SuryaprakAsh@NGS(Mini) on March 25th,2010

[rajeshnat]

SuryaprakAsh@NGS(Mini) on March 25th,2010
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Vocal : SuryaprakAsh
Violin : M R gOpinAth
Mrudangam : mridhangam
KanjirA : pApanAsam sEthurAman
Theme : mumoorthigal isai vizhA
Sabha : saraswathi vageyakkara trust
Concert duration : 2 hours 30 minutes with few minutes of speech

This concert was thematic and was mumoorthigal isai vizhA (trinity based), for a 2 and 1/2 hours it was a right dose by suryaprakAsh very much classical and not diluted with too many numbers( 8 numbers exclusive of mangalam)

Homage to Muthuswami Dikshitar:
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# The nAttai start always gives a great kalaikattufying act , MD's nAttai with a dose of swaras was indeed a great start. The main was MD's magnum opus krithi subramanyAya namastE . SuryaprakAsh is one singer where in I can say confidently with the big 5 rAgas , KAmbOdhi is one of his top 1 in that top 5 rAgas, his voice opening with torrents of sangathis in alApanai though have heard atleast one or two slightly better alApanais than this.

TAnam was madhyamakAla tempo and exceptionally well done , I particularly liked the support of percussion there when balAji joined played with lot of aesthetics .The main krithi shree subramanyAya namastE was sung with lot of weight with swaras in vasavAdhi , then a pattern in sakala and then a set of patterns in vanditha and also in the anupallavi line bhusarAthi , I assume if my memory is right this kind of different ending was more a creation that is much talked about with ariyakudi , in short kAmbodhi main was more a homage to ariyakudi style of subramanyAya namastE. Also it did not have the ga ma pa ma gA kamBodhi cliche swara pattern

1. swaminAtha paripAalayasumAm(RS,S)- nAttai - MD
6 mins swaras

7A.shree subramanyAya namastE (R TAnam N S T) - kAmbOdhi - MD
16 mins alApanai and 7 mins violin return
tAnam for 11 mins (2 mins without mridangam and the rest with Mridangam)
5 mins neraval in "vasavAdhi sakala deva vaNditAya"
10 mins swaras
7B.tani for 9 mins

Homage to ThyagarAja:
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As with most musicians the count of T krithis is always higher , this bilahari no is a number that does not that interest that much me at all irrespective of the singer.

THe atAna was kept very precise , usually athAnA is not stretched a lot with a slight curtailed swaras .The pick of thyagaraja was in bantureeti neraval . It was indeed a superb neraval in rAma nAma manu in hamsanAdam, very very aesthetic and beautifully sung , he did a bit of swara poruttam patterns in hamsanAdam which was very good.

The number preceding main is one of the best of his concerts as there is a downpour of swara patterns ,heard many of his kannadagowlai but this pattern that he sang was a top notch maNodharmam very creative and well done, not heard these patterns before.

There is no slokham for trinity so I guess he sang the famous vaidehi sathitam popularized by his paramaguru MMI and came out beautifully very very expansive in both dwijAvanthi and brindavana sAranga and ending with kamalApta kula was aesthetically very nice

2. inta kannAnanda - bilahari- T
3. mummUrtulu gumigUDi (R S) -atAnA - T
4 mins alApanai , 2 mins violin and 2 mins swaras

4. banTu reeti kOlu(RS,N ,S) - hamsanAdam - T
6 mins neraval in "raama naama manu vara khaDga mivi"
4 mins swaras

6. orajUpu(S) -kannaDagowLa -T
swaras for 6 mins
8A. vaidEhi sahitam - dwijAvanthi + agRE vAchayati - brindAvana sArangA - valmiki rAmayanam
8B.kamalApta kula - brindAvana sArangA - T

9. nee nAma - sowrAshtram - T

[rajeshnat]

Homage to ShyamAsAstri:
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Lalitha is a rAga that he and his school are phobic , if I could say their school is lalitA phobic, I have heard him sing rarely the most famous number of lalithA , hiranmayeem , but to me he singing this was a big surprise .

This number is vilamba kalA krithi , I guess it was chApu possibly few iDam thalli chApu , this number was sung with lot of vilambakAla aggression Lalitha with its delicate pathos and serenity went a notch higher when he surprised me with a neraval in the line "shankari O mahArani", it was a plead dipped deep in contemplative lalitha and to me was the best of the neraval of this concert. Has anyone sung a neraval for this krithi not heard from any one(I would love if some one points me to the neraval for this song, I have heard once TNS and once SKR singing only without neraval)?

