Suryaprakash@Aastika samaAjam (Thiruvanmiyur) on Nov 29th,2018
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Vocal : Suryaprakash
Violin : Shreya Praveen, young disciple of maestro Lalgudi Jayaraman
Mrudangam : Melakaveri bAlaji
ghatam : Karthick
Tambura : ????
Concert Type : Ticketed Concert & Nirvana - no concert to follow
Day/Duration : Thursday/ 2 hours and 30 mins
Hall : BVB Main Hall, Mylapore
01.nAda tanum anisham (S)- cittaranjani- T
5 mins swaras
02. karpaga manOharA(RS S) - malayamArutham - Papanasam Sivan
swaras for 4 mins
03. bhuvaneshwariyA(R,S) - mohanakalyani - HMB
8 mins alapana and 4 mins violin return
5 mins swaras
04. sadA nin pada margam ninaindhEn (R)- bhavapriyA- Suryaprakash
3 mins alapana with no violin return
05. mA jAnaki (R N S) - kAmbOdhi - T
15 mins alapana and 7 mins violin return
neraval for 9 mins rAja raja vara
7 mins swaras
06A. nagumOmu (R S T) - abheri - T
12 mins alapana and 6 mins violin return
9 mins swaras
06B. tani for 18 mins
speechbreak by aastika samajam narasimhan mAmA for 12 mins
07A. viruththam kAdalAgi kasindu kanneer - sindhubhairavi - appar tevaram
07B. manadirkku ugandhadhu - sindhubhairavi - Tanjore Sankara Iyer
08. mangalam
Suryaprakash@Aastika samaAjam (Thiruvanmiyur) on Nov 29th,2018
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rajeshnat
- Posts: 10123
- Joined: 03 Feb 2010, 08:04
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rajeshnat
- Posts: 10123
- Joined: 03 Feb 2010, 08:04
Re: Suryaprakash@Aastika samaAjam (Thiruvanmiyur) on Nov 29th,2018
Thiruvanmiyur as a concert venue is a bit of blessing , a day before this vidwan had a mile Oh Pour concert in ragasudha parampara .Working day and traffic made it impossible for me to attend that concert .That concert was even slated to start at 6pm . As I just came in @ thiruvanmiyur the concert just got started around 06:35 plus.
Madurai Mani and his parampara always have great starts , this particular naada tanum anisham is quite special, certainly aggression is kind of restrained by sadguru krithi . The krithi sahithyam in anupallavi and charanam like sathyO jatha ... vidhya Lolam have an inbuilt censored sound restrained sangathis .Who knows that day sadguru Thyagaraja was bit more pensive to compose this cittaranjani masterpiece . The team hit the road running with nadA tanum anisham.
karpaga manOhara was #2, ,the krithi was sung very well and I was not too happy with the swaras , after a round of kanakku then the sarvalaghu downpour was just not suryaprakash like. What a brilliant alapana in mohanakalyani , the sangathi and swaras with lovely poruttam and touches by Lalgudi school brought MMI-LGJ euphoria there . I thought it was a great submain only to realize bit later that it was sub-submain
The next was restrained power .The bhavapriya alapana and krithi was announced so my challenge of disambiguating subhapantuvarali with bhavapriya was not thrown for me. Bhavapriya is a great raga , musicians like tigress MLV and once i heard even her disciple sudha ragunathan singing an RTP. Suryaprakash is adding more and more gravitas to his low to mid range voice and that was kind of demonstrated with bhavapriya.He took up his own krithi sadA nin pAdamArgam krithi on Lord Muruga, this was first heard by bunch of rasikas where captain coolkarni hosted a concert @ maestro manakkal rangarajan mama's house (circa 2006 plus) . The krithi has plenty of swaraksharams and the percussion lapped it up with some precise touchpoints by shreya. Words like ezhayai kAthida tA ma da ma.... and few more swara aksharams like that gives a persona of an intense Taala Raaga Swaroopan to me.Incidentally Ghatam karthick took up the microphone some time there and said he will sing a lord muruga krithi and he passed his request to Suryaprakash to sing his 30 ragamalika composition . Karthick jokingly said he will sing that and requested aastika samajam narasimhan mAmA to give his speech after that.
