Suryaprakash@Sundara Vinayagar Trust (Madipakkam) on Feb 18th,2026
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Vocal : Suryaprakash
Violin : R Raghul
Mrudangam : Madipakkam Suresh - sishya of Karaikudi Mani
Ghatam : Madipakkam Murali
Concert Type : Nirvana - No concert to follow , Not Ticketed
Day : Wednesday
Duration -2 hours and 50 mins- 06:35 to 09:25 PM
Occasion : 32nd year celebration of this trust
Sabha/Hall : Abhirami Sundara Vinayakar Bhaktha Jana sabha trust/ Temple in sheelanagar, madipakkam
01A. slokham - vakra thunda mahAkAYa - nAttaikurinji
01B. gananAthanE varam tharuvAi (S) - nAttaikurinji - Suryaprakash
swaras for 4 mins
02. mAmava sadhA Janani (S) - KAnadA - ST
5 mins swaras
03. nadamAdhum nAdhan (R, N, S) - poorvikalyani - GKB
7 mins alapana and 3 mins violin return
neraval for 7 mins in kanagasabayil Ananda nadamAdhum Nathan
swaras for 8 mins
04. bAlasubramanyam pAdamE(R) - vishnupriyA - Tanjore Sankara Iyer
3 mins alapana and 1 min return
05. taayE yashodhE(N)- tOdi -OVK
neraval for 10 mins in kAlinil silambu konja kai valaigal
06A. sarOja dhala nEtri (R S T)- shankarabharanam - SS
14 mins alapana and 6 mins violin return
swaras for 13 mins
06B. tani for 14 mins
07.Speech by sabha patron for brief 8 mins
08. ayyE metta kadinam - punnagavarAli + nAdanAmakriyA + brindavana sArangA + shenjuruTTi - GKB
09A. viruththam - tirumAlin sOdhari - darbari KAnada + mayilai karpagamE - Anandabhairavi - ???
09B.madurai arasAlum - rAgamaligai - madurai sOmu or Annayampatti Adisesha Iyer
10A. viruththam - thenpazhani velavanE - hamsANandi - Tirumurugaatrupadai ??
10B. thullumadhu vetkai - hamsanandi -AGN (tirruppugazh)
11. nee nama (sowrashtram) + vAzhiya senthamizh(madhyamavati)
Suryaprakash@Sundara Vinayagar Trust (Madipakkam) on Feb 18th,2026
-
rajeshnat
- Posts: 10255
- Joined: 03 Feb 2010, 08:04
-
rajeshnat
- Posts: 10255
- Joined: 03 Feb 2010, 08:04
Re: Suryaprakash@Sundara Vinayagar Trust (Madipakkam) on Feb 18th,2026
This is the first time i am visiting this sabha held in a temple in madipakkam in a locality Sheelanagar. Ambience is very nice very comparable to RA Puram warren road pillayar temple . There was also quite a heavy crowd on wednesday . Suryaprakash and team created a very brilliant concert , it was pouring assortment of various composers connecting various deities . THe biggest surprise is concert was for 2 hours and 45 mins . Even 15 mins more of Suryaprakash is extremely satisfying . Incidentally there was also an extremely high manodharma quotient
I heard last few lines as i entered the line sarva kaayeshu sarvadha as a slokham was on , i think that is part of the famous vinayakar slokham vakra thunda mahAkAya . The surprise was what came next where it was a vinayakar krithi in ragam nattaikurinji . THat appeared as a brand new Fantastic krithi that had lovely choice of words like gananAthanE varam tharuvai where the phrase varam tharuvai fitted exceptionally well the gentle lovely descent of this extraordinary ragam nattaikurinji . nattaikurinji also continued with its muse in the line kanamum unnaiye maravathE nilayE (did you get the gentle descent with the phrases). My mind flashed with many numbers of vinayagar krithis , nattaikurinji was never taken by any one is what i think and i am fairly sure that i am right unless some one points out if there is a combo of Vinayaka and nattaikurinji .
