Suryaprakash@SKGS on Dec 31st,2016
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Vocal : Suryaprakash
Violin : Karaikkal Venkatasubramanian
Mrudu angam : Tanjore Murugabhoopathy
Ghatam : Hariharasharma - is he the son of SUbashChandran and brother of chandraksekara sharma from TH Vinayakram family (some one can clarify)
Concert Type : Nirvana - No concert to follow and Ticketed concert
Day/Duration : Saturday -2 hours and 15 minutes concert
Sabha : Sree krishna gana sabha
Hall : SKGS - kamakoti hall, T Nagar
1A. vakrathunda mahAkAya - nattai slokham
1B. jaya jaya swamin jaya jaya (S) - nAttai - NT
swaras for 6 mins
2.sAmikku sari evarrE (R) - kedaragowlai - Psivan
raga alapana for 2 mins with no violin return
3. bhajana seya rAdhA (R N S)- dharmavati - MV
6 mins alapana and 2 mins violin return
4 mins neraval in niravadhi sukha dhayakuni
3 mins swaras
4. mAyammA starting with nyayamA- Ahiri - SS
5.manavyAla (S)- nalinakanthi -T
5 mins swaras
6A. maragatha vallim (R S T)- kAmbOdhi - MD
14 mins alapana and 5 mins violin return
swaras for 10 mins
6B. tani for 16 mins
7. RTP in sumanesa ranjani
Pallavi --->>> mAnini ni ga mA sanchAri ni sumanesa ranjani
24 mins pallavi
Swaras with swaraksharas in sumanesaranjani +behag + darBari kAnadA
8A. viruththam - thani thani mukhani pizhindu - hamsanandi - is this tevaram or thiruvasagam??? +
pazhani malai thooram illai - Rakhesri
8B. ninaikAda neramillai - Rakeshri - kavignar vaali (popularized by madurai somu)
9A. vandAi en Manam pugundAi - sindhubhairavi - Azhwar pAsuram
9B. ramachandra prabhu - sindhubhairavi - ST
10. shanthi nilava vendum - thillang - sethu madhava rao
11. pavamana + mangalam kosalendra + vazhiya senthamizh
Suryaprakash@SKGS on Dec 31st,2016
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rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Suryaprakash@SKGS on Dec 31st,2016
SKGS mini hall has one of the best acoustics and also the best cane chair. The concert was certainly a nice one , the excellence of suryaprakash and murugabhoopathy was all over the place . The violin was not that great - karaikkal venkatasubramaniam had a basic issue of engaging in a musical dialogue during song rendition . The kanjira artist almost did not play - certainly not complaining as it was bhoopathy who gave his energy for the longish vocalist sangathis and also doubled up for upapakkavadhyam
The start in vakrathunda seguiing to jaya jaya was well done.Nice diction of this lovely narayana theerthar with lovely swaras and a rolling bhoopathy gave me enough oomph. The sketch of kedaragowlai was concise and the krithi of sivan was just coasting along . IF i am right this is the first kedaragowlai ragam , I love the ragam but I would have loved it better if there was more elaboration.
Dharmavathi R N S was like a measured submain . It was more like vijay siva typecast to me. When everything is measured one feels hey some thing can go bit more . Particularly liked his neraval the most and the alapana.
The best was from ahiri onwards. Lovely chowka kala sowkhyam with almost zero violin return and continous mrudu touches of bhoopathy I loved the leisurely pace and the emote that this shyama sastri krithi brings with this ahiri. From ahiri to nalinakanthi , it was centered on bhoopathy -suryaprakash . What a joy to hear nalinakanthi - completely 5th gear Ferrari schumacher finish. Swaras were to the core defined by manodharmam , easily the best piece for me . For almost the whole swaras he sang like TRS mama type and there was no fragmentation of violin return
Voice opened up already and with KambOdhi it tasted best. alapana was well done - very madhyamakala touches not much of higher octave notes . The krithi diction in sanskrit and the GNB touches of maragadha vallim I loved it a lot. Particularly this krithi most of the musicians barring KVN take this to have a R S T main. I am not complaining the lack of neraval as Pallavi is usually guaranteed.
