Sri R. Suryaprakash USA 2018 tour at Cary, NC on Oct. 27
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Sri R. Suryaprakash USA 2018 tour at Cary, NC on Oct. 27
Sri R. Suryaprakash garu @SIFAA, West Cary Middle School, Cary, NC
Date: October 27th 2018
Accompaniments:
Sri Trivandrum Balaji (Mridangam)
Ghatam S. Karthick (Ghatam)
Chy. Madhu Vadlamani (Violin)
List of Songs:
1. Entha BhagyamO, Saranga, Tyagaraja, Adi
2. SrI pArtha sArathinA pAlitO(a)smyahaM sadA – Sudha DhanyAsi; Dikshitar – Roopakam
3. sItapatE – Khamas (elaborate alapana) – Tyagaraja – roopakam (alapana, neraval and swarams at prEma jhoochi nApaI)
4. Endraikku Siva krupai varumO - nIlakanta sivan; Mukhari
5. Parama purusha jagadeeswara - vasanta- Swati tirunal – Adi (swarams at Pallavi)
6. chEsina della marachitivO – Todi – Tyagaraja – Adi (elaborate alapana w/graha bhedam with Mohana Kalyani, Shankarabharanam), Neraval and swarams at “rAma sree thyAgarAja prEmAvatAra seeta “ followed by TaniAvartanam
7. Ragam Tanam Pallavi in Bridavana Saranga – Pallavi – khanda jAti triputa tAlam; Swarams and raga mAlika (Behag, srOthaswini)
8. Virutham Thenpazhani vEla vanE in Raga Sindhu bhaIravi – a tamil composition followed
9. rama rama raama raama enirO – Purandara dAsar – tilang – Adi
10. eppo varu vAro – jOnpuri – gopalakrishna bharati – Adi
11. pavamana sutudu – mangaLam – Sourashtram and Madhyamavati
The concert started off with “Entha BhagyamO” of Saint Tyagaraja in Saranga and quite appropriately the audience present were really fortunate (entha bhagyamO means how fortunate) to have witnessed this concert. After Sri ParthasarathinA of Dikshitar, RSP sir took up on an elaborate alapana of Khamas and SitapatE followed with neraval and fast paced swarams at prEma jhoochi nApaI. After a quick rendering in rAgam mukhari, Sri RSP sir moved on to a fast paced rendering of parama purusha in Vasantha of Swati thirunal with once again fast paced swarams. The main item of the evening was Todi of Saint tyagaraja’s well known chEsinadella with an elaborate alapana (almost 16-17 minutes) w/graha bhedam transitioning to Mohana Kalyani and shankarAbharanam ragams with neraval and swarams as above. Taniavartanam followed this which was well coordinated by Sri Trivandrum Balaji and Sri Ghatam Karthick. RSP sir had essentially shown the beautiful facets of tOdi through his exquisite alapana. RTP audience were presented a short but beautiful Ragam Tanam Pallavi (RTP) in Brindavani Saranga with an appropriate pallavi line that goes as ““sAranganaI ranganaI ninaI manamE brindAvana (sAranganaI)”. The raga mAlika is equally melodious to listen to, and Shri RSP sir seems to have some fascination to this new raga srOthaswini for he has done a RTP in this ragam alone before. This raga I believe is quite closer in scale to raga shuddha dhanyasi. The concert concluded with a viruttham in Sindhu bhairavi, Tilang composition of Purandara dasar, and gopalakrishna bharati’s composition eppo varuvAro followed by Mangalam.
Trivandrum Balaji and Ghatam Karthick made the atmosphere even more electrifying with their deft touches be it when playing/following for a krithi, or during the swarams as well as during Taniavartanam. The violinist Madhu who is a disciple of Smt. Seetha Ramakrishnan and Vidushi Ranjani Ramakrishnan did a good job that was expected in following as well as alapana, neraval and swaram returns.
The RTP (Research triangle park) audience which were quite at a decent number filling up the auditorium were treated to a majestic and mellifluous concert that had all the ingredients of Ragam, Bhavam, Swaram and Layam on October 27th by the torch bearer of Late Shri Madurai Mani Iyer (MMI) bani of music.
An evening well spent listening to the bani of one of the great legends of Carnatic Music Shri Madurai Mani Iyer.
