Suryaprakash@NGS on Nov 28th,2016
Suryaprakash@NGS on Nov 28th,2016
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Vocal : Suryaprakash
Violin : Nagai Sriram
Mrudangam : Vijay Natesan
Kanjira : Nerkunam Dr Shankar
Concert Type : Nirvana - No concert to follow , Free concet
Day/Duration : Monday /close to 3 hours inclusive of introduction and brief homage speech for Dr BMK
sabha/Hall : Aaradhana Utsav, NGS Main Hall
Dedicated to the memory of DR M Balamuralikrishna
1. Roopamu juchi(Raga sketch) - Todi - MD
2. vasudevayani (R N S )- kalyani -T
3 mins alapana and sketch of violin return
5 mins neraval in rAga tAlamu
swaras for 9 mins
3. kAvavE kanyakumari neeve(raga sketch)- sahana -DR M Balamuralikrishna
4. appan avadaritha (R, S) - kharaharapriya -Papanasam sivan
9 mins alapana and 5 mins violin return
7 mins swaras
5. SArasa mukhi - gowDamalhar - HMB
6A. RTP for 1 hour 10 mins exclusive of Tani
RTP raga was hamsAnandi
15 mins alapana and 10 mins violin return
13 mins taanam
Pallavi line - Aaravamudhanai Aaradhanai sei manamE murali gAnalOla
swara kalpana in hamsanandi + behag + Brindavana saranaga
I think the taalam was kanda jAthi triputa
6B. tani for 13 mins
7A. viruththam KAdalAgi kasindhu - sindhubhairavi
+ namasivAyavE - jonpuri - tevaram
7B. eppO varuvArO - jonpuri - GKB
8 . Note - shankarabharanam - HMB
9. nAdhru dheem ... YAridum murai iDuven - suddasArang - Suryaprakash
10. Pavamana + Vazhiya senthamizh
Suryaprakash@NGS on Nov 28th,2016
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rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Suryaprakash@NGS on Nov 28th,2016
In NGS Main hall , there is a 3 day festival titled aradhana utsav - 2 more artists are singing in today and tomorrow(sisters from akkarai and brothers from trichur). After the customary introduction and a brief tribute to BMK by the compere, the concert started with a rare todi varnam that was once made popular by MDR. There is a lot of todi swaroopam showcased in this varnam and I liked the start as it generally brings an intense carnatic idioms to a concert ( todi is no wonder a queen of ragas). Then Suryaprakash immediately launched to a detailed submain vasudevayani in kalyani. There was a very high share of manodharmam in kalyani neraval and swaras- I especially liked few of his landings in Ni for kalyani without any sag in tempo.
The tribute to BMK was showcased with a very rare krithi of BMK. BMK krithi in sahana can be easily mistaken for a shyama sastri krithi- i guess the only differentiation is a murali mudra instead of shyamakrishna mudhra. Personally this composition style of BMK in this sahana krithi is new to me having heard few of his other compositions which has certain karadu moraduness, however this sahana krithi by bmk is superb with superb musical symmetry of right telugu words . sahana serenity was not disturbed at all. Also with more repeated jiva pidis in sahana , liked the leisurely gait of BMK composition. Sahana poured out like honey and with full involvement and care with a flexible voice - I connected with a lot of sahana aesthetics there.
After a fairly detailed alapana in kharaharapriya, suryaprakash launched into the patented semmangudi land of appan avatharitha .The rhythmmic leash was near perfect with few long swarakalpana returns i certainly enjoyed melakartha 22. The filler of sarasamukhi would have been better if he had gone for his usual fast swaras, it was a bit of letdown as suryaprakash only sang the krithi
What a pallavi it was . Hamsanandi pallavis in general by him in the past or by his guru TVS usually makes a cameo appearence . But suryaprakash singing a detailed RTP in hamsanandi gave a shanmughapriya like RTP status. The karvais were in plenty in raga alapana and he showcased the power of his voice . Taanam was fantastic and I could hear the joy of a typical TN seshagopalan like taanam typecast. The pallavi was a tribute to dr bmk and I think the taalam was kanda jAthi triputa and with BMK in mind there were atleast 3 or 4 bedhams to few other ragas from hamsanandi . Few bedhams , I could sense him landing in hindolam and Suddhasaveri . He also did a bedham to suddha dhanyasi??? and one more raga that appeared familiar which I missed to spot it then .The swara patterns was so detailed with copious manodharmam and hamsanandi and the last brindavana saranga was superb . Nagai sriram really showed his class in his azhuttamAna return, the hamsanandi made my day. Suryaprakash creativity in the pallavi and embedding the purvanga line with "murali gAnalOla" really gave a lot of scope to portray this extraordinary raga hamsAnandi where power and emote really blends.
