Suryaprakash@Pozhichalur on Dec 27th,2015
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Vocal : Suryaprakash
Violin : M A Sundareswaran
Mrudangam : Vijay Ganesh - disciple of Kumbakonam Rajappa Iyer
Concert Type : Nirvana - No concert to follow
Day/Duration : Sunday/ 3 hours concert inclusive of few mins speech to announce next day performance
Concert Type/Crowd : Free concert - 75 peak - small hall almost full
Sabha/Hall : Thrimoorthy Sabha (with the portrait of MD,T and SS)
1A. slokham - vakrathunda mahAkAya
2B. vallabha nAyakasya (S) - Begada - MD
6 mins swaras
3. jAnaki ramana (N,S) - suddaseemanthani -T
neraval in rakta nalina dhala nayana kripAla for 3 mins
swaras for 3 mins
4. KA guhA shanmugha (R) - kOsalam - KI
6 mins alapana and 4 mins violin return
5. nee bhajana (S)- nAyaki - T
Swaras for 3 mins
6A. kOluvaiunnAdE (R N S T)- bhairavi -T
19 mins alapana and 7 mins violin return
13 mins neraval in manasu ranjilla surasatulu
and 13 mins swaras
6B. tani for 9 mins
7. Sreenivasa tiruvenkata (S) - hamsAnandi - psivan
swaras for 4 mins
8. RTP in three ragas for 25 minutes
Three ragas were hamsanAdam , aanandabhairavi and bhoopAlam and the taalam was khanda jAthi triputa.
7 mins alapana with violin raga sketch return
6 mins taanam
Pallavi line -- ThyagarAja gurum AshrayE(hamsanAdam) shyamakrishna abhimAnam (Anandabhairavi) guruguha priyam (bhoopAlam)
swaras in the same 3 ragas
9A. viruththam divyaprabandham - dwijAavanthi + sankarA + darbAri kannada
9B. govardhana giridhAri - darbAri kannada - NT
10. dheem dheem .... sAma gAna lOla bala shanmugha(thillana) - vasantha - Suryaprakash
11. kAdi mOdi - shankarabharanam - AGN thrirruppugazh
12. pavamAna + vazhiya senthamizh - sowrAshtram + madhyamavati
Suryaprakash@Pozhichalur on Dec 27th,2015
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rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Suryaprakash@Pozhichalur on Dec 27th,2015
Pozichalur thrimoorthy sangeetha sabha was started by Late Krishamoorthy and in their own way they conduct a series- focussing on music and avoiding distractions in ostentatious decorations etc . They start the concert at 05:30 to 06:00 and they give a long time and that is one of the prime reason for me to hit this sabha. I was also hearing the mrudangam artist Vijay Ganesh who is from US for the first time in a live concert -of course the well seasoned MA Sundareswaran is a joy when he is in his flow along with suryaprakash.
THe start in bEgada was a tad disappointing with me not hearing the violin that perfectly- felt without the right violin embellishment,the vocal sangathi were bit off . Some time in swaras it was adjusted well - but felt the musician was singing in a not so well rounded voice. The mrudangam nadham was well set in volume from the word vallabha . Sound was adjusted with MAS asking bit more volume and he was right to ask . Also Suryaprakash despite having a lady artist playing a tambura in addition also switched on the mobile device for extra tambura and that certainly added more sruthi twang. Certainly the volume and violin discrepancy went away with bit bEgging and then on it was aDa ada sangeetham ...
Suryaprakash is one of atleast three prominent musicians who intensely bring a nadaswara bAni sangathis to their music . What a roaring start with janaki ramana especially the cuts in raktha nalina with few emphasis as though he is closing his voice with few reeds and controlling breath - karaikurichi or TNR'sque . Swaras were sung brilliantly with MAS following in a thrilling speed in sudda seemanthini.
The next in kosalam began with a fairly detailed alapana and it was well done .The noted koteeswara iyer kA guhA shanmugha came out well with a conscious focus on sangathi suddham. I have not heard him sing nee bhajana in nAyaki , I am not sure if MMI or TVS have sung this song . The roll continued with reasonable anticipation from vijay ganesh and in particular I liked the swaras . Nayaki is perhaps a very dificult raga to sing swaras and I found after few single avarthanas with ni ni swara poruththam he sang a very long pattern of swaras like TRS reetigowlai (tatvamaria)or sugunamule (chakravAkham), it was really well done and Like TRS the swaras was like a boris becker serve with no violin return. Nayaki was very enjoyable .