I thought this could be a papanasam sivan composition but at the end suryaprakash announced it was his . Suryaprakash cherrypicks ragas where there is unique unhandled composition theme in that ragam (for eg in last few years he has composed swarajathi in reetigowlai, saveri and sahana). Very Well done trio of nattaikurinji(such a beautiful raga it is ) , vinayaga krithi and thamizh . THe joy of nattaikurinji also ended with a sparkling swaras where he almost sang in one go like a trs mama .
Second number was mAmava sadha in KAnadA , the MMI school rules that ragam and surely came out well with sparkling round of swaras again more like TRS mama. At certain point when both percussion played in tandem felt the volume was high, i went to the mike man and he obliged to reduce the volume of percussion by 30 degrees anticlockwise
THe submain was a rare GKB krithi nadamadum nAthan the most noteworthy part was so many variations in the neraval with the pallavi line kanagasabhai nadamAdum nAthan . Rare Ragam vishnupriya came next as a standalone filler and the rendition was very nice , Late Tanjore Sankara iyer the uttama vaggeyakkara genius picked this ragam vishnupriya and he brilliantly composed on Lord murugan this krithi Balasubramanyam padame thunai . Hope more and more take this ragam and many gems of TSI.
Taaye YashodhE was a good janaranjakam contrast to the rare vishnupriya , there was another long round of neraval in kalinil silambu konja that had a cocktail of both MMI and Madurai Somu with a bedham from todi to mohanakalyani and back . VOice till todi had lovely gravitas and power and that helped a lot for the main shankarabharanam . Shankarabharanam can sag easily but there was not an iota of sag . Suryaprakash most prominent musical school that hardly gets noticed/remembered is his semmangudi school . He learnt from one brilliant guru MA Venugopal and his first guru Tirukodikaval rajamani (his uncle/athimber) There are many great SSI school first generation teachers and this shankarabharanam had a lot of semmangudi pidi . Has semmangudi ever sung sarojadhala NEtri - my memory says he has not, i am only thinking MS amma saroja dhala netri is most known for that era . some one can clarify if ssi has sung sarojadhala netri. Swaras in shankarabharanam were fantastic. There is an element of novelty to notice for any rasika in shankarabharanam mel sthayi especially in swaras , that is how lot of phrases of storm bodhi and shankarabharanam have commonality yet they are so musically distinct if handled with depth. Suryaprakash gave a grand semmmangudi'sh shankarabharanam
Post main the ragamaliga Ayye metha kadinam was fantastic with so many ragas- such a great emotive GKB composition that has the great even balanced pace with superb choice of muse and words .THe next viruththam on Goddess ambAl was very very detailed in darbari and anandabhairavi and may be one more raga in between , i thought he will jump towards a sketch of madhyamavati and may be end up with karpagamE . But he gave even longer song Madurai arasalum (what a stamina to sing such a long viruththam and ending with another long Madurai arasAlum) , for sure no one brings Madurai somu in todays circuit as much as suryaprakash. Hamsanandi came next it is a great raga and the tirupppugazh was nice and he wrapped with a great round of applause after customary mangalam
R Raghul is a very underrated brilliant artist . He writes with the id violinlover in this forum , he is actually also an equal MCLover .THe fingering and alacrity of CHandru sir was completely present with Raghul , i especially liked his followup in the viruththam where phrases like say kanchi kamaAkshi, Madurai Meenakshi , tirukaragavoor Abirami where the on spot improvisation of som'uish suryaprakash was caught so well by chandru'ish Raghul. Raghul toes so well with the vocalist and keeps the kalapramanam tightness.
Both the percussion artists played with exuberance, slightly slow for few krithis but still great . For some time in early part the volume was high especially with mrudangam . Madipakkam Suresh tani first round reminded a lot like his guru Karaikudi mani lot of fireworks . They both did well to lift the concert to very high quality. Madipakkam Murali had nice tap and his aggression was suiting the energy and toeing nature of both vocalist and violinist respectively.
