Suryaprakash@Parthasarathi Swami Sabha on Dec 21st,2019
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Vocal : Suryaprakash
Violin : Lalgudi Vijayalakshmi
Mrudangam : Patri Satish kumar
Ghatam : Vaikkom Gopalakrishnan
Concert Type : Non Nirvana - Concert to follow
Day/Duration : Saturday/ 2 hours and 15 minutes concert
Sabha / Hall : Parthasarathy swami sabha trust hall in mylapore
01A. vakrathunda mahAkaya - slokham - mAyamAlavagowali
01B. deva deva kalayAmithE(N S) - mAyamAlavagowlai - ST
neraval in jAtarUpa nibhacEla janmArcitam mamAkhila for 3 mins
swaras for 4 mins
02. evarani nee - devaamruthavarshini - T
03. vijayAmbikE (R N S) - vijayanAgari - HMB
5 mins alapana and 4 mins violin return
3 mins neraval in sangIta rUpiNi kripa shalini
4 mins swaras
04A. tiruvadi saranam(R N S T) - kAmbOdhi - GKB
15 mins alapana and 7 mins violin return
10 mins neraval in aDuttu vanda ennai taLLalAgAdu ara harAvenru shonnAlum pOdAdO
11 mins swaras
04B. tani for 16 mins
05. gAnamudhapAnam (RS) - jyothiswaroopini - kI
06. sangeetha sowbhagyame - andOlikA+ kAmBodhi +Rasikapriya +Desh + DarbarikAnadA - Suryaprakash
07A. viruththam Aanadhu SElvathu - kapi +
thEnar PoonchOlai - gopriyA + meenAi pirakkum - sindhubhairavi
07B. venkatAchala nilayE - sindhubhairavi - PD
08. kandan karunai - bhimplas - guhan
09. note -shankarabharanam - HMB
10 . short alapana of madhyamavati
Suryaprakash@Parthasarathi Swami Sabha on Dec 21st,2019
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rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
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rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Suryaprakash@Parthasarathi Swami Sabha on Dec 21st,2019
Suryaprakash with an extremely accomplished team in parthasarathy sabha had his share of intensity ,uniqueness and imagination . It was an inspiring concert. I personally recollect few occassions in the last 15 years where he was paired with the ace mrudangam undrained Batttery Patri satish kumar , but i have never heard this combo in a live concert. The constraint of a concert that is 2 hours and 15 mins had known limitations but the team worked backwards to create a successful and engaging concert.
1.Suryaprakash ventured straight into a breezy mayamalavagowlai . Incidentally most of his gurus like MA venugopal , Tirukkodikaval rajamani , sulochana pattabhiraman are in and out semmangudi schoool . But the branding and more popular school is ganakaladhara school . Semmangudi gave mmg a color that is so fresh and inspiring and suryaprakash being a 2nd generation disciple of semmangudi gave that lovely polish in jAtharoopa neraval .He followed with those ssi patterns like da pa ma ga , pa ma ga , ma ga with the distinct ma and ga cruise speed, did provide a great start for the concert.
2. Devaamruthavarshini or nadachintamani raga is almost a kharaharapriya typecast ragas . The second krithi is usually a standalone and when big krithis are sung they interest me a lot . The evarani ne interests me a a lot but more importantly that heavenly anupallavi line SivudAnO mAdhavuDanO lift sangathis that go skyligh to an immediate trough kamalA is just a thyagaraja beauty . Those anupallavi lines of sadguru is born outright for mrudangam artist to dazzle . patri utilized the full toss and played exceptionallly well with evarani.
3. Vijayanagari came in torrents as a jiva nadi after torrrential rains in a mountain.What a joy to hear this viajyambikE with such arresting lines with superb tightened kalapramanam . In this krithi of vijayanagari ,ganakaladhara MMI and this generation suryaprakash are razor thin close in excellence . WHat a lovely ideas with vijayambike with lovely neraval line and Lalgudi school return . There was Extraordinary neraval and swaras were very fulfilliing to say the least
4. KAmbOdhi came in as main. It takes extraordinary lung power, stamina and guts to present two R N S in succession where the first is submain and the other is main with another N S just before submain.Kambodhi was exceptionallly well done in alapana . The gopalakrishna bharathi song was started with the line marupadiyum then slowly looping back to tiruvadi was bit of musiri typecast. In the neraval the openthroated vocal honesty was simply fantastic.