The fast filler with swaras was not sung , indeed i had the disapppointment.THe disappointment kind of vapourized as he sang a front to back submain and main with copious swaras and neraval . Narasimhan mama later said "evalovu mandara sthayi sangathis in KAmbodhi and this kind of rajagopuram patterns was lovely" and I completely agree with him there. In the world of Majanakis there is a MMI mA jAnaki and there is a SSI mA janaki . It was a combo of SSI alapana plus krithi rendition . The rendition also had a MMI neraval and swaras .
KamBodhi stayed as calmbOdhi relatively for lot of sancharas and thanks to the percussionist even when there were few stormbodhi patterns there was no asura beats. The concoction of kAmbOdhi alapana was more on Non dhurita kAlam ,surprisingly had a lot of high power mandharasthayi patterns that narasimhan mama referred bit later in his speech. With the texture of alapana,I was only thinking he is going to sing subramanyaya namaste or may be O rangasayi. Lot of alapana phrases had a touch of Semmangudi popularized o rangasayi. The krithi and tempo was really superb . What a joy to hear neraval with such an incredible ideas it was just pouring. After few tara sthayi shoots of ga ma pa ma ga , the mandara-madhyamakALa sthayi long patterns da sa ri ga ma pa da ma ga was lovely .The brief touch and go return by shreya was concise. The surprise of me thinking that mA jAnAki was main but got demoted to submain as it was bit revealed later when he took abheri alpana and nagumomu main. I love when sub main typecast krihtis gets demoted as sub-submain during the course of the concert. ABheri raga alapana was quite meditative and very very detailed, the krithi picked momentum and it was another great rendition with brilliant support by the coartists .
The microphone engineer declared strategic time out and gave the microphone to narasimhan sir. Negating ghatam karthick request of narasimhan sir to speak after ragamaliga was quashed. Narasimhan sir recollected his anthakalathu TNR-mandara sthayi(I would love to hear that 25 mins alapana in mandatara sthayi that he referred) , MMI mayavaram kutcheri and even gave anecdotes of musiri gramophone records of abheri. Post speech there was just one viruththam with tevaram in sindhubhairavi he ended with sankara iyers manadirkku ugandadhu in sindhubhairavi.
Vidushi shreya devnath is now Shreya Praveen . I just came to know thru googling that she is now married to mrudangam artist Tanjore Praveen Kumar (Praveen sparsh). Best wishes , nice to see quite a few mrudangist and violinist are joining as life partners .Post Charumathi-Anantha , KPNandini-Saigiridhar, we now have Shreya-Praveen. As narasimhan sir said shreya played with lot of anusaranai. Personally she is appearing as watchful as akkarai subbulakshmi she had nice tonal quality. She certainly went with the flow and did up the concert.In mohanakalyani during alapana she was bit circling on few sangathis of her popular school number tamadam tagadayya, i hope she abstracts in future as much as her guru LGJ especially alapana return. In abheri swaras she played the best, looks shreya is quite accomplished during swarakalpana return.
The two percussion artist were really good . Melakaveri balaji play especially in all the koraippu patterns was rocking with complete sarvalaghu power. Ghatam karthick is very skillful in playing for songs .Karthick has an arsenal of strokes , he is not some one who takes turns and plays , he skillfully joins almost every stroke with mrudangam . His arsenal at times is just a gentle rhythmic tap with only one finger , at times just in the mouth of the ghatam etc, but everything is complete with high exuberance.
