAna vendAmO (RS) - shreeranjani - pSivan
8A.viruththam "naNmaiyum selvamum nAlum nalgumE" -thilang - kambar
8B.rAma rAma rAma rAma rAmA yennirO - thilang - PD

9. rAmanukku mannan muDi -hindOlam - psivan
10.madurai arasAlum - megarAgamAligA - madurai somu

Foot Note : 11. - shankarAbharanam - HMB
12. pavamAna + mangalam kOsalEndrAya - sowrAshtram + madhyamAvati - T

One thing that strikes me so well in CM is the team work where each of the accompanist dazzle. It just does not happen in all concerts, but it happened at Nungambakkam cultural academy for this 2 hour 15 minute concert.

The violinist KumbakOnam gOpinAth is most sought after , you almost see his name in almost all days in the hindu, he kept up with his elegance in shruthi,proportion in return and perhaps right restraint not blocking the manOdharma cause of either the vocalist or the effect of carnatic muse in each of the rasikas ears.

I have only recently spotted this mridangist a week before with sankari krishnan.I am assuming since I have seen saravanan with Tiruvarur bhakthavatsalam , he is his sishya and incidentally his face resembles a lot with that vidwan,there is so much sarvalaghu and no over banging at all at times he brought me to the days of bhakthavatsalam when he played for maharAjapuram.This percussionist speaks so well with his hands.

mOrsing krishnan knows when to play and when not to play,I guess that is the prerequisite of morsing success. He showed almost total restraint for the submain "* 3. big surprise from this school of music - -ThyagarAjA" and he was expresssive for that expressive "* 5. big dose of creativity - - ThyagarAjA " , in short all of them dazzled.

Not much time to review every no of SuryaprakAsh.One actually has to experience SuryaprakAsh and he is one musician who easily packs 20 minutes of additional music than almost 95% of all musicians whom I am hearing if they sing for the same time .

rajeshnat · Post by **rajeshnat** » 17 Apr 2009, 19:55

* 3. submain (R N)"big surprise from this school of music" - - ThyagarAjA
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gAnakalAdhara shri madura mani is believed to have sung this rAga in his early part of his career . There is absolutely no recording of this rAgA ever by MMI. Shri TVS sings this rAgam to a minimum , there is one number from pApanAsam sivan that he has sung in this rAgam.In short this madura mani school has been shying away from this rAga.

But it was just wonderful to hear this rAgam from SuryaprakAsh , it had a lot of sowkhyam where I connect a lot with Musiri who has dazzled in this rAgam and krithi with his poignant rendition. Incidentally there was a lovely alApanai for about 7 minutes with a additional superb 4 minute return bringing all the charm to this rAgA. The nerval was in the usual line and was excellent to outstandig for about 8 minutes , the first 4 minutes of musiri madhyama kAlam and the next 4 in nAdaswara piDi semmangudi mEl KAlam.

* 5. big dose of creativity(R T K S T) - - ThyagarAjA
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The main alApana 5A. was for about 10 minutes was expressive ,with a very sound violin return for about 6 minutes , it was very good but nothing super creative there. The swaras for 7 minutes were also very impressive with the krithi with no aberation in either the R K S of the main. Tani was just good to very good for just 5 minutes. Then where was the creativity

THe creativity was there in the tANam. I was seated almost 40 rows from the stage .One of the finest moments in tAnam is the sponotaneous chemistry of mridangist and vocalist.The mridangist should preferably not play(milk the vocalist initially) and then when the vocalist completes he has to start playing that way you get more tANam mileage . Incidentally SuryaprakAsh sang the first round of tAnam without any aberation for about 4 minutes .

Some nice rasikA in the second or third row requested the mridangist to play for tANam. The tanAm then continued with mridangam .For about 1 minute the same main rAga was handled with mridangam.Then hamsa mA (beautifully),it folded into 3 rAgamAliga in dhwani,nAdam and naNdi each for 4, 3 and 4 minutes, in short the 4 rounds of tANam for about 14 minutes was bliss and simply outstanding and he had rounds of applause.

