Suryaprakash@Vanimahal(chandrasekara swami hall) on Aug 28th,2011
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Vocal : Suryaprakash
Violin : Kandadevi vijayaraghavan
Mrudangam : ThanjAvur ramadAs
KanjirA : Nerkunam Shankar
Concert duration/Day : 3 hours and 5 minutes / Saturday
1. viribOni - bhairavi - Pacchimiryam Adiappiah
2. sadAnanda tAndavam (N,S)- bahudAri - AchutadAsar
7 mins neraval in "muttarum siddharum munivargaLum mOna mAdhavarum mAmUvargaLum"
5 mins swaras
3. venugAna lOluni (R,S) - kedAragowlai - T
6 mins alapana and 4 mins violin return
4 mins of swaras
4. paramapurusha (S) - vasantA - ST
5 mins of swaras
5. SoundararAjam (R N) - brindAvana sArangA - MD
10 mins alapana , 4 mins violin return
mins of neraval in "Tumburu Nuta Shree Kantam Duritaapaha Vaikuntam"
6. sakalagraha - atAna - PD
7A. narada gAna vishArada sharadha(R S T) - kalyAni- Walajahpet venkataramana bhAgavathar
14 mins alapana , 5 mins violin return
11 mins of swaras
7B. tani for 11 mins
The opening in viribOni was certainly not the best of bONi(start). The accompanists volume was considerably higher than the vocalist , most irritating was the volume of mrudangam. With bahudAri, a relatively better sound adjustment the vocalist volume was raised and the accompanist volume was bit reduced , it appeared to balance out and with sadananda tandavam the concept was stabilizing in sound , suryaprakash neraval in the muttarum siddharum was well done , the dose of swaras in bahudari matched up well.
The kedaragowlai alap was well done , a little more questioning bhavam would have better , vijayaraghavan requested to raise the volume of the violin during his alapana turn and with that I found his play was bit slightly in the louder side .venugAna loluni krithi was sung well with a nice round of swaras. After a fairly slower no , it was time for a fairly faster krithi tirunal's vasantha had a very good swati polish of swaras.
The brindAvana saranga alapana was in dikshitar tradition ,not the brindAvani . I was pleased with his rendition, particularly the neraval was very engaging in both vilambit and a little faster dhuritA AhA vaikuntam. AtanA krithi of PD was just a pass thru not much to get any perceptible aesthetics.
THe day's best alapana was in kalyAni and the surprise was a rare WvB krithi that he announced just before rendition. THis WVB krithi in sanskrit was not known to me (can some one like keerthi help me in knowing who else renders this WVB krithi?), the sanskrit krithi had a lot of overlap with MD's avayambA navaavarna krithi .The whole main was aesthetic, a kind of kalyAni that was well sung with a well rounded creative swara patterns that really was very classical.
Suryaprakash@Vanimahal on Aug 28th,2011
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rajeshnat
- Posts: 10121
- Joined: 03 Feb 2010, 08:04
Re: Suryaprakash@Vanimahal on Aug 28th,2011
8. RTP varamu in tisra triputa tAlam
pallavi line was "manda hAsa vadanA harekrishna"
7 mins rAgam , 7 mins tAnam with mrudangam
16 mins pallavi and swaras in varamu + hamsAnandi + mOhanam + revati
9. muddukrishna (RS)- shenjuruTTi - OVK
10. natavara nAgara??? - behAg - meerA
11A. viruththam "thenpazhAni velavanE" - sindubhairavi - tirumurgatrupadai
11B. nAlai enDru oRu nAl - sindubhairavi - Madurai Somu
12. thillAna tomtira thrani ....tana thirAna(kaliyagum kanda kannkanda deivam) - basantbahar - maharajapuram santhanam
13. pavamana + vazhiya senthamizh
The best of the day was indeed the pallavi in varamu. It was a very expressive rendition with a lot of brighas in alapana having a nice nAdaswara style . TAnam was very creative with tanjavur rAmadas giving more his PMI school of rhythm, in the sense the patterns had a nice restraint and intelligent patterns to a generally sarvalaghu prominent style of Suryaprakash.
The pallavi was in tisra triputa tAlam and had also trikAlam. RagamAliga swaras were very creative, in general I hear him excelling in the cluster of hindolam-chandrakowns and varamu had a nice symmetry which gave him more scope to be bit more creative . Hamsanandi and revati was well done but the mOhanam swaras were very imaginative and I heard few new patterns.
IN the tukkadA I liked his shenjurutti OVK krithi and the last Santhanam thillAna in basant bahAr. Ages since I heard that thillAna of santhanam which is dedicated to His holiness chandrasekara swami, I guess Suryaprakash took it as the vanimahal main hall was named after the pontiff chandrasekara swami. Sindubhairavi of Somu's nAlai eNdru ORu nAl was with so much energy and I was not that impressed with behAg meera bhajan , but in general the crowd lapped most of the tukkadas.