Few things i did not like
------------------------
1. Bit minor -malayamarutham swaras could have been better. jagamelE neraval addition in aabheri was a miss to me.
2. Bit Major -Volume during tani was bit jacked up by ghatam karthick . I personally prefer percussionist to refrain from the modus operandi of asking dil maangE more extra volume during tani. Ghatam volume jack up was quite ok, but that extra volume for melakaveri balaji was at times bit very loud and few teermanams were too loud. I am assuming the master volume was also jacked up. This hall is not the best of halls to hear concerts so musicians should be cognisant of asking more volume. Tani was well done with high exuberance with lot of fireworks.
Personally I like these kind of concerts with low count of numbers considering the concert is just 2 hours and 30 mins with speech break..One has to thank Shreya Praveen (Devnath) for not playing full note during returns ,the concert was notch better. Personally I like aastika samAjam narasimhan Sir who keeps concerts still ticketed , that is really great of him to do that, at times it brings more focus and seriousness and the 8pm exodus is not there like mile oh pour during november- pre season.
Narasimhan mAmA always tells a key takeaway to all rasikas during his speech .It is my turn to search and locate TNR mandara sthAyi 20 plus minutes of kAmbOdhi that he talked about- if any one can help please do put it in TNR thread. All said the team rocked with intensity and almost all round excellence.
Overall an excellent concert for 2 hours and 30 minutes inclusive of 12 minutes of speech break.
Madurai Mani and his parampara always have great starts , this particular naada tanum anisham is quite special, certainly aggression is kind of restrained by sadguru krithi . The krithi sahithyam in anupallavi and charanam like sathyO jatha ... vidhya Lolam have an inbuilt censored sound restrained sangathis .Who knows that day sadguru Thyagaraja was bit more pensive to compose this cittaranjani masterpiece . The team hit the road running with nadA tanum anisham.
karpaga manOhara was #2, ,the krithi was sung very well and I was not too happy with the swaras , after a round of kanakku then the sarvalaghu downpour was just not suryaprakash like. What a brilliant alapana in mohanakalyani , the sangathi and swaras with lovely poruttam and touches by Lalgudi school brought MMI-LGJ euphoria there . I thought it was a great submain only to realize bit later that it was sub-submain
The next was restrained power .The bhavapriya alapana and krithi was announced so my challenge of disambiguating subhapantuvarali with bhavapriya was not thrown for me. Bhavapriya is a great raga , musicians like tigress MLV and once i heard even her disciple sudha ragunathan singing an RTP. Suryaprakash is adding more and more gravitas to his low to mid range voice and that was kind of demonstrated with bhavapriya.He took up his own krithi sadA nin pAdamArgam krithi on Lord Muruga, this was first heard by bunch of rasikas where captain coolkarni hosted a concert @ maestro manakkal rangarajan mama's house (circa 2006 plus) . The krithi has plenty of swaraksharams and the percussion lapped it up with some precise touchpoints by shreya. Words like ezhayai kAthida tA ma da ma.... and few more swara aksharams like that gives a persona of an intense Taala Raaga Swaroopan to me.Incidentally Ghatam karthick took up the microphone some time there and said he will sing a lord muruga krithi and he passed his request to Suryaprakash to sing his 30 ragamalika composition . Karthick jokingly said he will sing that and requested aastika samajam narasimhan mAmA to give his speech after that.
The fast filler with swaras was not sung , indeed i had the disapppointment.THe disappointment kind of vapourized as he sang a front to back submain and main with copious swaras and neraval . Narasimhan mama later said "evalovu mandara sthayi sangathis in KAmbodhi and this kind of rajagopuram patterns was lovely" and I completely agree with him there. In the world of Majanakis there is a MMI mA jAnaki and there is a SSI mA janaki . It was a combo of SSI alapana plus krithi rendition . The rendition also had a MMI neraval and swaras .