I have heard him and many many singers usually singing the kambodhi swaras with that distinct pattern - ga ma pa ma ga - ri ga sa ri ga.This thinking musician he sang ga ma pa ma ga then some lovely patterns of swara kalpana and then again landed in ri ga sa ri ga . That was an awesome demonstration of live music with zero rote , he thinks along with the dynamics of the pakkavadhyams and really goes with the flow and strength of that days pakkavadhyam and creates magical nerval and swaras
5-6. jyothiswaroopini was a mishrachapu head turner and he sang well perhaps more to showcase the talam change . The next ragamaliga in five ragas which is his own composition came out well . Suryaprakash has clearly crafted beautifully the raga mudra words to give a meaningful context to today's situation of an average indian who has no time for music. The thrust of raga mudras words s like ayal Desha payanamm ,and darbaril enai kAnada was a right isai kavi typecast to bring rightful balance of both music and lyrics
7-9 . Viruththam in divyaprabhandam came out well particularly gopriya was a head turner . He briefly said gopriya was a whole tone raga and the cute reply from Lalgudi viji was well done . i am not a fan of venkatachala nilyam krithi , that is just a navarathri sundal krithi . The closure of kandan karunai in bheemplas and the last 3 mins count down with a western note in shankarabharanam was well received by the audience, i particularly like that last line of kandan karunai andamandidum .....to annai parashakthi
Lalgudi viji played very well for the songs , particularly her play in ragamaliga for that cute gopriya was well done . Her returns were like her appa Lalgudi jayaraman and she did not lose the intended kalapramana for any krithi. The alapana of kambOdhi was bit off for some time, her ideas took some time to reach excellence .
patri is a major success contributing accompanist . He enjoyed so much and he was inspired and at many places the controlled aggression and the sustained excellence that Patri and Suryaprakash combo gave was extremely memorable . The patterns of vijayanagari and kambodhi were superb with extraordinary right left combination from patri. Suryaprakash gives longer runway with his neraval and swaras so that also means more scope to play for vaikkom . Vaikkom played very well and the tani with patri was really superb.
The audience loved and lapped up an extremely successful concert with loud cheers at regular intervals . For me the key takeaways unbridled manodharmam with superb teamwork from all 4, particularly looking forward to hear more of Patri and Suryaprakash combo. There was zero sag literally absolutely zero sag.
Overall an excellent to outstanding concert for 2 hours and 15 mins.
1.Suryaprakash ventured straight into a breezy mayamalavagowlai . Incidentally most of his gurus like MA venugopal , Tirukkodikaval rajamani , sulochana pattabhiraman are in and out semmangudi schoool . But the branding and more popular school is ganakaladhara school . Semmangudi gave mmg a color that is so fresh and inspiring and suryaprakash being a 2nd generation disciple of semmangudi gave that lovely polish in jAtharoopa neraval .He followed with those ssi patterns like da pa ma ga , pa ma ga , ma ga with the distinct ma and ga cruise speed, did provide a great start for the concert.
2. Devaamruthavarshini or nadachintamani raga is almost a kharaharapriya typecast ragas . The second krithi is usually a standalone and when big krithis are sung they interest me a lot . The evarani ne interests me a a lot but more importantly that heavenly anupallavi line SivudAnO mAdhavuDanO lift sangathis that go skyligh to an immediate trough kamalA is just a thyagaraja beauty . Those anupallavi lines of sadguru is born outright for mrudangam artist to dazzle . patri utilized the full toss and played exceptionallly well with evarani.