No time wasted and the raga alapana of sumanesaranjani was taken . This raga has close contours with madhuvanti for a change may be i have graduated to clearly disambiguate between the two .From the first second i got the raga right as sumanesa ranjani.ALapana was bit short but the taanam was quite well done , taanam was longer than alapana and I am not complaining .
THe pallavi line had a lot of swarakshara poruttam , his creativity with some landing notes at ni ga ma, sa ga sa ma were creative. The combo of ragas of behag and darbari showcased his strength of singing bit with longer jarus. As with musicians from the time of somu/mlv darbAri as a last swararagamaliga was a big feast as it is sung more elaborately . IN all the swara kalpanas the approach was to sing with leisure or bit stately gait of slower notes in first half and then an immediate sequencing of super fast notes - what can i say there with bhoopathy really rocking there to guide suryaprakash.
HE was given extra time for about 15 mins or so and the first viruththam in hamsanandi that MMI sings was taken . Hamsanandi is a match winner and I liked it and the somu pidi of ninaikada neramillai was open throated vocal honesty. There was a chuckle when he sang pazhani malai vegu thooram illlai eNNokku neramillai. The next azhwar pasuram in sindhu bhairavi was sung well and ramachandra prabhu
gave a great closure
He wished happy newyear and he sang a lovely shanthi nilava vendum. Tilang was showcased in his own way- i certainly did not feel that I heard a DKJ-DKP tape. All the tukkadas had a thamizh flavour with his lovely diction and the emote aspect of thamizh it reached me more.
I am always in conundrum when I attend concerts as to which is important , a great mrudangam or a great violinist given there is just one choice . For many years i had the question, but i think my answer is that it is better to have a great mrudangam artist. Suryaprakash KOdu pOtta bhoopathy road Pottan. The violinist played raga alapana especially in kAmbOdhi well.I was not happy with his violin dialogue during songs , especially the last 5th speed of nalinakanthi found a bit of too much of unsettling fusionish sound. THe upapakkavadhyam showed his presence only in tani
Two things could have been better
--------------------------------------------
1. Palakkad mani iyer used to say if you play well for songs you donot have to play elaborate tani. I felt bhoopathy - the second generation artist from the PMI school could have cut his tani for atleast half time and followed his paramaguru . I am atleast saying this considering it is a 2 hour + Concert
2. For #2 there is a point if you say sing a very vistarmana krithi like evarani in devamurthavarshini but to sing samikku sari evare with no neraval and no swaras , this ariyakudish route that too for a strict 2 hour concert + 15 mins grace time , I would humbly say suryaprakash could have avoided taking up kedaragowlai , it just ate a bit of time for both main and definitely the RTP alapana part.
Overall a very good to excellent concert for 2 hours and 15 minutes
The start in vakrathunda seguiing to jaya jaya was well done.Nice diction of this lovely narayana theerthar with lovely swaras and a rolling bhoopathy gave me enough oomph. The sketch of kedaragowlai was concise and the krithi of sivan was just coasting along . IF i am right this is the first kedaragowlai ragam , I love the ragam but I would have loved it better if there was more elaboration.
Dharmavathi R N S was like a measured submain . It was more like vijay siva typecast to me. When everything is measured one feels hey some thing can go bit more . Particularly liked his neraval the most and the alapana.
The best was from ahiri onwards. Lovely chowka kala sowkhyam with almost zero violin return and continous mrudu touches of bhoopathy I loved the leisurely pace and the emote that this shyama sastri krithi brings with this ahiri. From ahiri to nalinakanthi , it was centered on bhoopathy -suryaprakash . What a joy to hear nalinakanthi - completely 5th gear Ferrari schumacher finish. Swaras were to the core defined by manodharmam , easily the best piece for me . For almost the whole swaras he sang like TRS mama type and there was no fragmentation of violin return
Voice opened up already and with KambOdhi it tasted best. alapana was well done - very madhyamakala touches not much of higher octave notes . The krithi diction in sanskrit and the GNB touches of maragadha vallim I loved it a lot. Particularly this krithi most of the musicians barring KVN take this to have a R S T main. I am not complaining the lack of neraval as Pallavi is usually guaranteed.
