Accompanied by violin - nAgai Sriram , Mridangam - melakAveri bAlaji and ghatam - ernakulam ramakrishnan
Time : 3:00 pm to 5:10 pm
1A. viruttam - "nanmaiyum selvamum nAlum" - bahudAri -??
1B. brOva bAramA (S) - bahudAri - T
2. sounderarAjam (R) - brindavanasAranga - MD
3A. viruttam "vandAi enmanam pugundhAi" - vAchaspati - ??
3B. sripathe jaya natajana dAsa (N,S)- vAchaspati - tulasivanam
4. manavyAlakim(S) - nalinakAnthi - T
5. sri Krisham bhaja mAnasa(R,S,T) - tOdi - MD
6. RTP in mOhanam
10 minutes of alApanai , 7 minutes of tAnam , 18 minutes of pallavi + rAgamaligai swaram(mOhanam + varamu + behAg)
pallavi line "sArasa dhala netra hare krishna"
7. devargal arul seidha - mega rAgamAligai - suryaprakAsh
8. krishna mukhunda murAre - navaroz -??
9. mangalam
Brief review:
A 2 hr 10 minute concert that had musical content almost like a 2 1/2 to 3 hr concert. Started with a bahudAri virutttam ending with the phrase rAmA straight to brOvabaramA was brilliant with superb sarvalaghu swara patterns.The rAga alapanai of br sAranga was done very well. Liked the rare tulasivanam of vAchaspathi , which I have heard only with shri TVS before . The open throated neraval of vachAspathi was too good in the lines "padmanAba murare kesava".The best to me was his sarvalaghu swara patterns of the nalinakAnthi(most of the time I almost hear a brand new supercharged manOdharmam swarapattern ).
The charm of tOdi was in the alApanai close to 18 minutes. The absence of neraval was felt by me , but the swara patterns were again good. The RTP in mOhanam was sung very well. He split the tAnam as two halves one without mridangam and the other with mridangam close to 7 minutes , with minimum lung space. Liked all the swara pattern, was able to even identify varamu quickly ,Liked the manOdharmam of behAg where it was a drowsy behAg #1 and a fast swara patten behAg #2 that you usually hear when he sings Adum chidambaramO(each of that was as long as varamu). His rAgamaligai had most applause , liked the pisuru illAtha krishna mukunda murAre, he did announce that the rAga was navarOz , otherwise I would have thought it was close to kantula varAli (corrections welcome)
The violinst nAgai sriram , a frail man whose physique resembles the violin and his forearm resembles the bow , but he was the most brilliant today. It takes a lot of alacrity to play for suryaprakAsh , he really was perfect whether it was the sarvalagu downpour in nalinakAnthi or an elaborate alApanai of tODi .
The concert was an outstanding success , because of melakAveri's right attitude . He sacrificed and played tani for just 6 minutes,giving the singer time for even a 35 minute RTP.Hats off to his left-right combination and his energetic play.
Like last year(where I remember cribing with sangeetham.com), The same crib of having a 90 minute gap between the vocal concert and the next one at 6:30pm still holds. Perhaps a good samaritan with right connections can suggest that this long gap is not needed. ghatam was not upto the mark.
From vAchaspathi to navarOz , suryaprakash taking a minimum lung space , with a mini tani and small violin return(tOdi) for almost close to 1 hr 45 minutes non stop music is most appealing to me. I and my 3 relatives drove to enjoy another concert .
