SuryaprakAsh@SAFE (sAstri hall) on Dec 12th,2010

[rajeshnat]

SuryaprakAsh@SAFE (sAstri hall) on Dec 12th,2010
-------------------------------------------------------
Vocal : SuryaprakAsh
Violin : V V Srinivasa Rao
Mrudangam : Trivandrum balAji
KanjirA : Anirudh Athreya

Concert duration/day : 2 hours and 20 mins/Sunday
Occasion: SAFE's GNB Centenary Celebrations

1. varnam "Vanajakshi ninne" (R) -Reetigowlai—Veenai Kuppier
2. paridAnammichittE(R N S) - bilahari - paTnam
8 mins alApanai and 3 mins violin return
7 mins neraval in "rokkamicchutakunE mukkaNTi celikAnu"
3 mins swaras

3. kavalai ellAm kaLaindiDuvadun (RS) - saraswati - GNB
4A. taamasam En swaamy (R S T)- tOdi - psivan
15 mins alApana and 6 mins violin return
10 mins swaras
4B. tani for 11 mins

5. RTP - hameerkalyAni
rAga alApana for 12 mins in two rounds like a semmangudi mama style
tAnam for 8 mins , non metered and metered with mrudangam
pallavi line was "gAna lOla karunA Ala vAla" in Adi thAlam
swararAgamAliga in hameer + DarbAr + ParAs
6. dhikku theriyAtha kAttil - rAgamAliga - bharAthiyAr

7A. mini slOkham "AAj AAyE shaam mOhanu" - mishra pahAdi
7B. shyam mohAnu AAj AAyE - mishra pahAdi - ST (tuned by DR BMK)

8A. rAgamAliga viruththam in kedAragowla + shubhapantuvarAli + gavati + hindOlam
8B.karunAlayA nidhiyE - hindOlam - VedanAyagam pillai
9. mangalam

This vidwan a product of minor SSI and major MMI school ( his first guru is his athimbEr thiruKODikAval rajamani iyer, student of semmangudi mama ) took a plunge with the third vidwan of yesteryears golden era , shri GNB. The start of the concert was perhaps GNB's most influential rAga reetigowlai and when he started with an alApana gave a zing that just went on for most of the concert.

Zing that went on:
-----------------
# With the SAFE sabha secy saying you can wind up by 08:45 pm,suryaprakAsh perhaps quickly went to an elaborate No #2 submain in bilahari. I am not a big fan of this krithi , irrespective of the singer but suryaprakAsh came up with a very GNB stylized brigas with its quick turns and very tightly packed rhythm I enjoyed the neraval the most .

# GN Sir's influence singing an elaborate rAga Alapana was really demonstrated very well with a very grand CM defining rAgA tOdi. GN Sir's Todi has its origins more with TNR and other nAdaswara vidwans of the tanjore belt, came out beautifully. A very packed krithi tamAsam En swaamy came out beautifully with a really superb swara patterns , swaras were just very original , kalpana was well demonstrated.

# With an early tani, I was sure that there was a pallavi. He sang a fairly detailed hameerkalyAni in two rounds, that too with its leisurely sangathis it kind of helps in this continous music season.He informed that he took hameer for the pallavi as GN Sir was the first musician to bring Hindustani hameer to CM concerts(he referred some other person who said that ) . tAnam was as usual very well done , it was brilliant when tvm balAji added with his thoppi sowkhyam. The pallavi was a pracheena pallavi line and he did a good trikAlam, pallavi could have been certainly long but the constraint of sabha secy was to be honoured. What a swara patterns in the end , munirao talks about right pauses during the concert in another thread .The pauses are very much needed when any musician just decides the rAga just then. Also one can feel guaranteed that suryaprakash does not repeat swaras in rote. The rAgas chosen was in darbAr , lovely crescendo of patterns and it became superb when the parAs was taken,every swaras in swararAgamalia was atleast 3 mins long and i immensely liked it.

# The last viruththam was very quick in a medlay of 3 rAgas(liked subhpanthuvarali and gavati more) .He got a chit from some elderly GNB kAlathu rasika , I was happy to hear this lovely hindOlam karunAlaya nidhiyE , GNB"S voice vigour and vocal fitness is till the last second for every concert, and with hindOlam with lines like amala bhaskara with bountiful "breathnottaken brighas" added a lot of carnatic cohesiveness.

# VV Srinivasa Rao played very good and gave more room in general.The percussion of TVm balAji and Anirudh Athreya was superb.TVM BalAji is so effortless in play, incidentally I noticed he has both the faces of his mridangam tied with a circle of small aluminium rods , the nAdham was real mrudu angam , kind of what you get in few palghat raghu's concert with KVN. His tani could have been a bit shorter, nevertheless well done. We have to watch out for TVM balAji , a palakkAd raghu sir in the making.

Zing that went bit off:
----------------------
# The saraswathi krithi could have been a bit better considering that I have heard him sing the same in a concert in RA puram some time back.

# Though the BMK tuned ST no in mishra pahAdi was well received by many rasikas especially the organizer, I did not have that great impression on this DR BalaMuraliKrisha tuned number in mishra pahadi as it was bit too light .I think perhaps the mishra dilution of bit already diluted pahAdi was making me not comfortable(May be I have to hear it one more time ).In general I like bhajans being promoted to Carnatic Concert (like semmangudi mama's sapasya kausalyA) instead of carnatic stepping down as bhajan (like Dr BMK's mishra pahAdi tune of AAj AAye Shyam mohanu).

Overall the crowd was about 75 or so , almost all of them stayed(Advance the tani and bring a pallavi , you can attack the 8pm exodus of mylapore).This hall sAstri hall with its air conditioning on from last year is a nightmare for right sound setting as there is more echo without windows being opened (who wants AC?) . Kudos to the sabha Secy an elderly gentleman , he kept the sound to an optimum level, also TVm balAji just took care to rightly callibrate to this hall .

The concert was classicism intense ,team work was always there and it was an excellent concert.

[srikant1987]

3. kavaLai eLLAm kalaiNdhidum (RS) - saraswati - GNB

You must be the only one to use capital letters to elucidate the pronounciation of artist names, so I guess you're quite fond of the system, as am I.

But you need to do more learning on it to be effective -- this krti should be spelt as kavalai ellAm kalaindiDum. Even if you don't like the convention, you should be consistent, at least -- kavalai, ellAm and kalai, all use the same l. dhidum for diDum is fine. You seem to prefer d/t for retroflex (words like padam = picture, pidi = hold, etc.) and D/T for dental (words like midi = stamp <verb>, tee = fire, etc.), which is also fine as long as you're consistent (most people, including me, prefer the other way round).

Using a mixture of h-addition and case differentiation for dental vs retroflex d/t is not a problem in Tamil, but there are quite a few CM songs in Telugu, Sanskrit, Kannada and Malayalam which need them differentiated.

[rajeshnat]

kavaLai eLLAm kalaiNdhidum (RS) - saraswati - GNB
....
- this krti should be spelt as kavalai ellAm kalaindiDum.

srikant,
Just a correction over your correction
It is kavalai ellAm kaLaindiDuvadun,not kavalai ellAm kalaindiDum. Tx made the correction over correction.

[srikant1987]

It is kavalai ellAm kaLaindiDuvadun,not kavalai ellAm kalaindiDum. Tx made the correction over correction.

:$ |( That's right! But kalai also does fit OK, I guess.