Bhairavi was extremely elaborate. In CM concerts i particularly like a shade of avarice with vocalist dominating and the violin just giving sprinkling support and sacrificing in violin return . MAS and suryaprakash performed a brilliant bhairavi with an extraordinary neraval - Suryaprakash and MAS were really ideating with such briskness . The swarakalpana magic was another nadaswara bAni touch and I enjoyed it immensely.
When he started srinivasa tiruvenkata for a moment i was frustrated as I was thinking he was winding without a pallavi . But when he sang swaras I was glad that it was used as a filler between main and RTP. I am glad this lovely krithi is getting a status like bhogeendra sAynam , any way the voice achieves a different dimension when hamsanandi is sung and it warmed upto its peak there - perhaps a right time to sing a pallavi with that intense jog with hamsAnandi.
The RTP was indeed contextual to the sabha which was started with sangeetha trimurthy in mind .He started with a lovely hamsanaadam with its jeeva pidis . He then segued with a very melodic ananda bhairavi was superb. Crowd clapped a bit more thinking that he ended with two ragas the raga alapana.He surprising then moved to bhoopalam as the third raga . Bhoopalam which is very close to subhapantuvarali , when he annouced the raga many heads were like low voltage tubelighths - i think many think bowli or revagupti with a sunrise and few film songs is bhoopalam . With a raga sketch showing only the jeeva sangathis of each of the three ragas , taanam was well done in the first half. The taanam was distinctly sung in lower speed but there was a brilliant reply from MAS there.In the second speed taanam the anchor was mostly in hamsanAdam with a touch and go in the other two ragas .
The pallavi was segmented in three ragas as and when those phrases were sung it was anchored only in that respective ragas- certainly intense tight rope walking aided by brilliance of Parur- MSG- MSA school .ThyagarAja gurum AshrayE(hamsanAdam) shyamakrishna abhimAnam (Anandabhairavi) guruguha priyam (bhoopAlam) was the line and he really sang beautifully the first half of pallavi neravel . That too with few sanagathis in shyamakrishna abhimAnam in a lilting ananda bhairavi - he maintained the right melodic aesthetics . He intensely sandwiched and added bit more brigas in especially in hamsanadam and a more conspicous vocal throw in bhoopAlam . I wish he had sung bit more swaras but nevertheless overall it was a brilliant pallavi .
The next divyaprabhandam viruththam particularly in sankara was a head turner for me - the last darbari with a finish in govardhana was janaranjakam the only thing that irritated me was a mama who was singing loudly next to me the whole govardhana. The vasanta thillana of his was lovely on lord muruga . THe last thirruppugazh in shankarabharanam was a customary finish .
MA sundarewaran is a genius in terms of returning sangathis without losing an iota of speed . I especially liked his transitioning from all the three thrimoorthy pallavi ragas , at times he was even bowing with one single bow and changing effortlessly in ananda bhairavi to other two ragas was lovely. If there was a video taken this should go to the video thread that is started . In bhairavi neraval and sangathis he was pushing suryaprakash and they both were inspiring each other .
Vijay Ganesh had a nice tone in his mruduangam , he kept up quite well for most of the songs and his tani was in the same bhairavi mode , with a lot of azhuttam and no overtone of banging .
Few things could have been avoided:
----------------------------------
1. MAS played suddenly few sketches of yaaro ivar yaaro and upacharamu sangathis in bhairavi return. Abstraction of ragas in alapana violin return is the key than playing sketches of ragas, may be that can be done for few rare ragas just to illustrate to many in the audience .
2. At times speed was an issue for Vijay, especially for few sangathis in neraval and swaras in bhairavi main . When tani was given after 55 minutes of bhairavi he was quite exhausted- possibly season over commitment for all percussion artist. Upapakkavadhyam absence was certainly felt. OVerall felt speed and sarvalaghu can be bit more with vijay ganesh.
3. Suryaprakash experimented few lines in pallavi where he combined so fastly during second kala pallavi neraval - bit abhishek raghuramish. He could have taken another 10 to 15 minutes more to sing this pallavi neraval and swaras.Also in the taanam unlike hamsanaadam the anandabhairavi and bhoopalam was not given that much share. This pallavi should have been atleast a 40 minute pallavi and not just a 25 minute pallavi despite minimal violin raga sketch return by violinist
INcidentally no one in the hall walked out during tani and suryaprakash jokingly said this is the only sabha in chennai where noone walks out in tani. On saturday evening he had a mfac concert , sunday morning a ngs concert and then in the evening - in 30 hours 3 concerts - certainly the verve was through out there in this third concert. Usually musicians sing on alternate days. The trinity pallavi and bhairavi main will be there with me as a great vidwat-aesthetics intersect.