Few words of accompanist:
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The violinist kandadevi vijayaraghavan (grandson of kandadevi alagiriswami )just reminded a bit of delhi sundarrajan in his immediate response and sense of proportion, May be if he had not asked his dil MangE volume More in kedaragowlai , I would have loved.
Tanjavur ramadas faithfully follows PMI school , there is a right left balance especially his toppi usage , restraint but I felt there was a dip in stamina post RTP. Our forumite nerkunam shankar did complement well and played a nice round of tani. I would have been bit happier if there is a slight raise of volume in mridangam and that proportionate cut of violin.
Overall varamu rtp and the rare kalYAni was most notable to me , the song list had a varied spread of vaggeyakkaras and it was a good takeaway for the reasonable crowd (~250).
Vanimahal sound wiring :
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In general vanimahal has a serious acoustic problem , I am seeing this for the last few years in the concerts that I attended , some where in the center the speaker placement tears your ears, the last 15 rows you hear feebly some where in the first half it is not even. vanimahal sabha should perhaps rewire and look at fairly even distribution of sound.
Overall a very good concert to excellent for 3 hours and 5 mins.
pallavi line was "manda hAsa vadanA harekrishna"
7 mins rAgam , 7 mins tAnam with mrudangam
16 mins pallavi and swaras in varamu + hamsAnandi + mOhanam + revati
9. muddukrishna (RS)- shenjuruTTi - OVK
10. natavara nAgara??? - behAg - meerA
11A. viruththam "thenpazhAni velavanE" - sindubhairavi - tirumurgatrupadai
11B. nAlai enDru oRu nAl - sindubhairavi - Madurai Somu
12. thillAna tomtira thrani ....tana thirAna(kaliyagum kanda kannkanda deivam) - basantbahar - maharajapuram santhanam
13. pavamana + vazhiya senthamizh
The best of the day was indeed the pallavi in varamu. It was a very expressive rendition with a lot of brighas in alapana having a nice nAdaswara style . TAnam was very creative with tanjavur rAmadas giving more his PMI school of rhythm, in the sense the patterns had a nice restraint and intelligent patterns to a generally sarvalaghu prominent style of Suryaprakash.
The pallavi was in tisra triputa tAlam and had also trikAlam. RagamAliga swaras were very creative, in general I hear him excelling in the cluster of hindolam-chandrakowns and varamu had a nice symmetry which gave him more scope to be bit more creative . Hamsanandi and revati was well done but the mOhanam swaras were very imaginative and I heard few new patterns.
IN the tukkadA I liked his shenjurutti OVK krithi and the last Santhanam thillAna in basant bahAr. Ages since I heard that thillAna of santhanam which is dedicated to His holiness chandrasekara swami, I guess Suryaprakash took it as the vanimahal main hall was named after the pontiff chandrasekara swami. Sindubhairavi of Somu's nAlai eNdru ORu nAl was with so much energy and I was not that impressed with behAg meera bhajan , but in general the crowd lapped most of the tukkadas.
Few words of accompanist:
------------------------
The violinist kandadevi vijayaraghavan (grandson of kandadevi alagiriswami )just reminded a bit of delhi sundarrajan in his immediate response and sense of proportion, May be if he had not asked his dil MangE volume More in kedaragowlai , I would have loved.
Tanjavur ramadas faithfully follows PMI school , there is a right left balance especially his toppi usage , restraint but I felt there was a dip in stamina post RTP. Our forumite nerkunam shankar did complement well and played a nice round of tani. I would have been bit happier if there is a slight raise of volume in mridangam and that proportionate cut of violin.
Overall varamu rtp and the rare kalYAni was most notable to me , the song list had a varied spread of vaggeyakkaras and it was a good takeaway for the reasonable crowd (~250).
Vanimahal sound wiring :
----------------------
In general vanimahal has a serious acoustic problem , I am seeing this for the last few years in the concerts that I attended , some where in the center the speaker placement tears your ears, the last 15 rows you hear feebly some where in the first half it is not even. vanimahal sabha should perhaps rewire and look at fairly even distribution of sound.
Overall a very good concert to excellent for 3 hours and 5 mins.
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keerthi
- Posts: 1309
- Joined: 12 Oct 2008, 14:10
Re: Suryaprakash@Vanimahal on Aug 28th,2011
This kalyAni kRti on nArada is a really beautiful one. See http://www.karnatik.com/c3186.shtml for the lyric.
There is an upload on sangeetapriya of some other artiste singing it. Can't remember who, and their search function is disabled currently.
In terms of lyrical and musical excellence, this one is right on the top of the list of nArada songs, along with the darbAr nAradaguruswAmi and tODi gAnalOla karuNAlavAla.
There is an upload on sangeetapriya of some other artiste singing it. Can't remember who, and their search function is disabled currently.
In terms of lyrical and musical excellence, this one is right on the top of the list of nArada songs, along with the darbAr nAradaguruswAmi and tODi gAnalOla karuNAlavAla.