Suryaprakash @ Carnatica’s Samarpan

[erode14]

(auditorium of Janaki MGR college at 5pm on 21-12-09)

Dr.Hemalatha - Violin
Erode Nagaraj - Mrudangam
Nerkunam Shankar - Kanjira

1. kamalAptha kula - brindhAvana sAranga - Adhi - Thyagaraja

2. sArasamuki - gowda malhAr - rUpaka chApu - Harikesanallur Muthaiyah Bhagavathur

3. pAhi jaga janani - hamsAnandhi - Adhi - Swathi Thirunal

4. saraNam Siva Sankari - kamAs -rUpaka chApu - Yoganandha Doss

5. parama shivAthmajam - yaman kalyANi - Adhi - Dhikshithar

6. RTP - dhEsh - kaNda thruputa - Bharathiyar

7. thillAnA - suddha sArang - Adhi - Suryaprakash

8. slOkam - sindhubhairavi

Manasi Prasad was singing simyendhra madhyamam when I entered the hall. Jon Singer went to make the rava and it seemed the management did not give room for a green room! We decided to stay in the hall itself and Suryaprakash came in. Manasi sang swaras for (pannagEndhra) sayanA and R.Sanakaranarayanan played a short thani.

The theme given to Suryaprakash was ‘Carnatic Compositions in Hindusthani Ragas’. He began his recital with a few lines of brindhavana saranga and sang kamalapthakula. The clear rendition of both the ni-s and the prayogas like ‘mari risa ni"¦ mari mari risa ni"¦ÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢ made it colourful. Suryaprakash employed some patterns like 1+3 and 7+1 and sang three misrams at the final round of swaras.

He said he will tell the name of the raga after the song is over and sang sarasamuki. The swaraksharam in chamundeeswari and the short cycle swaras contained his school identity.

A noteworthy hamsanandhi came next as if someone saying aaraamse aanandhi"¦ The lucidity that Suryaprakash has in his voice made the alapana a remarkable one and ‘pahi jaga janani’ was main in this concert (I remembered Rajesh saying best sub main sometime ago). The long karvais and fine endings in niraval and the different kinds of sarvalagu patterns are really an asset for him. The flow in creative ways of singing makes the difference between an asset from singing as set(at home). We played thani in three after samam(chathusra gathi and kaNda gathi).

I liked prama shivathmajam a lot for its simple lyrical beauty and the swarakshara in sadha bhajeham.

When Suryaprakash announced that he will render a ragam thanam pallavi in dhesh, rasikas launched a warm welcome and the raga was well portraited by suryaprakash and hemalatha, enabling a national permit with a note worthy thanam. "bhAratha dhEsam endru peyar solluvAr"¦ pagai velluvAr"

[rajeshnat]

1. kamalAptha kula - brindhAvana sAranga - Adhi - Thyagaraja
...
4. saraNam Siva Sankari - kamAs -rUpaka chApu - Yoganandha Doss

Erode,
I have not heard these two numbers from suryaprakash yet. The first kamaLAputa kula , a rare thyagarAja krithi , I have had sleepless nights after listening to one by manakkAl rangarAjan, would have been lovely for sure as I know suryaprakash sings this rAga well

Are you sure the saraNam siva sankAri is in kamAs or mishra kamAS (aka khamAch),since it is carnatic compostion in hindustani ragas , i wanted to add that mishra ,,, , it is not just to nitpick you.

On a sidenote , the concert being just for 2 hours , i am assuming it makes a lot of sense to include rtp and main and cut the submain . Perhaps all musicians who have this dictum "sit before 2 hours , get up before the end of 2 hours have this approach" . How did you feel erOde on cutting the submain?Personally i think you also would have found it much more appropriate.