Date: October 27th 2018
Accompaniments:
Sri Trivandrum Balaji (Mridangam)
Ghatam S. Karthick (Ghatam)
Chy. Madhu Vadlamani (Violin)
List of Songs:
1. Entha BhagyamO, Saranga, Tyagaraja, Adi
2. SrI pArtha sArathinA pAlitO(a)smyahaM sadA – Sudha DhanyAsi; Dikshitar – Roopakam
3. sItapatE – Khamas (elaborate alapana) – Tyagaraja – roopakam (alapana, neraval and swarams at prEma jhoochi nApaI)
4. Endraikku Siva krupai varumO - nIlakanta sivan; Mukhari
5. Parama purusha jagadeeswara - vasanta- Swati tirunal – Adi (swarams at Pallavi)
6. chEsina della marachitivO – Todi – Tyagaraja – Adi (elaborate alapana w/graha bhedam with Mohana Kalyani, Shankarabharanam), Neraval and swarams at “rAma sree thyAgarAja prEmAvatAra seeta “ followed by TaniAvartanam
7. Ragam Tanam Pallavi in Bridavana Saranga – Pallavi – khanda jAti triputa tAlam; Swarams and raga mAlika (Behag, srOthaswini)
8. Virutham Thenpazhani vEla vanE in Raga Sindhu bhaIravi – a tamil composition followed
9. rama rama raama raama enirO – Purandara dAsar – tilang – Adi
10. eppo varu vAro – jOnpuri – gopalakrishna bharati – Adi
11. pavamana sutudu – mangaLam – Sourashtram and Madhyamavati
The concert started off with “Entha BhagyamO” of Saint Tyagaraja in Saranga and quite appropriately the audience present were really fortunate (entha bhagyamO means how fortunate) to have witnessed this concert. After Sri ParthasarathinA of Dikshitar, RSP sir took up on an elaborate alapana of Khamas and SitapatE followed with neraval and fast paced swarams at prEma jhoochi nApaI. After a quick rendering in rAgam mukhari, Sri RSP sir moved on to a fast paced rendering of parama purusha in Vasantha of Swati thirunal with once again fast paced swarams. The main item of the evening was Todi of Saint tyagaraja’s well known chEsinadella with an elaborate alapana (almost 16-17 minutes) w/graha bhedam transitioning to Mohana Kalyani and shankarAbharanam ragams with neraval and swarams as above. Taniavartanam followed this which was well coordinated by Sri Trivandrum Balaji and Sri Ghatam Karthick. RSP sir had essentially shown the beautiful facets of tOdi through his exquisite alapana. RTP audience were presented a short but beautiful Ragam Tanam Pallavi (RTP) in Brindavani Saranga with an appropriate pallavi line that goes as ““sAranganaI ranganaI ninaI manamE brindAvana (sAranganaI)”. The raga mAlika is equally melodious to listen to, and Shri RSP sir seems to have some fascination to this new raga srOthaswini for he has done a RTP in this ragam alone before. This raga I believe is quite closer in scale to raga shuddha dhanyasi. The concert concluded with a viruttham in Sindhu bhairavi, Tilang composition of Purandara dasar, and gopalakrishna bharati’s composition eppo varuvAro followed by Mangalam.
Trivandrum Balaji and Ghatam Karthick made the atmosphere even more electrifying with their deft touches be it when playing/following for a krithi, or during the swarams as well as during Taniavartanam. The violinist Madhu who is a disciple of Smt. Seetha Ramakrishnan and Vidushi Ranjani Ramakrishnan did a good job that was expected in following as well as alapana, neraval and swaram returns.
The RTP (Research triangle park) audience which were quite at a decent number filling up the auditorium were treated to a majestic and mellifluous concert that had all the ingredients of Ragam, Bhavam, Swaram and Layam on October 27th by the torch bearer of Late Shri Madurai Mani Iyer (MMI) bani of music.
An evening well spent listening to the bani of one of the great legends of Carnatic Music Shri Madurai Mani Iyer.
Last edited by hamirkalyani123 on 07 Nov 2018, 20:29, edited 2 times in total.
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Re: Sri R. Suryaprakash USA 2018 tour at Cary, NC on Oct. 27
neraval line is from different (language) kriti!hamirkalyani123 wrote: ↑07 Nov 2018, 08:41 3. Sujana jIvana – Khamas (elaborate alapana) – Tyagaraja – roopakam (alapana, neraval and swarams at prEma jhoochi nApaI)
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Re: Sri R. Suryaprakash USA 2018 tour at Cary, NC on Oct. 27
But it is from khamas itself, not hamirkalyani!
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Re: Sri R. Suryaprakash USA 2018 tour at Cary, NC on Oct. 27
It is typo. In the write up it is given that for Sujana Jeevana, swaras were sung at the pallavi.
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Re: Sri R. Suryaprakash USA 2018 tour at Cary, NC on Oct. 27
apologies. corrected above.
It should be SeethapathE in Khamas, not sujana jeevana. The alapanas had some phrase of SUjana jeevana and I was carried away by that. Thanks for the correction.
Also the mukhari composition in Tamil was "Erozu Siva krpa ostO" of neelakantaSivan's.
RSP sir starts with anupallavi first and then sings pallavi.
It should be SeethapathE in Khamas, not sujana jeevana. The alapanas had some phrase of SUjana jeevana and I was carried away by that. Thanks for the correction.
Also the mukhari composition in Tamil was "Erozu Siva krpa ostO" of neelakantaSivan's.
RSP sir starts with anupallavi first and then sings pallavi.
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Re: Sri R. Suryaprakash USA 2018 tour at Cary, NC on Oct. 27
The above song he sang in Tamizh or translated in any other language.hamirkalyani123 wrote: ↑07 Nov 2018, 16:49
Also the mukhari composition in Tamil was "Erozu Siva krpa ostO" of neelakantaSivan's.