SuryaprakAsh@MFAC on Dec 30,2006
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ksrimech
- Posts: 1050
- Joined: 03 Feb 2010, 04:25
nanmaiyum selvamum - kamba rAmAyaNam verse - kambanATTAzhvAr
nanmaiyum selvamum nALum nalgumE,
thinmaiyum pAvamum sidaindu thEyumE,
senmamum maraNamum inRi theerumE,
immaiyE rAmA enRiraNdezhuthinAl
vandhAy en manam - periya thirumozhi 1-10-9
thirumangai AzhvAr aruLich seydha periya thirumozhi 1-10 - kaNNAr kadal sUzh
1046:
vandhAy en manam pugundhAy * manni ninRAy! *
nandhAdha kozhunjsudarE! * engkaL nambI! **
sinthAmaNiyE! * thiruvEngkadam mEya
endhAy! * ini yAn unnai * enRum vidEnE 9
nanmaiyum selvamum nALum nalgumE,
thinmaiyum pAvamum sidaindu thEyumE,
senmamum maraNamum inRi theerumE,
immaiyE rAmA enRiraNdezhuthinAl
vandhAy en manam - periya thirumozhi 1-10-9
thirumangai AzhvAr aruLich seydha periya thirumozhi 1-10 - kaNNAr kadal sUzh
1046:
vandhAy en manam pugundhAy * manni ninRAy! *
nandhAdha kozhunjsudarE! * engkaL nambI! **
sinthAmaNiyE! * thiruvEngkadam mEya
endhAy! * ini yAn unnai * enRum vidEnE 9
Last edited by ksrimech on 04 Jan 2007, 00:36, edited 1 time in total.
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arasi
- Posts: 16873
- Joined: 22 Jun 2006, 09:30
Congratulations to Suraya Prakash on his several awards this year!
Rajesh,
Did you hear Suryaprkash elsewhere? I went to two of his concerts. He has a rich voice. His concerts are lively from beginning to the end--like his guru's and his guru's guru. He manages two careers. The number of concerts he gave during the season must have been very strenuous for him. Yet, he didn't flag in his enthusiasm in entertaining his audiences. His diction and sensitivity for the lyrics are noteworthy. Of course, you get the feeling as if you are listening to his guru's guru sometimes which can be both a good thing and a bit of a handicap. I notice among the listeners a few old timers who respond to his music as though he IS MMI! He is much more than a reflection of his guru or his guru's guru, I think. Suryaprakash is evolving. The Devagandhari (KshIra sAgara shayanA) he sang at Brahma Gana Sabha and the koluvaiyyunnADE at Parthasarathy Swamy Sabha are examples of his handling major kritis adeptly. His voice and the feeling in it are not only suited for lighter pieces but also for singing major rAgAs and kritis. Soon, he and his audience would arrive at a point when seeing him as MMI's replica would fade away from the minds of the listeners...
Rajesh,
Did you hear Suryaprkash elsewhere? I went to two of his concerts. He has a rich voice. His concerts are lively from beginning to the end--like his guru's and his guru's guru. He manages two careers. The number of concerts he gave during the season must have been very strenuous for him. Yet, he didn't flag in his enthusiasm in entertaining his audiences. His diction and sensitivity for the lyrics are noteworthy. Of course, you get the feeling as if you are listening to his guru's guru sometimes which can be both a good thing and a bit of a handicap. I notice among the listeners a few old timers who respond to his music as though he IS MMI! He is much more than a reflection of his guru or his guru's guru, I think. Suryaprakash is evolving. The Devagandhari (KshIra sAgara shayanA) he sang at Brahma Gana Sabha and the koluvaiyyunnADE at Parthasarathy Swamy Sabha are examples of his handling major kritis adeptly. His voice and the feeling in it are not only suited for lighter pieces but also for singing major rAgAs and kritis. Soon, he and his audience would arrive at a point when seeing him as MMI's replica would fade away from the minds of the listeners...
Last edited by arasi on 06 Jan 2007, 02:03, edited 1 time in total.
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rajeshnat
- Posts: 10121
- Joined: 03 Feb 2010, 08:04
arasi
You were at Parthasarathy swami sabha ,perhaps when I was enjoying bhairavi,you must have heaved a sigh of relief .If I had known you , the first question I would have asked you is "How can you not like bhairavi?". The post of that is in the url
http://rasikas.org/forums/viewtopic.php?id=1741
I heard one yesterday and a 3/4th in music academy on Dec 25th. That day was overdose of CM ,3 (suryprakash ,nithyashree and mahAvidwan TNS).
Pluses of SuryaprakAsh:
1.manOdharmam in plenty,many a times a lot on-spot manOdharmam especially in viruttam , neraval and swarams.