KamBodhi stayed as calmbOdhi relatively for lot of sancharas and thanks to the percussionist even when there were few stormbodhi patterns there was no asura beats. The concoction of kAmbOdhi alapana was more on Non dhurita kAlam ,surprisingly had a lot of high power mandharasthayi patterns that narasimhan mama referred bit later in his speech. With the texture of alapana,I was only thinking he is going to sing subramanyaya namaste or may be O rangasayi. Lot of alapana phrases had a touch of Semmangudi popularized o rangasayi. The krithi and tempo was really superb . What a joy to hear neraval with such an incredible ideas it was just pouring. After few tara sthayi shoots of ga ma pa ma ga , the mandara-madhyamakALa sthayi long patterns da sa ri ga ma pa da ma ga was lovely .The brief touch and go return by shreya was concise. The surprise of me thinking that mA jAnAki was main but got demoted to submain as it was bit revealed later when he took abheri alpana and nagumomu main. I love when sub main typecast krihtis gets demoted as sub-submain during the course of the concert. ABheri raga alapana was quite meditative and very very detailed, the krithi picked momentum and it was another great rendition with brilliant support by the coartists .
The microphone engineer declared strategic time out and gave the microphone to narasimhan sir. Negating ghatam karthick request of narasimhan sir to speak after ragamaliga was quashed. Narasimhan sir recollected his anthakalathu TNR-mandara sthayi(I would love to hear that 25 mins alapana in mandatara sthayi that he referred) , MMI mayavaram kutcheri and even gave anecdotes of musiri gramophone records of abheri. Post speech there was just one viruththam with tevaram in sindhubhairavi he ended with sankara iyers manadirkku ugandadhu in sindhubhairavi.
Vidushi shreya devnath is now Shreya Praveen . I just came to know thru googling that she is now married to mrudangam artist Tanjore Praveen Kumar (Praveen sparsh). Best wishes , nice to see quite a few mrudangist and violinist are joining as life partners .Post Charumathi-Anantha , KPNandini-Saigiridhar, we now have Shreya-Praveen. As narasimhan sir said shreya played with lot of anusaranai. Personally she is appearing as watchful as akkarai subbulakshmi she had nice tonal quality. She certainly went with the flow and did up the concert.In mohanakalyani during alapana she was bit circling on few sangathis of her popular school number tamadam tagadayya, i hope she abstracts in future as much as her guru LGJ especially alapana return. In abheri swaras she played the best, looks shreya is quite accomplished during swarakalpana return.
The two percussion artist were really good . Melakaveri balaji play especially in all the koraippu patterns was rocking with complete sarvalaghu power. Ghatam karthick is very skillful in playing for songs .Karthick has an arsenal of strokes , he is not some one who takes turns and plays , he skillfully joins almost every stroke with mrudangam . His arsenal at times is just a gentle rhythmic tap with only one finger , at times just in the mouth of the ghatam etc, but everything is complete with high exuberance.
Few things i did not like
------------------------
1. Bit minor -malayamarutham swaras could have been better. jagamelE neraval addition in aabheri was a miss to me.
2. Bit Major -Volume during tani was bit jacked up by ghatam karthick . I personally prefer percussionist to refrain from the modus operandi of asking dil maangE more extra volume during tani. Ghatam volume jack up was quite ok, but that extra volume for melakaveri balaji was at times bit very loud and few teermanams were too loud. I am assuming the master volume was also jacked up. This hall is not the best of halls to hear concerts so musicians should be cognisant of asking more volume. Tani was well done with high exuberance with lot of fireworks.
Personally I like these kind of concerts with low count of numbers considering the concert is just 2 hours and 30 mins with speech break..One has to thank Shreya Praveen (Devnath) for not playing full note during returns ,the concert was notch better. Personally I like aastika samAjam narasimhan Sir who keeps concerts still ticketed , that is really great of him to do that, at times it brings more focus and seriousness and the 8pm exodus is not there like mile oh pour during november- pre season.
Narasimhan mAmA always tells a key takeaway to all rasikas during his speech .It is my turn to search and locate TNR mandara sthAyi 20 plus minutes of kAmbOdhi that he talked about- if any one can help please do put it in TNR thread. All said the team rocked with intensity and almost all round excellence.
Overall an excellent concert for 2 hours and 30 minutes inclusive of 12 minutes of speech break.