Overall an excellent concert for 3 hours .
THe start in bEgada was a tad disappointing with me not hearing the violin that perfectly- felt without the right violin embellishment,the vocal sangathi were bit off . Some time in swaras it was adjusted well - but felt the musician was singing in a not so well rounded voice. The mrudangam nadham was well set in volume from the word vallabha . Sound was adjusted with MAS asking bit more volume and he was right to ask . Also Suryaprakash despite having a lady artist playing a tambura in addition also switched on the mobile device for extra tambura and that certainly added more sruthi twang. Certainly the volume and violin discrepancy went away with bit bEgging and then on it was aDa ada sangeetham ...
Suryaprakash is one of atleast three prominent musicians who intensely bring a nadaswara bAni sangathis to their music . What a roaring start with janaki ramana especially the cuts in raktha nalina with few emphasis as though he is closing his voice with few reeds and controlling breath - karaikurichi or TNR'sque . Swaras were sung brilliantly with MAS following in a thrilling speed in sudda seemanthini.
The next in kosalam began with a fairly detailed alapana and it was well done .The noted koteeswara iyer kA guhA shanmugha came out well with a conscious focus on sangathi suddham. I have not heard him sing nee bhajana in nAyaki , I am not sure if MMI or TVS have sung this song . The roll continued with reasonable anticipation from vijay ganesh and in particular I liked the swaras . Nayaki is perhaps a very dificult raga to sing swaras and I found after few single avarthanas with ni ni swara poruththam he sang a very long pattern of swaras like TRS reetigowlai (tatvamaria)or sugunamule (chakravAkham), it was really well done and Like TRS the swaras was like a boris becker serve with no violin return. Nayaki was very enjoyable .
Bhairavi was extremely elaborate. In CM concerts i particularly like a shade of avarice with vocalist dominating and the violin just giving sprinkling support and sacrificing in violin return . MAS and suryaprakash performed a brilliant bhairavi with an extraordinary neraval - Suryaprakash and MAS were really ideating with such briskness . The swarakalpana magic was another nadaswara bAni touch and I enjoyed it immensely.
When he started srinivasa tiruvenkata for a moment i was frustrated as I was thinking he was winding without a pallavi . But when he sang swaras I was glad that it was used as a filler between main and RTP. I am glad this lovely krithi is getting a status like bhogeendra sAynam , any way the voice achieves a different dimension when hamsanandi is sung and it warmed upto its peak there - perhaps a right time to sing a pallavi with that intense jog with hamsAnandi.
The RTP was indeed contextual to the sabha which was started with sangeetha trimurthy in mind .He started with a lovely hamsanaadam with its jeeva pidis . He then segued with a very melodic ananda bhairavi was superb. Crowd clapped a bit more thinking that he ended with two ragas the raga alapana.He surprising then moved to bhoopalam as the third raga . Bhoopalam which is very close to subhapantuvarali , when he annouced the raga many heads were like low voltage tubelighths - i think many think bowli or revagupti with a sunrise and few film songs is bhoopalam . With a raga sketch showing only the jeeva sangathis of each of the three ragas , taanam was well done in the first half. The taanam was distinctly sung in lower speed but there was a brilliant reply from MAS there.In the second speed taanam the anchor was mostly in hamsanAdam with a touch and go in the other two ragas .
The pallavi was segmented in three ragas as and when those phrases were sung it was anchored only in that respective ragas- certainly intense tight rope walking aided by brilliance of Parur- MSG- MSA school .ThyagarAja gurum AshrayE(hamsanAdam) shyamakrishna abhimAnam (Anandabhairavi) guruguha priyam (bhoopAlam) was the line and he really sang beautifully the first half of pallavi neravel . That too with few sanagathis in shyamakrishna abhimAnam in a lilting ananda bhairavi - he maintained the right melodic aesthetics . He intensely sandwiched and added bit more brigas in especially in hamsanadam and a more conspicous vocal throw in bhoopAlam . I wish he had sung bit more swaras but nevertheless overall it was a brilliant pallavi .
The next divyaprabhandam viruththam particularly in sankara was a head turner for me - the last darbari with a finish in govardhana was janaranjakam the only thing that irritated me was a mama who was singing loudly next to me the whole govardhana. The vasanta thillana of his was lovely on lord muruga . THe last thirruppugazh in shankarabharanam was a customary finish .
MA sundarewaran is a genius in terms of returning sangathis without losing an iota of speed . I especially liked his transitioning from all the three thrimoorthy pallavi ragas , at times he was even bowing with one single bow and changing effortlessly in ananda bhairavi to other two ragas was lovely. If there was a video taken this should go to the video thread that is started . In bhairavi neraval and sangathis he was pushing suryaprakash and they both were inspiring each other .