2.Liking him more nowadays since the last 3 or 4 years, primarily because he is not overdoing with speed .I think his tutelage with Dr Srivastava and learning a lot of dishitar's krithis is helping a lot. Thank god the accelaration of telugu krithis is controlled by the brake of sanskrit krithis.
3. High clarity of rAgas,within 5 seconds you can identify.
Minuses of SuryrprakAsh:
1. He should understand little more the capabilities of pakkavAdyam and deliver his krithis. Eg in music academy he took a shree subramanyAya and tried few neraval and swara patterns , they were good . But pakkavadyam found it difficult to cOpe. I always get a feeling that music academy is like an annual examination for a school student , especially those who are not in the prime slots. They all have performance fear.
2. His voice shrill has got better in the last few years ,still can improve. Perhaps He should add more bass to his voice.
I will post his yesterdays concert ,bit delayed,as I am travelling on official work
You were at Parthasarathy swami sabha ,perhaps when I was enjoying bhairavi,you must have heaved a sigh of relief .If I had known you , the first question I would have asked you is "How can you not like bhairavi?". The post of that is in the url
http://rasikas.org/forums/viewtopic.php?id=1741
I heard one yesterday and a 3/4th in music academy on Dec 25th. That day was overdose of CM ,3 (suryprakash ,nithyashree and mahAvidwan TNS).
Pluses of SuryaprakAsh:
1.manOdharmam in plenty,many a times a lot on-spot manOdharmam especially in viruttam , neraval and swarams.
2.Liking him more nowadays since the last 3 or 4 years, primarily because he is not overdoing with speed .I think his tutelage with Dr Srivastava and learning a lot of dishitar's krithis is helping a lot. Thank god the accelaration of telugu krithis is controlled by the brake of sanskrit krithis.
3. High clarity of rAgas,within 5 seconds you can identify.
Minuses of SuryrprakAsh:
1. He should understand little more the capabilities of pakkavAdyam and deliver his krithis. Eg in music academy he took a shree subramanyAya and tried few neraval and swara patterns , they were good . But pakkavadyam found it difficult to cOpe. I always get a feeling that music academy is like an annual examination for a school student , especially those who are not in the prime slots. They all have performance fear.
2. His voice shrill has got better in the last few years ,still can improve. Perhaps He should add more bass to his voice.
I will post his yesterdays concert ,bit delayed,as I am travelling on official work
Last edited by rajeshnat on 06 Jan 2007, 13:04, edited 1 time in total.
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arasi
- Posts: 16873
- Joined: 22 Jun 2006, 09:30
Rajesh,
Since you know that Bhairavi is not my most favorite rAgA
, you would have realized that Suryaprakash was impressive that day in his treatment of the said rAgA for me to make a special mention of it. His koluvaiyyunnADE just pranced along (a tough kriti to sing). He has a joyful way of singing any rAgA. He sings tamizh songs in a crystal clear way--telugu as well. Thanks to sangeetham BB and this forum, besides learning a lot about music, I am also getting aquainted with the names and merits of today's musicians. I have been to Chennai several times for the season the past ten years. Strangely, I had not heard of Suryaprakash until last year when I read about him on the BB and had been told by a relative that I had to hear him! I went to two of his concerts last year, heard him at Cleveland (where he performed very well, inspite of his slot time getting curtailed). I enjoyed listening to him this year--both at Bramha gana sabha and at Parthasarathy...
Since you know that Bhairavi is not my most favorite rAgA
, you would have realized that Suryaprakash was impressive that day in his treatment of the said rAgA for me to make a special mention of it. His koluvaiyyunnADE just pranced along (a tough kriti to sing). He has a joyful way of singing any rAgA. He sings tamizh songs in a crystal clear way--telugu as well. Thanks to sangeetham BB and this forum, besides learning a lot about music, I am also getting aquainted with the names and merits of today's musicians. I have been to Chennai several times for the season the past ten years. Strangely, I had not heard of Suryaprakash until last year when I read about him on the BB and had been told by a relative that I had to hear him! I went to two of his concerts last year, heard him at Cleveland (where he performed very well, inspite of his slot time getting curtailed). I enjoyed listening to him this year--both at Bramha gana sabha and at Parthasarathy...