Tiruvidamarudhur Sankar??an?? is a senior mrudanga vidwan , he spoke wonderfully post tani ,his insights on all 4 were crisp and to the point. Particularly he praising suryaprakash on the contextual part of each krithi was very nice(for eg how he sang in kanda nadai neraval for the GKB poorvikalyani krithi) . One has to give it this sabha - patrons like Sankaran and few more whom i dont know for holding a yearly concert series in madipakkam , there is a lot of crowd and the fact they are conducting for 30 plus years is exemplary service . All said it was 2 hours and 45 mins concert, the last season the max he had was academy this is now another 15 mins . In that extra minutes what i got kaalinil silabu neraval and ayye metha kadinam - thookindu poyiduchu (concert lifted up)with extra 15 mins
Overall an excellent to outstanding concert for 2 hours and 45 mins
I heard last few lines as i entered the line sarva kaayeshu sarvadha as a slokham was on , i think that is part of the famous vinayakar slokham vakra thunda mahAkAya . The surprise was what came next where it was a vinayakar krithi in ragam nattaikurinji . THat appeared as a brand new Fantastic krithi that had lovely choice of words like gananAthanE varam tharuvai where the phrase varam tharuvai fitted exceptionally well the gentle lovely descent of this extraordinary ragam nattaikurinji . nattaikurinji also continued with its muse in the line kanamum unnaiye maravathE nilayE (did you get the gentle descent with the phrases). My mind flashed with many numbers of vinayagar krithis , nattaikurinji was never taken by any one is what i think and i am fairly sure that i am right unless some one points out if there is a combo of Vinayaka and nattaikurinji .
I thought this could be a papanasam sivan composition but at the end suryaprakash announced it was his . Suryaprakash cherrypicks ragas where there is unique unhandled composition theme in that ragam (for eg in last few years he has composed swarajathi in reetigowlai, saveri and sahana). Very Well done trio of nattaikurinji(such a beautiful raga it is ) , vinayaga krithi and thamizh . THe joy of nattaikurinji also ended with a sparkling swaras where he almost sang in one go like a trs mama .
Second number was mAmava sadha in KAnadA , the MMI school rules that ragam and surely came out well with sparkling round of swaras again more like TRS mama. At certain point when both percussion played in tandem felt the volume was high, i went to the mike man and he obliged to reduce the volume of percussion by 30 degrees anticlockwise
THe submain was a rare GKB krithi nadamadum nAthan the most noteworthy part was so many variations in the neraval with the pallavi line kanagasabhai nadamAdum nAthan . Rare Ragam vishnupriya came next as a standalone filler and the rendition was very nice , Late Tanjore Sankara iyer the uttama vaggeyakkara genius picked this ragam vishnupriya and he brilliantly composed on Lord murugan this krithi Balasubramanyam padame thunai . Hope more and more take this ragam and many gems of TSI.
Taaye YashodhE was a good janaranjakam contrast to the rare vishnupriya , there was another long round of neraval in kalinil silambu konja that had a cocktail of both MMI and Madurai Somu with a bedham from todi to mohanakalyani and back . VOice till todi had lovely gravitas and power and that helped a lot for the main shankarabharanam . Shankarabharanam can sag easily but there was not an iota of sag . Suryaprakash most prominent musical school that hardly gets noticed/remembered is his semmangudi school . He learnt from one brilliant guru MA Venugopal and his first guru Tirukodikaval rajamani (his uncle/athimber) There are many great SSI school first generation teachers and this shankarabharanam had a lot of semmangudi pidi . Has semmangudi ever sung sarojadhala NEtri - my memory says he has not, i am only thinking MS amma saroja dhala netri is most known for that era . some one can clarify if ssi has sung sarojadhala netri. Swaras in shankarabharanam were fantastic. There is an element of novelty to notice for any rasika in shankarabharanam mel sthayi especially in swaras , that is how lot of phrases of storm bodhi and shankarabharanam have commonality yet they are so musically distinct if handled with depth. Suryaprakash gave a grand semmmangudi'sh shankarabharanam
Post main the ragamaliga Ayye metha kadinam was fantastic with so many ragas- such a great emotive GKB composition that has the great even balanced pace with superb choice of muse and words .THe next viruththam on Goddess ambAl was very very detailed in darbari and anandabhairavi and may be one more raga in between , i thought he will jump towards a sketch of madhyamavati and may be end up with karpagamE . But he gave even longer song Madurai arasalum (what a stamina to sing such a long viruththam and ending with another long Madurai arasAlum) , for sure no one brings Madurai somu in todays circuit as much as suryaprakash. Hamsanandi came next it is a great raga and the tirupppugazh was nice and he wrapped with a great round of applause after customary mangalam
R Raghul is a very underrated brilliant artist . He writes with the id violinlover in this forum , he is actually also an equal MCLover .THe fingering and alacrity of CHandru sir was completely present with Raghul , i especially liked his followup in the viruththam where phrases like say kanchi kamaAkshi, Madurai Meenakshi , tirukaragavoor Abirami where the on spot improvisation of som'uish suryaprakash was caught so well by chandru'ish Raghul. Raghul toes so well with the vocalist and keeps the kalapramanam tightness.