Vijay Ganesh had a nice tone in his mruduangam , he kept up quite well for most of the songs and his tani was in the same bhairavi mode , with a lot of azhuttam and no overtone of banging .
Few things could have been avoided:
----------------------------------
1. MAS played suddenly few sketches of yaaro ivar yaaro and upacharamu sangathis in bhairavi return. Abstraction of ragas in alapana violin return is the key than playing sketches of ragas, may be that can be done for few rare ragas just to illustrate to many in the audience .
2. At times speed was an issue for Vijay, especially for few sangathis in neraval and swaras in bhairavi main . When tani was given after 55 minutes of bhairavi he was quite exhausted- possibly season over commitment for all percussion artist. Upapakkavadhyam absence was certainly felt. OVerall felt speed and sarvalaghu can be bit more with vijay ganesh.
3. Suryaprakash experimented few lines in pallavi where he combined so fastly during second kala pallavi neraval - bit abhishek raghuramish. He could have taken another 10 to 15 minutes more to sing this pallavi neraval and swaras.Also in the taanam unlike hamsanaadam the anandabhairavi and bhoopalam was not given that much share. This pallavi should have been atleast a 40 minute pallavi and not just a 25 minute pallavi despite minimal violin raga sketch return by violinist
INcidentally no one in the hall walked out during tani and suryaprakash jokingly said this is the only sabha in chennai where noone walks out in tani. On saturday evening he had a mfac concert , sunday morning a ngs concert and then in the evening - in 30 hours 3 concerts - certainly the verve was through out there in this third concert. Usually musicians sing on alternate days. The trinity pallavi and bhairavi main will be there with me as a great vidwat-aesthetics intersect.
Overall an excellent concert for 3 hours .
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HarishankarK
- Posts: 2217
- Joined: 27 Oct 2007, 11:55
Re: Suryaprakash@Pozhichalur on Dec 27th,2015
Within 7 minutes for the RTP he sang three raga alapanas - that is very less time to justify a raga. From what you have written looks like violin replies for the three alapanas were included within the 7 minutes. That would not have been satisfactory to me. An RTP in a single raga for 25 minutes is in itself a high speed one. With three ragas I hope it did not become a merely obligatory exercise.
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rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Suryaprakash@Pozhichalur on Dec 27th,2015
IN raaga alapana of RTP ,Violin return was just a raaga sketch with just core pidis of that raga and MAS played in reverse from bhoopalam to aanandabhairavi to hamsanadam .HarishankarK wrote:Within 7 minutes for the RTP he sang three raga alapanas - that is very less time to justify a raga. From what you have written looks like violin replies for the three alapanas were included within the 7 minutes. That would not have been satisfactory to me. An RTP in a single raga for 25 minutes is in itself a high speed one. With three ragas I hope it did not become a merely obligatory exercise.
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rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Suryaprakash@Pozhichalur on Dec 27th,2015
I just did a bit of googling today and also checked karnatik.com . Looks the choice of bhoopalam for MD is nice as it appears that apart from sadachaleshwaram in bhoopalam by MD , other two trinities have not handed this bhoopalam . Also hamsanadam checked apart from T's bantureeti . the other two trinities have not handled .rajeshnat wrote: Three ragas were hamsanAdam , aanandabhairavi and bhoopAlam and the taalam was khanda jAthi triputa.
Pallavi line -- ThyagarAja gurum AshrayE(hamsanAdam) shyamakrishna abhimAnam (Anandabhairavi) guruguha priyam (bhoopAlam)
Ofcourse aanandabhairavi all three have handled but it is an apt choice to associate more with SS. In short nice thoughtful one for mapping the ragas which did not strike me when i wrote the review . He can take it as a more vistaaramana pallavi in future.
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arasi
- Posts: 16877
- Joined: 22 Jun 2006, 09:30
Re: Suryaprakash@Pozhichalur on Dec 27th,2015
Rajesh,
Suryaprakash and Sundaresan combination is something which gels very well. We know that SPrakash feels at home with many violinists also because of his being a very agreeable person!
Wish I were there in Chennai to hear him...
Suryaprakash and Sundaresan combination is something which gels very well. We know that SPrakash feels at home with many violinists also because of his being a very agreeable person!
Wish I were there in Chennai to hear him...
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sankark
- Posts: 2451
- Joined: 16 Dec 2008, 09:10
Re: Suryaprakash@Pozhichalur on Dec 27th,2015
chintAmani could have been even better choice as SS seems to be the one to have discovered/composed in it