3. Vijayanagari came in torrents as a jiva nadi after torrrential rains in a mountain.What a joy to hear this viajyambikE with such arresting lines with superb tightened kalapramanam . In this krithi of vijayanagari ,ganakaladhara MMI and this generation suryaprakash are razor thin close in excellence . WHat a lovely ideas with vijayambike with lovely neraval line and Lalgudi school return . There was Extraordinary neraval and swaras were very fulfilliing to say the least
4. KAmbOdhi came in as main. It takes extraordinary lung power, stamina and guts to present two R N S in succession where the first is submain and the other is main with another N S just before submain.Kambodhi was exceptionallly well done in alapana . The gopalakrishna bharathi song was started with the line marupadiyum then slowly looping back to tiruvadi was bit of musiri typecast. In the neraval the openthroated vocal honesty was simply fantastic.
I have heard him and many many singers usually singing the kambodhi swaras with that distinct pattern - ga ma pa ma ga - ri ga sa ri ga.This thinking musician he sang ga ma pa ma ga then some lovely patterns of swara kalpana and then again landed in ri ga sa ri ga . That was an awesome demonstration of live music with zero rote , he thinks along with the dynamics of the pakkavadhyams and really goes with the flow and strength of that days pakkavadhyam and creates magical nerval and swaras
5-6. jyothiswaroopini was a mishrachapu head turner and he sang well perhaps more to showcase the talam change . The next ragamaliga in five ragas which is his own composition came out well . Suryaprakash has clearly crafted beautifully the raga mudra words to give a meaningful context to today's situation of an average indian who has no time for music. The thrust of raga mudras words s like ayal Desha payanamm ,and darbaril enai kAnada was a right isai kavi typecast to bring rightful balance of both music and lyrics
7-9 . Viruththam in divyaprabhandam came out well particularly gopriya was a head turner . He briefly said gopriya was a whole tone raga and the cute reply from Lalgudi viji was well done . i am not a fan of venkatachala nilyam krithi , that is just a navarathri sundal krithi . The closure of kandan karunai in bheemplas and the last 3 mins count down with a western note in shankarabharanam was well received by the audience, i particularly like that last line of kandan karunai andamandidum .....to annai parashakthi
Lalgudi viji played very well for the songs , particularly her play in ragamaliga for that cute gopriya was well done . Her returns were like her appa Lalgudi jayaraman and she did not lose the intended kalapramana for any krithi. The alapana of kambOdhi was bit off for some time, her ideas took some time to reach excellence .
patri is a major success contributing accompanist . He enjoyed so much and he was inspired and at many places the controlled aggression and the sustained excellence that Patri and Suryaprakash combo gave was extremely memorable . The patterns of vijayanagari and kambodhi were superb with extraordinary right left combination from patri. Suryaprakash gives longer runway with his neraval and swaras so that also means more scope to play for vaikkom . Vaikkom played very well and the tani with patri was really superb.
The audience loved and lapped up an extremely successful concert with loud cheers at regular intervals . For me the key takeaways unbridled manodharmam with superb teamwork from all 4, particularly looking forward to hear more of Patri and Suryaprakash combo. There was zero sag literally absolutely zero sag.
Overall an excellent to outstanding concert for 2 hours and 15 mins.
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arasi
- Posts: 16877
- Joined: 22 Jun 2006, 09:30
Re: Suryaprakash@Parthasarathi Swami Sabha on Dec 21st,2019
Rajesh,
Suryaprakash's Partha concerts used to be something I looked forward to every season. Was it a morning concert? Such an ensemble, and as you say, Patri would really have enjoyed the verve in SP's singing. Lalgudi Viji is always a delight to listen to. Add Vaikkom to the set--a true miss for me
Gopriya, I hope will make a 'come' priya on YouTube...See your expression reflected here...
venkatAchala nilayam, vaikuNTapura vAsam--yes, has been too much with us in the singing circuits..
.
Suryaprakash's Partha concerts used to be something I looked forward to every season. Was it a morning concert? Such an ensemble, and as you say, Patri would really have enjoyed the verve in SP's singing. Lalgudi Viji is always a delight to listen to. Add Vaikkom to the set--a true miss for me
Gopriya, I hope will make a 'come' priya on YouTube...See your expression reflected here...
venkatAchala nilayam, vaikuNTapura vAsam--yes, has been too much with us in the singing circuits..
.