Both the percussion artists played with exuberance, slightly slow for few krithis but still great . For some time in early part the volume was high especially with mrudangam . Madipakkam Suresh tani first round reminded a lot like his guru Karaikudi mani lot of fireworks . They both did well to lift the concert to very high quality. Madipakkam Murali had nice tap and his aggression was suiting the energy and toeing nature of both vocalist and violinist respectively.
Tiruvidamarudhur Sankar??an?? is a senior mrudanga vidwan , he spoke wonderfully post tani ,his insights on all 4 were crisp and to the point. Particularly he praising suryaprakash on the contextual part of each krithi was very nice(for eg how he sang in kanda nadai neraval for the GKB poorvikalyani krithi) . One has to give it this sabha - patrons like Sankaran and few more whom i dont know for holding a yearly concert series in madipakkam , there is a lot of crowd and the fact they are conducting for 30 plus years is exemplary service . All said it was 2 hours and 45 mins concert, the last season the max he had was academy this is now another 15 mins . In that extra minutes what i got kaalinil silabu neraval and ayye metha kadinam - thookindu poyiduchu (concert lifted up)with extra 15 mins
Overall an excellent to outstanding concert for 2 hours and 45 mins
Last edited by rajeshnat on 21 Feb 2026, 21:14, edited 1 time in total.
-
rajeshnat
- Posts: 10255
- Joined: 03 Feb 2010, 08:04
Re: Suryaprakash@Sundara Vinayagar Trust (Madipakkam) on Feb 18th,2026
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Suryaprakash@Sundara Vinayagar Trust (Madipakkam) on Feb 18th,2026
------------------------------------------------------------------
Vocal : Suryaprakash
Violin : R Raghul
Mrudangam : Madipakkam Suresh - sishya of Karaikudi Mani
Ghatam : Madipakkam Murali
Duration -2 hours and 50 mins- 06:35 to 09:25 PM
GLICSPAWES 2026 "Goto LIve Concert Show PAtronage Without Excuses Series" concert #F of Z(hopefully Z(26) is goal) . THere is no ragam starting with letter F . Anyway Let F stands for Farans, that is associated with mruduangam pattern
www.rasikas.org/forums/viewtopic.php?p=385574#p385574
Suryaprakash@Sundara Vinayagar Trust (Madipakkam) on Feb 18th,2026
------------------------------------------------------------------
Vocal : Suryaprakash
Violin : R Raghul
Mrudangam : Madipakkam Suresh - sishya of Karaikudi Mani
Ghatam : Madipakkam Murali
Duration -2 hours and 50 mins- 06:35 to 09:25 PM
GLICSPAWES 2026 "Goto LIve Concert Show PAtronage Without Excuses Series" concert #F of Z(hopefully Z(26) is goal) . THere is no ragam starting with letter F . Anyway Let F stands for Farans, that is associated with mruduangam pattern
www.rasikas.org/forums/viewtopic.php?p=385574#p385574