Singing manOdharma tAnam in 4 rAgas(3 were on spot decisions) where one is not familiar speaks so much about this musician and I can safely say that perhaps no musician of present day can be so manodharmic(any one can challenge me there).

3 weakness in this concert
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There were also 3 weakness in this concert 2 were minor.One is that suryaprakAsh should have atleast sung one sanskrit krithi(his repertoire is very high in sanskrit especially after getting tutored by DR VV SrivasatA) , possibly he could have dropped one thamizh or telugu no. The other perhaps minor too if he had sung for another 20 minutes it would have been a 2 hour 35 minutes concert , considering suryaprakAsh has atleast 20 minutes of packed musical content it would have been a dream 3 hour concert. There is one major weekness , I dont think any one there recorded this concert,suryaprakAsh is so careless there which is unpardonable.

* I am sure you all know what the 3 and 5 is.I have given the answer everywhere without mentioning the rAgaA and krithi. I am sure you can guess it right?

Overall an excellent to outstanding concert, every number oozed with a distint mukham (face) and there was no aberation.

bilahari · Post by **bilahari** » 17 Apr 2009, 20:12

Loved your review, Rajesh. Is 3 mukhAri (entha ninnE)? Not sure if 5 is nandi or nAdam.

cienu · Post by **cienu** » 17 Apr 2009, 21:43

Thanks for the review Rajesh. Great going Suryaprakash.

arasi · Post by **arasi** » 18 Apr 2009, 02:30

So, Suryaprakash sparkled!
My request to him: be kind to fellow forumites and record your concerts and share at least one or two 'sparklers' with us. Also my kalyanavasantham that you have sung in a few concerts, if possible:)

Rajesh,
Your reviews packing in a quiz too, along with other things!
Did you get my E-mail?

rajeshnat · Post by **rajeshnat** » 18 Apr 2009, 15:59

bilahari wrote:Loved your review, Rajesh. Is 3 mukhAri (entha ninnE)? Not sure if 5 is nandi or nAdam.

bilahari,
You are right with the submain , it is certainly entani nE varNintunu shabarI (R S) - mukhAri - T. Treatment of musiri in mukhari is just awesome poignancy at its best. Incidentally SuryaprakAsh got the same tinge,and to top it with musiri with a mel kALam semmangudi nAdaswara piDi neraval was very musically satisfying.

All,
Keep trying to get this rAgamAliga one.I said :

Then hamsa mA (beautifully),it folded into 3 rAgamAliga in dhwani,nAdam and nandi. Don't you get the 3 rAgamAliga rAgas there.

Sreeni Rajarao · Post by **Sreeni Rajarao** » 18 Apr 2009, 16:28

Easy!
hamsadhwani, hamsanAda and hamsAnandi

rajeshnat · Post by **rajeshnat** » 18 Apr 2009, 22:13

Sreeni
YOu got it right

For the main here is the answer:
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This rAga has no aberation , incidentally I was trying to connect aberi in aberation which in hindsight appears too far fetched .

By the way now I see some post that thyagarAja being the composer has visualized rAmA's beautiful face and beautiful smile in this krithi, only lord rAmA has a beautiful smile without aberation.

The krithi is nagumOmu kanalEni (R T S T) - Abheri- T

bilahari · Post by **bilahari** » 18 Apr 2009, 22:58

Ah, I'd thought the main was either in hamsAnandi or hamsanAdam. Incidentally, Musiri sang a great nagumOmu as well!

rajeshnat · Post by **rajeshnat** » 19 Apr 2009, 08:21

bilahari wrote:Ah, I'd thought the main was either in hamsAnandi or hamsanAdam. Incidentally, Musiri sang a great nagumOmu as well!

I did not know musiri singing nagumOmu, while googling I find there is a commercial recording of musiri by charsur. Musiri's high pitch voice must have been a treat in this song, though possibly you may have missed a little speed in musiri's rendition.

