Suryaprakash@saraswati vageyakkArA trust on May 14th,2013
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Vocal : Suryaprakash
Violin : M R Gopinath
Mrudangam : Tanjore Ramadas
Kanjra : S Venkataramanan
Concert duration/Day : 2 hrs and 15 minutes/Tuesday
Concert Type : Nirvana (no concert to follow)
sabha/Hall : Saraswati vaggeyakkara trust/NGS Mini
Occassion : sadguru thyagaraja jayanthi
It was an exlusive exclusive Thyagaraja krithis concert conducted by saraswati vaggeyakkArA trust.
1. vasudevayani(RS,S) - kalyani
6 mins swaras
2. lAvanya rAmA - poornashadjam
3. ninnuvinA sukhamugAna(R N) - todi
9 mins alapana and violin return
neraval for 6 mins in "rUpamu pratApamu shara cApamu sallApamu"
4. vinanA asakoni - pratApavarAli
5. adamOdi galadE (R S) - charukEsi
3 mins alapana with no violin return
11 mins swaras
6. samayamu yE marakE manasA -kalgadA
7. meevalla guNadOsha - kApi
The month of may is bone dry for carnatic concerts at chennai.We have either one or two concerts per day, at times even drawing a blank in chennai.In this bone dry days of CM, it is quite noteworthy for saraswati vaggeyakkkara trust to hold concerts exclusively on vaggeyakkaras.Few days back they held an amrutha venkatesh concert of Shyama sastri at the same venue, I am not sure if there was an exclusive dikshitar concert held, but certainly the exclusive concert of Sadguru was noteworthy for atleast few numbers.
Suryaprakash presented his concert with few very rare numbers .He had a real good support by violinist MRG, but came out with a feeling that the mrudangist shri ramadAs support could have been atleast one or two notch higher.
I like concerts where it starts with a bang .Traditionally if the concert starts late they go with a number that kind of resembles near a submain. The concert started exactly on time (06:45) and rolled with vasudevayani in a rollicking speed. His manodharmam in kalyani swaras with different landing points in nishadam was really good. Kalyani atleast with few krithis like vasudevayani and say kamalAmbam have a special status to me, in the sense it does not bore me that much as many of other kalyanis and also when alap is minimal in kalyani i like it.
The second number,lavanya ramA in poornashadjam was quick certainly would have preferred a dose of swaras but nevertheless well presented . Suryaprakash is one of the musicians who faithfully follows nadaswara tradition of singing where nayana pidi is very prominent .The todi alapanA was really good , kind of "no breath taking sangathis and he presented well . I was not aware of this T krithi "ninnuvinA sukhamugAnA".I definitely liked it , there was a lot of gamakams that were distinct in todi and the neraval in the lines like roopamu ...sallapamu had a very polished aesthetics that adds charm to the queen of ragas - todi. (I have not heard this krithi ninnuvinA sukhamugAnA from any yesteryear vidwans/vidushis , any pointers or downloads will interest me a lot).
The next filler in prathapavarali is a mmi filler and if i remember right had a mini dose with a round of cittaswaras . Charukesi was lovely,and the entire rendition with real brilliant swaras was a nice testimony to his manodharmam.
The next 2 fillers were touch and go and I lost my attention a bit there . While kalgada interested me a lot more , but I felt he sang mee valla in kaapi bit too fast than the usual speed (expressO kapi effect, not suits my taste). I wish he had restricted to one filler song only prior to main.
Suryaprakash@saraswati vageyakkArA trust on May 14th,2013
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rajeshnat
- Posts: 10121
- Joined: 03 Feb 2010, 08:04
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rajeshnat
- Posts: 10121
- Joined: 03 Feb 2010, 08:04
Re: Suryaprakash@saraswati vageyakkArA trust on May 14th,201
8A. mAyAmaalavagowlai raagam , 9 mins alapana and 5 mins violin return
8B. taanam rAgamaligA - mmg + 5 ghana pancharatna ragas for 14 mins
8C. vidulaku mrokkEda(R,Taanam,N,S,T) - mAyAmAlavagowlai
neraval for 5 mins in "kamalA gowri vAghEEshwari"
10 mins swaras
8D. tani for 10 mins
9. venkatESha ninnu - madhyamAvati
10. pavamana + mangalam kosalendrAyA
MayamAlavagowlai as a main is not favoured raga for many schools like MMI,GNB and even SSI (SSI sang this more as a submain).May be KVN, MDR and Brinda muktha only resurrected MMG and brought MMG as a biggie main status . As suryaprakash presented it , i felt a sense of deep satisfaction when this raaga was sung in a very orderly fashion and it certainly was a rare main number from his school .The raga alapana in mmg was very densely packed with sangathis and when he began the taanam , i could spot a touch of semmangudi mAmA too (his first guru is his athimber tirukodikaval rajamani iyer who is a disciple of ssi). The taanam was very long with mrudangam accompaniment and I would never complain when there is a long taanam.
