Accompanied by Violin - VL KumAr and Mridangham - B.SivarAman
1.vanajAksha ninnE kOri(varnam) - mandAri - MV
2. rAju vedalA jUthA murArE (N,S)- tOdi - T
neraval in "kAvEri theera mu nannu"
3. sitApathi nA manasunA (R,S)- kamAs - T
4. SounderarAjam (R) - brindAvana sArangA - MD
5. sevikka vendumayyA (S)- AndhOlikA -MT
6. nijadAsa varadA (R, N, S)- kalyAni - PSA
neraval in "bhujagAdhi vatsayanA bhumijA ramanA"
SuryaprakAsh started with a very good and rare mandAri . An excellent rAju vedalA followed with a very expressive neraval was excellent . The swaras were measured and gelled well with the neraval. An excellent alApana and sarvalaghu downpour of kAmAs was presented aesthetically.
The days best was his SournderarAjam ,having heard the same few years before where the style of brindavanasAranga was more like a hindustani dhrupad style , the rendition was slow and very moving . AndhOlikA was average , certainly there was an excess censor cut of swaras (perhaps I am comparing his rendition in our rasikas.org), possibly there was poor support of sarvalaghu mridangam .
kalyAni is certainly not my cup of tea , but I could notice a lot of vigour in his alApana rendition.The neraval was quite good and towards the end in swaras there was quite a lot of manOdharmam exhibited and there were definite unique patterns that I heard for the first time.
SuryaprakAsh@SKGS on Sept26th,2007
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rajeshnat
- Posts: 10121
- Joined: 03 Feb 2010, 08:04
7A. RTP in kAnaDA
9 minutes of rAga alApana , 6 minutes of return , 6 minutes of tAnam and 10 minutes of pallavi with kAnadA swaram
pallavi line "mandahAsa vadanA hare krishna", in total 31 minutes
7B. tani for 7 minutes
7C. swara rAgamAliga in nAttaikurinji + simm madhyamam + mOhanam + shuruTTi + kAnadA for 9 minutes.
8. inru varuvAnO nAlaiyO - kalyAnavasantham -
9A. viruththam "vannamAl varayE" in hameerkalyAni + "yetharUm perum keerthi" in sindhubhairavi - pAsuram
9B. venkAtachalanilayam - sindhubhairavi - PD
10. kAdi mOdi - shankarAbharanam - thiruppugazh
11. pavamAna
The second half suffered with what I would call SKGS weekday syndrome , where the practice of just giving concert time from 6:30 to 8:45 did have an effect on the quality. I do know that (not heard though) pallavi jAmbhavAns like TRS and TNS do sing a pallavi and give a tani and then sing swara rAgamAliga . That move by SuryaprakAsh was more of a miss than a hit . The kAnadA alApanai was very good (looked he could have gone more with ghanam and nayam in kAnadA which he usually does). The tAnam was very good, there was a trikAlam in the pallavi with just a dose of kAnadA swaram and a tani .
There was innovation in swara rAgamAligA ,it turned out that he was connecting thematically the pallavi line with different OOthukAdu venkatakavi krithi lines. He did not sing any of the OVK lines in the pallavi like how aruna sayeeram does, but more connecting with alApanai and swaraaksharam. He was excellent in simm madhyamam where he did a swara aksharam to get the lines of the asaindhAdhum mayil onru krithi of OVK. For the nAttaikurinji there was an alApanai indicating pAl vadiyum mugham. The mOhanam did not have sarvalaghu possibly because he changed the nadai connected with swara aksharam the lines swAgatham krishna, shurutti had a combo of alApana and swara aksharam to connect with parvai onre pOdumE. Perhaps he was trying to be nice in giving the mridangist a tani before it is too late or was it a planned sequence I donot know,to me the innovation was conceived well, but I certainly felt the execution of swararAgamaliA post tani appears not the best.
The mega surprise was our dear's inru varuvAnO in kalyAnavasantham, with one lady next to me making a comment yAr intha arasi why is he taking latest songs rather singing a well established carnatic song. Possibly no one can answer all these questions. The pAsuram was ok in hameerkalyAni ,very good in sindhu bhairavi. PD's famous venkatAchalanilayam was very good , the last ShankarAbharanam was just ok.
Both the accompanists did not perform well. There was a good azhutham in mridangam,but there was no sarvalaghu or any embellishments in sivarAman's play . VL kumAr's violin was not good at all. His playing never appeared classical to me . Also there was too much off shruti bowing in kalyAni and his sound(I noticed he never stopped bowing) was bit obtrusive to the alApana rendition of kalyAni. Surprisingly kumAr played sahAna phrases in kAnadA too. VL kumAr can concentrate in playing with more attention and perfection. Overall not a top league SuryaprakAsh concert.