PUNARVASU · Post by **PUNARVASU** » 19 Apr 2009, 09:24

raeshnat wrote:
Then hamsa mA (beautifully),it folded into 3 rAgamAliga in dhwani,nAdam and nandi. Don't you get the 3 rAgamAliga rAgas there.

vinOdamA(strangely) he did not go into the fourth-vinodini!

bilahari · Post by **bilahari** » 19 Apr 2009, 10:28

Rajesh, it is that Charsur release I'm talking about-- one of my most treasured recordings. For me the kala pramanam in nagumOmu was fine and he sings it with so much bhavam. There is also enthani nE, tiruvaDi charaNam, and my personal favourite, entha vEDu with a brilliant neraval.

Sathej · Post by **Sathej** » 19 Apr 2009, 10:45

Musiri's Nagumomu is very famous. Legendary rather.

Sathej

rajaglan · Post by **rajaglan** » 19 Apr 2009, 11:46

Frankly speaking the quiz was a bit difficult though I should say it is innovative. Mukari was easy as Musiri was there.
but Aberi and aberration ..... Good that when I saw the post, it was solved already.

But I realise that MMI has no songs in mukari. wonder why? He had some principles in life, may be this is one untold principles.

vasanthakokilam · Post by **vasanthakokilam** » 19 Apr 2009, 12:25

Rajesh: Your reviews are quite multi-faceted. Thanks.

>But I realise that MMI has no songs in mukari. wonder why? He had some principles in life, may be this is one untold principles.

If I get the drift right, I sure hope not. Mukhari already suffers from some atrocious wrong stereotypes in outside cm circles, we do not want CM to add to that or reinforce that. ( just as an aside, I dislike that vishamakara kanna song for this very reason. It perpetuates this foolishness about mukhari and that too in such an inane, crude and empty manner )

Rajesh: Bilahari and Sathej are right. You have got some home work in catching up to Musiri's nagumomu. ( Is Musiri also 'credited' with singing Nagumomu with a different Da? )

rajeshnat · Post by **rajeshnat** » 19 Apr 2009, 20:51

vasanthakokilam wrote:
>But I realise that MMI has no songs in mukari. wonder why? He had some principles in life, may be this is one untold principles.

If I get the drift right, I sure hope not. Mukhari already suffers from some atrocious wrong stereotypes in outside cm circles, we do not want CM to add to that or reinforce that. ( just as an aside, I dislike that vishamakara kanna song for this very reason. It perpetuates this foolishness about mukhari and that too in such an inane, crude and empty manner )

VK,
Very well said about mukhAri , infact i wanted this rAgA to be included in big seven (let us increase the ghana rAgas to big seven from big six) . I did not get your vishamakAra Kanna dislike reason and mukhAri connection.

vasanthakokilam · Post by **vasanthakokilam** » 19 Apr 2009, 23:31

>I did not get your vishamakAra Kanna dislike reason and mukhAri connection.

Listen to it and you will know

: http://www.youtube.com/watch?v=W2dpV4FSEhA

I agree it is meant to be humorous but I do not want that at the expense of perpetuating the wrong stereotype of our dear mukhAri

coolkarni · Post by **coolkarni** » 20 Apr 2009, 09:55

prashant · Post by **prashant** » 20 Apr 2009, 14:08

coolkarni wrote:VK
You ruined my day with that video clip.Wish I had not seen it.

Count me in also on that score.

sureshvv · Post by **sureshvv** » 20 Apr 2009, 16:13

Lighten up boys... Levity never hurt anyone... CM for sure...

vasanthakokilam · Post by **vasanthakokilam** » 20 Apr 2009, 23:13

I hear you prashant & coolkarni and I am there with you. Suresh, I try and it usually works but not on this one.

bhaktha · Post by **bhaktha** » 21 Apr 2009, 02:36

vasanthakokilam wrote:Is Musiri also 'credited' with singing Nagumomu with a different Da?

Yes. Apparently, it was Musiri Sri Subramanya Iyer who first sang Nagumomu with the chatusruthi daivatham (as is sung today). Nagumomu is originally thought to have been composed in Abheri (with a characteristic shudda daivatham) and not K. Devgandhari.