While ghana pancha ratna ragas were well presented in succession from nattai -gowlai-arabhi-varAli , I always keep wondering why musicians give a touch and go status to shree ragam unlike the other 4 ragas in their taanam.Every recording that I have heard when musicians tend to go with 5 ghana pancharatna ragas , during shreeragam they tend to have a feel of closing the taanam - they are bit more conscious of closing the taanam than rather getting more involved in raga bhavam and getting more sangathis in shree ragam. I wish that goes away in future concerts .
The mmg krithi (vidulaku)as a main is rare . I was thinking meru samAna which I like it more, but definitely vidulaku was nice . Nevertheless another interesting line to have a neraval "kamalA gowri vagheeswari" and jumping directly to some arresting swaras with mmg symmmetry of notes was very well done.
Post mmg he just had one krithi in madhyamavati , the trust members started showing camphor to the photos and with it the concert ended (obsession of a chennai sabha closing at sharp 9pm was indeed there)
MRG in violin played beautifully. He had lovely nadham and raga alapana proportion was really apt .The tone and his returns that he played for taanam was well received by the audience .If i have something to crib in this concert , it was shri ramadas playing of the divine percussion instrument . There was not much sarvalaghu and many places he took a lot of time to adjust to the kalapramanam of the vocalist,however during violin returns his use of toppi was very adequate. The kanjira artist venkataramananan played well , at times his patterns especially in main krithi was more adequate than mridangist pattern.Tani was just ok.
Few key takeaways were mmg taanam (in ragamaliga )and a main krithi in mmg .Also the rare todi krithi which i heard for the first time. Overall a very good to excellent concert.
8B. taanam rAgamaligA - mmg + 5 ghana pancharatna ragas for 14 mins
8C. vidulaku mrokkEda(R,Taanam,N,S,T) - mAyAmAlavagowlai
neraval for 5 mins in "kamalA gowri vAghEEshwari"
10 mins swaras
8D. tani for 10 mins
9. venkatESha ninnu - madhyamAvati
10. pavamana + mangalam kosalendrAyA
MayamAlavagowlai as a main is not favoured raga for many schools like MMI,GNB and even SSI (SSI sang this more as a submain).May be KVN, MDR and Brinda muktha only resurrected MMG and brought MMG as a biggie main status . As suryaprakash presented it , i felt a sense of deep satisfaction when this raaga was sung in a very orderly fashion and it certainly was a rare main number from his school .The raga alapana in mmg was very densely packed with sangathis and when he began the taanam , i could spot a touch of semmangudi mAmA too (his first guru is his athimber tirukodikaval rajamani iyer who is a disciple of ssi). The taanam was very long with mrudangam accompaniment and I would never complain when there is a long taanam.
While ghana pancha ratna ragas were well presented in succession from nattai -gowlai-arabhi-varAli , I always keep wondering why musicians give a touch and go status to shree ragam unlike the other 4 ragas in their taanam.Every recording that I have heard when musicians tend to go with 5 ghana pancharatna ragas , during shreeragam they tend to have a feel of closing the taanam - they are bit more conscious of closing the taanam than rather getting more involved in raga bhavam and getting more sangathis in shree ragam. I wish that goes away in future concerts .
The mmg krithi (vidulaku)as a main is rare . I was thinking meru samAna which I like it more, but definitely vidulaku was nice . Nevertheless another interesting line to have a neraval "kamalA gowri vagheeswari" and jumping directly to some arresting swaras with mmg symmmetry of notes was very well done.
Post mmg he just had one krithi in madhyamavati , the trust members started showing camphor to the photos and with it the concert ended (obsession of a chennai sabha closing at sharp 9pm was indeed there)
MRG in violin played beautifully. He had lovely nadham and raga alapana proportion was really apt .The tone and his returns that he played for taanam was well received by the audience .If i have something to crib in this concert , it was shri ramadas playing of the divine percussion instrument . There was not much sarvalaghu and many places he took a lot of time to adjust to the kalapramanam of the vocalist,however during violin returns his use of toppi was very adequate. The kanjira artist venkataramananan played well , at times his patterns especially in main krithi was more adequate than mridangist pattern.Tani was just ok.
Few key takeaways were mmg taanam (in ragamaliga )and a main krithi in mmg .Also the rare todi krithi which i heard for the first time. Overall a very good to excellent concert.