RSP sir starts with anupallavi first and then sings pallavi.
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Re: Sri R. Suryaprakash USA 2018 tour at Cary, NC on Oct. 27
Corrected. Thanks for the more authentic source which is Sri Suryaprakash sir himself. I should have asked him in the first place. As you would have seen Tamil is not my mother tongue. Apologies.
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Re: Sri R. Suryaprakash USA 2018 tour at Cary, NC on Oct. 27
for a moment i thought it was a krishna concert. kriti from one composer and nereval from anothersureshvv wrote: ↑07 Nov 2018, 09:17neraval line is from different (language) kriti!hamirkalyani123 wrote: ↑07 Nov 2018, 08:41 3. Sujana jIvana – Khamas (elaborate alapana) – Tyagaraja – roopakam (alapana, neraval and swarams at prEma jhoochi nApaI)
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Re: Sri R. Suryaprakash USA 2018 tour at Cary, NC on Oct. 27
It has been a while since I heard a detailed exposition of 'chEsina della'. On the rare instance the kriti is presented at all, it is just breezed through (a la MLV). The neraval line used here 'rAmA shrI tyAgarAja premAvatAra (seeta)' is a particularly delicate line and quite a challenge musico-intellectually (is that a word?) to present. Essays can be written on how to sing just the word 'rAmA' in this line to presage the 'premAvatAra' down the line -- we have to imagine how Tyagaraja himself would have sung it.
Quoting from Shri Govindan's invaluable treasure
I have heard only instance of neraval on this line and that artist took the 'prEmAvatAra' to the proverbial dhObhi ghAt and lashed it. Sri Suryaprakash is a very learned person -- I am sure he handled it with the sensitivity it deserves.
On a slight tangent, I thought the word seeta here belongs not to this neraval line but to the next line i.e. it should be 'sItA bhAmA mATalu delpu' and I had learned the rest of the line has 'bhImAnjanEya jUchi brahma" but I am not a Telugu language expert so please correct me if I am off on either count.
-T
Quoting from Shri Govindan's invaluable treasure
My teacher would say you have to literally feel the "sambOdhanam" -- the direct addressing to rAma -- in this line and the caress in the words as T addresses rAmA as 'prEmAvatAra". He would go into rapture about how tyAgarAja has positioned the word 'rAmA' melodically in this kriti and in tODi to express this feeling of love.rAma SrI tyAgarAja prEma-avatAra sItA
bhAma mATalu telpu bhIma-AnjanEya brahma (cEsina)
O Lord rAma - the embodiment (avatAra) of Love (prEma) (prEmAvatAra) of this tyAgarAja!
have You forgotten making (cEsinadi) the awesome (bhIma) AnjanEya (bhImAnjanEya), who conveyed (telpu) You the news (mATalu) (literally words) of Your spouse (bhAma) sItA, as brahma?
I have heard only instance of neraval on this line and that artist took the 'prEmAvatAra' to the proverbial dhObhi ghAt and lashed it. Sri Suryaprakash is a very learned person -- I am sure he handled it with the sensitivity it deserves.
On a slight tangent, I thought the word seeta here belongs not to this neraval line but to the next line i.e. it should be 'sItA bhAmA mATalu delpu' and I had learned the rest of the line has 'bhImAnjanEya jUchi brahma" but I am not a Telugu language expert so please correct me if I am off on either count.
-T
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Re: Sri R. Suryaprakash USA 2018 tour at Cary, NC on Oct. 27
thenpaanan,
Yes, prEmAvatAra (in one go) rAmA appeals a great deal.
As for sItA, she can also be included before her name begins with the next line, in my view--because rAmA is called sItArAmA, rAjArAma, kalyANa rAmA and so on, and in a neraval, you also expand on his credentials thus...?
Yes, prEmAvatAra (in one go) rAmA appeals a great deal.
As for sItA, she can also be included before her name begins with the next line, in my view--because rAmA is called sItArAmA, rAjArAma, kalyANa rAmA and so on, and in a neraval, you also expand on his credentials thus...?
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Re: Sri R. Suryaprakash USA 2018 tour at Cary, NC on Oct. 27
agree with you thenpaanan and arasi sir with your views. It can be used in both ways. Infact sItArAmA is more fitting in my opinion and I felt that Sri RSP sir handled it quite well.
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Re: Sri R. Suryaprakash USA 2018 tour at Cary, NC on Oct. 27
agree with you thenpaanan and arasi sir with your views. It can be used in both ways. Infact sItArAmA is more fitting in my opinion and I felt that Sri RSP sir handled it quite well.
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Re: Sri R. Suryaprakash USA 2018 tour at Cary, NC on Oct. 27
Hamirkalyani sir,
adu sari, eppOdu nAn sAr AnEn?
madam-enbadum avasiyamA?
veRum arasi enRAl pOdumE?
adu sari, eppOdu nAn sAr AnEn?
madam-enbadum avasiyamA?
veRum arasi enRAl pOdumE?
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Re: Sri R. Suryaprakash USA 2018 tour at Cary, NC on Oct. 27
got the gist of it arasi (no sir this time