SuryaprakAsh@Vanimahal on Dec15th ,2008

rajeshnat · Post by **rajeshnat** » 15 Dec 2008, 21:39

The rAga alApanai had weight , especially the main chArukesi in its 14 minutes had all the charm of highest classical manOdharmam .Perhaps he could have sung a better suddasAveri .

The neravals were brilliant , the poorvikalyAni gentle glides at the beginning and the exuberance little later.The neraval of chArukesi in "caduvulanni delisi shankarAntshuDai" was superb . His voice added lot of base in the first half and really quick speed in the second half.

The viruththam was very detailed and it was outstanding ,particularly connecting vishwanAthan and mOhanam lines with a little small drop maharAja vishwanAthan was musically apt to salute the manOdharma mahAvidwan MVI. Also the Somu's tukkada was brilliant.

The violinist padmA shankar was excellent today, her returns for the long swara patterns in poorvikalyAni was perfectly following suryaprakash patterns.Her swift returns in darbAr was excellent , but the pick of her day was her contrast of the 14 minute alApanai in chArukesi , she bowed beautifully had a light hindustAni touch but gave a touch of her guru LGJ's chArukesi and the proportion was perfect for 7 minutes.

The mridangist umayAlapuram mAli was just good, he had a nice left right balance and nAdham , but certainly his kalapramanam was just mediocre.He was not well supported by nanganAllur swaminAthan in ghatam and was just mediocre .Their tani was just good .

1. tatvamariya taramA (s) - reetigowlai -P.Sivan
2. arunAchala nAtham - sAranga - MD
3. jaNaNi pAhi sadA ( R S) - suddasAveri - ST

4. inda parAmukhamEdu?? (N ,S) - poorvikalyANi - swami sankaradAs
neraval in "silayO eNmuRai neeka tilayO???"
5.yOchanA (R S) -darbAr -T

6A. ADamODi galadE (R N S T) - chArukesi -T
neraval in "caduvulanni delisi shankarAntshuDai"
6B. tani

7A. viruththam "theN pazhani velavaNE " - ranjani +mOhanam + sindhubhairavi - kandar alANkAram
7B. nAlaiyendru Oru nAl varumA - sindhubhairavi - madurai sOmu

The alApanai,viruththam and neraval just does not matter that much when compared to swaras of suryaprakAsh.Another new pattern in reetigowlai , another brilliant on spot manOdharma pattern in chArukesi. The darbAr swaras were just not as great as the other two.

SuryaprakAsh has two weakness that I put in his thread in vidwans and vidushi.One it looks as he is just correcting that by adding more bass to his voice , particularly in chArukEsi I heard a lot of that .But the other is that he has to play in accordance to the percussionist , just perhaps he needs to watch out more there , particularly his swaras in suddasAveri and the rare krithi of ST did not gel well with the percussion support.To that extent SuryaprakAsh could have drawn a better lakshman rekha there.

Overall a very good to excellent 2 hour 10 minutes concert.

bilahari · Post by **bilahari** » 15 Dec 2008, 22:10

Nice to see Ada Modi being elaborated on; the composition itself seems to be lying dormant these days as more artistes prefer to deal with the raga as an RTP. And "chaduvulanni telisi" is one of my favourite neraval lines in any composition.

Sathej · Post by **Sathej** » 15 Dec 2008, 23:21

I recall a recording where LGJ has played Ada Modi as the main. The Charukesi Ragam, played very elaborately in that recording was just brilliant.
Sathej

rajeshnat · Post by **rajeshnat** » 16 Dec 2008, 17:47

vijay wrote:I have a slightly different opinion - I feel that the krithi not too appropriate for the main piece although it is a very catchy tune and certainly has emotive appeal. Lacks grandeur thought - I'd prefer it with maybe a quick neraval and some swaras. Kripayajala Shoure is slightly more appropriate but as of now, I feel Charukeshi elaborations are best done as RTPs

For me adamOdi is definitely more musical than krpayA pAlaya shaurE.We always say telugu language ending with vowels becomes intrinsically very musical .The neraval is a classic there is actually neraval within a neraval caduvu in caduvulanni delisi shankarAntshuDai.

BTW suryaprakAsh sang his tillAna at the end in hamsAnandi(forgot to mention).

arasi · Post by **arasi** » 16 Dec 2008, 22:57

To me, krupayA pAlaya SourE has more solemnity and an air of seriousness. Surya's singing of it would be just right, slowing him down from his other fast krutis and letting him dwell on the plea mode of the song. Of course, AdamODi is part of his guru's repertoire and of MMI.
By the way, as a six year old (?), I heard my aunt JS ( who is a few years older to me) sing this song for the first time in Trivandrum
and I was blown away. Even today, I think of the song is such a dignified plea to God--polite too! Please protect me, SowrE...

vijay · Post by **vijay** » 16 Dec 2008, 23:30

Yes - I think Arasi has described it better. I am not saying Adamodi Galada is not musical - it is fantastic for what is probably the pionering song in that raga - very catchy tune and emotive too - but doesn't work for me as a "main" - just my opinion though...

cmlover · Post by **cmlover** » 17 Dec 2008, 01:43

I have heard that kripaya palaya was the inspiration for P Sivan's Manmatha leelayai (Haridas immortalized by MKT) and Adamodi was the inspiration for kannadasan for AaDal kaaNeero (in madurai veeran superbly sung by MLV) and I will trade my heart for both of those charukesi ....

gopubabu · Post by **gopubabu** » 17 Dec 2008, 05:58

aadal kaanero is not the lyrics of kannadasan it is composed by udumalai narayana kavi

cmlover · Post by **cmlover** » 17 Dec 2008, 07:55

Thanks for that info..