9 minutes of rAga alApana , 6 minutes of return , 6 minutes of tAnam and 10 minutes of pallavi with kAnadA swaram
pallavi line "mandahAsa vadanA hare krishna", in total 31 minutes
7B. tani for 7 minutes
7C. swara rAgamAliga in nAttaikurinji + simm madhyamam + mOhanam + shuruTTi + kAnadA for 9 minutes.
8. inru varuvAnO nAlaiyO - kalyAnavasantham -
9A. viruththam "vannamAl varayE" in hameerkalyAni + "yetharUm perum keerthi" in sindhubhairavi - pAsuram
9B. venkAtachalanilayam - sindhubhairavi - PD
10. kAdi mOdi - shankarAbharanam - thiruppugazh
11. pavamAna
The second half suffered with what I would call SKGS weekday syndrome , where the practice of just giving concert time from 6:30 to 8:45 did have an effect on the quality. I do know that (not heard though) pallavi jAmbhavAns like TRS and TNS do sing a pallavi and give a tani and then sing swara rAgamAliga . That move by SuryaprakAsh was more of a miss than a hit . The kAnadA alApanai was very good (looked he could have gone more with ghanam and nayam in kAnadA which he usually does). The tAnam was very good, there was a trikAlam in the pallavi with just a dose of kAnadA swaram and a tani .
There was innovation in swara rAgamAligA ,it turned out that he was connecting thematically the pallavi line with different OOthukAdu venkatakavi krithi lines. He did not sing any of the OVK lines in the pallavi like how aruna sayeeram does, but more connecting with alApanai and swaraaksharam. He was excellent in simm madhyamam where he did a swara aksharam to get the lines of the asaindhAdhum mayil onru krithi of OVK. For the nAttaikurinji there was an alApanai indicating pAl vadiyum mugham. The mOhanam did not have sarvalaghu possibly because he changed the nadai connected with swara aksharam the lines swAgatham krishna, shurutti had a combo of alApana and swara aksharam to connect with parvai onre pOdumE. Perhaps he was trying to be nice in giving the mridangist a tani before it is too late or was it a planned sequence I donot know,to me the innovation was conceived well, but I certainly felt the execution of swararAgamaliA post tani appears not the best.
The mega surprise was our dear
's inru varuvAnO in kalyAnavasantham, with one lady next to me making a comment yAr intha arasi why is he taking latest songs rather singing a well established carnatic song. Possibly no one can answer all these questions. The pAsuram was ok in hameerkalyAni ,very good in sindhu bhairavi. PD's famous venkatAchalanilayam was very good , the last ShankarAbharanam was just ok.Both the accompanists did not perform well. There was a good azhutham in mridangam,but there was no sarvalaghu or any embellishments in sivarAman's play . VL kumAr's violin was not good at all. His playing never appeared classical to me . Also there was too much off shruti bowing in kalyAni and his sound(I noticed he never stopped bowing) was bit obtrusive to the alApana rendition of kalyAni. Surprisingly kumAr played sahAna phrases in kAnadA too. VL kumAr can concentrate in playing with more attention and perfection. Overall not a top league SuryaprakAsh concert.
Last edited by rajeshnat on 27 Sep 2007, 12:47, edited 1 time in total.
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arasi
- Posts: 16873
- Joined: 22 Jun 2006, 09:30
Suryaprakash,
Thank you for singing 'inRu varuvAnO?'. I do appreciate it (though mami sitting next to Rajesh had problems with it, hope a few in the audience liked it too!).
Rajesh,
Thanks for being there, and for saying it with a smile and all.
What can I say about the 'cheer me along' fellers except that they are very kind? This means you, Ravi and Vijay...
Thank you for singing 'inRu varuvAnO?'. I do appreciate it (though mami sitting next to Rajesh had problems with it, hope a few in the audience liked it too!).
Rajesh,
Thanks for being there, and for saying it with a smile and all.
What can I say about the 'cheer me along' fellers except that they are very kind? This means you, Ravi and Vijay...
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mahavishnu
- Posts: 3341
- Joined: 02 Feb 2010, 21:56
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rajeshnat
- Posts: 10121
- Joined: 03 Feb 2010, 08:04
Arasi,arasi wrote:Though mami sitting next to Rajesh had problems with it, hope a few in the audience liked it too!.
Your kalyAnavasantham was well received and well applauded.kalyAnavasantham is a very apt selection as it is very mass friendly. I am assuming the mAmi next to me wants always lyrics where she cannot comprehend. Lot of us when they understand lyrics in first pass, they have an opinion that the krithi is not the best of sampradAyam.
All,
Has anyone heard rtp's where swararAgamAliga was sung after tani in a live concert. I have heard thru grapevine that TNS and TRS used to do? I would like to know if any of u can throw more light on this aspect?