No time wasted and the raga alapana of sumanesaranjani was taken . This raga has close contours with madhuvanti for a change may be i have graduated to clearly disambiguate between the two .From the first second i got the raga right as sumanesa ranjani.ALapana was bit short but the taanam was quite well done , taanam was longer than alapana and I am not complaining .
THe pallavi line had a lot of swarakshara poruttam , his creativity with some landing notes at ni ga ma, sa ga sa ma were creative. The combo of ragas of behag and darbari showcased his strength of singing bit with longer jarus. As with musicians from the time of somu/mlv darbAri as a last swararagamaliga was a big feast as it is sung more elaborately . IN all the swara kalpanas the approach was to sing with leisure or bit stately gait of slower notes in first half and then an immediate sequencing of super fast notes - what can i say there with bhoopathy really rocking there to guide suryaprakash.
HE was given extra time for about 15 mins or so and the first viruththam in hamsanandi that MMI sings was taken . Hamsanandi is a match winner and I liked it and the somu pidi of ninaikada neramillai was open throated vocal honesty. There was a chuckle when he sang pazhani malai vegu thooram illlai eNNokku neramillai. The next azhwar pasuram in sindhu bhairavi was sung well and ramachandra prabhu
gave a great closure
He wished happy newyear and he sang a lovely shanthi nilava vendum. Tilang was showcased in his own way- i certainly did not feel that I heard a DKJ-DKP tape. All the tukkadas had a thamizh flavour with his lovely diction and the emote aspect of thamizh it reached me more.
I am always in conundrum when I attend concerts as to which is important , a great mrudangam or a great violinist given there is just one choice . For many years i had the question, but i think my answer is that it is better to have a great mrudangam artist. Suryaprakash KOdu pOtta bhoopathy road Pottan. The violinist played raga alapana especially in kAmbOdhi well.I was not happy with his violin dialogue during songs , especially the last 5th speed of nalinakanthi found a bit of too much of unsettling fusionish sound. THe upapakkavadhyam showed his presence only in tani
Two things could have been better
--------------------------------------------
1. Palakkad mani iyer used to say if you play well for songs you donot have to play elaborate tani. I felt bhoopathy - the second generation artist from the PMI school could have cut his tani for atleast half time and followed his paramaguru . I am atleast saying this considering it is a 2 hour + Concert
2. For #2 there is a point if you say sing a very vistarmana krithi like evarani in devamurthavarshini but to sing samikku sari evare with no neraval and no swaras , this ariyakudish route that too for a strict 2 hour concert + 15 mins grace time , I would humbly say suryaprakash could have avoided taking up kedaragowlai , it just ate a bit of time for both main and definitely the RTP alapana part.
Overall a very good to excellent concert for 2 hours and 15 minutes
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Re: Suryaprakash@SKGS on Dec 31st,2016
Rajesh - a very nice end to your 2016, I am sure.
I think the pallavi should be mAnini nigama sancAriNi sumanEsa ranjani...
I think the pallavi should be mAnini nigama sancAriNi sumanEsa ranjani...
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sridhar_ranga
- Posts: 809
- Joined: 03 Feb 2010, 11:36
Re: Suryaprakash@SKGS on Dec 31st,2016
Yes, a wonderful concert to round off 2016 for me.
Ravi, indeed the pallavi wording was nigama sanchArini.
Nice to have your well-informed company for the concert, Rajesh. You identified Sumanesa Ranjani in a flash!
Ravi, indeed the pallavi wording was nigama sanchArini.
Nice to have your well-informed company for the concert, Rajesh. You identified Sumanesa Ranjani in a flash!
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mahavishnu
- Posts: 3341
- Joined: 02 Feb 2010, 21:56
Re: Suryaprakash@SKGS on Dec 31st,2016
Rajesh: Isn't Hariharasarma primarily a khanjira player? Does he also play Ghatam?
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rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Suryaprakash@SKGS on Dec 31st,2016
He only played kanjira. I made a mistake.mahavishnu wrote:Rajesh: Isn't Hariharasarma primarily a khanjira player? Does he also play Ghatam?