In the tukkadas the tevaram was well done and the usual ganakaladhara touch followed with the note and preceded by eppa varuvAro . He dedicated his own tillana to BMK and suddasarang muse was great.
Nagai Sriram is prolific artist and his grasp during returns was fantastic . Great azhuttam and press like VVS and a great memory in repeating what the singer had sung like Lalgudi makes me wonder if sriram is an amalgam of the best of VVS and Lalgudi. The mrudangam artist Vijay Natesan had great anticipation especially in pallavi and I believe the really cold air condition did bring a slight letdown to the nAdham of mrudangam. Our forumite Nerkunam shankar gave great support and with generally longer patterns by suryaprakash and returns by Sriram - this concert gave a lot of scope to the upapakkavadhyam. The tani was well done and I was glad they played with gusto despite the hour clock having crossed past 9pm cindrella time.
I would have enjoyed the concert if there was less AC in the hall. It was freezing and very cold for me and I really came out of Kelvinator refrigerator. My biggest takeaway is the detailed RTP in hamsanandi and DR BMK composing almost like a shyama sastri krithi in sahana which I had no clue till I heard yesterday.
Overall an excellent concert for nearly 3 hours .
The tribute to BMK was showcased with a very rare krithi of BMK. BMK krithi in sahana can be easily mistaken for a shyama sastri krithi- i guess the only differentiation is a murali mudra instead of shyamakrishna mudhra. Personally this composition style of BMK in this sahana krithi is new to me having heard few of his other compositions which has certain karadu moraduness, however this sahana krithi by bmk is superb with superb musical symmetry of right telugu words . sahana serenity was not disturbed at all. Also with more repeated jiva pidis in sahana , liked the leisurely gait of BMK composition. Sahana poured out like honey and with full involvement and care with a flexible voice - I connected with a lot of sahana aesthetics there.
After a fairly detailed alapana in kharaharapriya, suryaprakash launched into the patented semmangudi land of appan avatharitha .The rhythmmic leash was near perfect with few long swarakalpana returns i certainly enjoyed melakartha 22. The filler of sarasamukhi would have been better if he had gone for his usual fast swaras, it was a bit of letdown as suryaprakash only sang the krithi
What a pallavi it was . Hamsanandi pallavis in general by him in the past or by his guru TVS usually makes a cameo appearence . But suryaprakash singing a detailed RTP in hamsanandi gave a shanmughapriya like RTP status. The karvais were in plenty in raga alapana and he showcased the power of his voice . Taanam was fantastic and I could hear the joy of a typical TN seshagopalan like taanam typecast. The pallavi was a tribute to dr bmk and I think the taalam was kanda jAthi triputa and with BMK in mind there were atleast 3 or 4 bedhams to few other ragas from hamsanandi . Few bedhams , I could sense him landing in hindolam and Suddhasaveri . He also did a bedham to suddha dhanyasi??? and one more raga that appeared familiar which I missed to spot it then .The swara patterns was so detailed with copious manodharmam and hamsanandi and the last brindavana saranga was superb . Nagai sriram really showed his class in his azhuttamAna return, the hamsanandi made my day. Suryaprakash creativity in the pallavi and embedding the purvanga line with "murali gAnalOla" really gave a lot of scope to portray this extraordinary raga hamsAnandi where power and emote really blends.
In the tukkadas the tevaram was well done and the usual ganakaladhara touch followed with the note and preceded by eppa varuvAro . He dedicated his own tillana to BMK and suddasarang muse was great.
Nagai Sriram is prolific artist and his grasp during returns was fantastic . Great azhuttam and press like VVS and a great memory in repeating what the singer had sung like Lalgudi makes me wonder if sriram is an amalgam of the best of VVS and Lalgudi. The mrudangam artist Vijay Natesan had great anticipation especially in pallavi and I believe the really cold air condition did bring a slight letdown to the nAdham of mrudangam. Our forumite Nerkunam shankar gave great support and with generally longer patterns by suryaprakash and returns by Sriram - this concert gave a lot of scope to the upapakkavadhyam. The tani was well done and I was glad they played with gusto despite the hour clock having crossed past 9pm cindrella time.
I would have enjoyed the concert if there was less AC in the hall. It was freezing and very cold for me and I really came out of Kelvinator refrigerator. My biggest takeaway is the detailed RTP in hamsanandi and DR BMK composing almost like a shyama sastri krithi in sahana which I had no clue till I heard yesterday.
Overall an excellent concert for nearly 3 hours .