5. nannu brovu lalitA (R,N) - lalithA - SS
6 mins alApanai and 4 mins violin return
neraval for 6 mins in "shankari O mahArAni"

Accompanists:
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Gopinath was really top class to me he has got the finest sense of proportion and his returns have high tonal clarity, particularly the lalitA was very charming .Our forums one of the two asthAnana vidwans mannarKoil balaji played very well most of the time, at times he had to double up with the passive return of kanjira artist . kAmbOdhi was perhaps bit very taxing to him , nevertheless other than the fast kannaDagowlai swara play where his strokes were bit slow , all the rest were well done.

The kanjirA artist was playing better for more slower numbers but once the kalApramAnam picked up , balAji had to rescue, their tani was however quite good.

Few shortcomings:
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1. To an extent the staminA quotient of kAmbODhi neraval of suryaprakAsh was a bit letdown, he appeared to cut short a bit .

2. Possibly if he had elaborated hamsanAdam little more and cut say the bilahari or atAnA I would have loved it more. I dont like R N or N S or R S submain, i only like R N S submain.

3. Possibly instead of the always recurring pavamAna at the end ,an utsava sampradaya T krithi or manirangu dikshitar mangalam could have taken this concert as more complete trinity obesiance. To that extent little more attention in the last lap would have been better.

Overall a very good to excellent concert for 2 and half hours.It was a good thematic one especially the entire lalita ,kannadagowlai swaras and kambOdhi tAnam lingers more than any other number.

[rbharath]

There is no slokham for trinity

Could you clarify what u mean in saying this?

if you mean to say there are no slokams composed on the Trinity, I beg to differ. There are many slokams, kritis, varnams composed on Thyagaraja, Dikshitar and Shyama Sastri by many people starting from their direct disciples to those contemperory.

i have nothing against singing 'vaidEhi sahitam'. It seems a good list for a concert and hope it was good too. However, i wish u dont make such sloppy statements in your write-ups.

[arasi]

Bharath,
Aren't we being a bit harsh here?
'Sloppy' is something a teacher can say about homework, but somehow not about an active reviewer among us like Rajesh. After all, all of us do not know everything and that is exactly why we exchange what we know with others and ask about things we don't know. We only have to have a peek into the Lyrics Requests Section. There are so many things we do not know about music individually and at times collectively too. I respect many of you youngsters for all that you know and I keep learning (and sometimes promptly forgetting too I learn mostly from those who are less than half my age. We are all buddies here and we do know that Rajesh knows a lot and is passionate about music. If you asked me, I would say that each reviewer brings his own style of writing to the Reviews and that is fine. If Rajesh asked me (or confronted me I would say that he could write slightly shorter reviews without sacrificing his unique brand of reviewing, of course. With you, I wished you would write longer reviews at one time, but now you do

[VK RAMAN]

I am sure bharat meant slippery slope

[rajeshnat]

..
There is no slokham for trinity
..

Could you clarify what u mean in saying this?

if you mean to say there are no slokams composed on the Trinity, I beg to differ. There are many slokams, kritis, varnams composed on Thyagaraja, Dikshitar and Shyama Sastri by many people starting from their direct disciples to those contemperory.

i have nothing against singing 'vaidEhi sahitam'. It seems a good list for a concert and hope it was good too. However, i wish u dont make such sloppy statements in your write-ups.

I should have meant there is no slokham by trinity , instead of 'for' trinity. Looking back ,the usage of 'by' is possibly more because of haste than through actual ignorance(Walajahpet bhagavathar disciple of T composed a number on T to start with.). Mistake corrected .

Just a gentle reminder, can someone guide me if there is a neraval rendition of this lalitha of syama sAstri(either commercial or sangeethapriya).

[ubari]

http://sangeethamshare.org/tvg/UPLOADS- ... sastri.mp3

I think neraval must be here..

[ubari]

And .. its shankari oh mahaaraaGni.. not RANI

[ubari]

And Raama Naamam Ane.. not manu

[rajeshnat]

http://sangeethamshare.org/tvg/UPLOADS- ... sastri.mp3

I think neraval must be here..

ubari,
Neraval is not there in shri TNS rendition. There is another thread which carnatica recently bumped to announce the commercial recording of Vijaysiva's concert , where Vijaysiva's has rendered a neraval for nannu brovu . Any way thanks