Suryaprakash@Nadasudha (Velacheri) On June 22nd,2025
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Vocal : Suryaprakash
Violin : M R Gopinath
Mrudangam : N Ramakrishnan - student of TH Subhash Chandran
Kanjira : Mukunda Sai - son/grandson of kandadevi alagariswamy/ Kandadevi vijayaraghavan (May I know his guru please)
Concert Type : Nirvana - Non Ticketed concert
Day : Sunday
Duration - 2 hours and 30 mins
Sabha/Hall : Nadasudha/ Ganapathi sachidananda ashram, velachery
01A .Vakrathunda mahAkAya - slokham - hamsadhwani
01B. Jaya jaya Ganapathi(S) - hamsadhwani - Ganapathi sachidananda swami
swaras for 6 mins
02. nArada gAna lOla - atana - T
03. kA Guha shanmugha (R,S) - Kosalam - KI
05 mins alapana and 4 mins violin return
04 mins swaras
04. bArayya venkataramana - Saveri - PD
05. enta vendunKo (S) - saraswatimanohari - T
6 mins swaras
06A. RTP for 50 mins in shanmughapriya
12 mins raga alapana
06 mins violin return
03 mins raga alapana 2nd round
Taanam for 10 mins , 04 mins without and 05 mins with mrudangam, brief taanam in chandrajothi
Saravana bhavA guru Guha shanmughA
vArayO mayil meedhu
ragamaliga swaras in shanmughapriya + behag+ nalinakanthi + shanmughapriya
06B. tani for 10 mins
07 . Sangeetha sowbhagyamE - ragamalika of abridged 6 ragas - suryaprakash
08A. kunram erindadhum - hameerkalyani + aNrangu amarar- sindhubhairavi + muruganai pAdinen - neelamani
08B. enna kavi pAdinAlum - neelamani - Anayampatti adisesha iyer
09. eppa varuvArO - jonpuri - GKB
10. note -shankarabharanam - HMB
11A.karpagamE - madhyamavati - PS
11B. pavamana - Mangalam
11C . fairly long slokham in madhyamavati sarvejanA?? dehimE - madhyamavati - ???
Suryaprakash@Nadasudha (Velacheri) On June 22nd,2025
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rajeshnat
- Posts: 10120
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Suryaprakash@Nadasudha (Velacheri) On June 22nd,2025
Last edited by rajeshnat on 27 Jun 2025, 19:59, edited 1 time in total.
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rajeshnat
- Posts: 10120
- Joined: 03 Feb 2010, 08:04
Re: Suryaprakash@Nadasudha (Velacheri) On June 22nd,2025
Looks after attending a concert of Ramakrishna murthy in mylapore in April i am attending this concert in Velachery. Musicians of late are not performing that much in their home town that is kind of applicable not just for suryaprakash but almost all musicians . Yes there is some occasional trickle in ragasudha which i come to know and also there is some trickle in arkays hall which i never come to know. I wish arkay Ramakrishnan posts concert itenaries either here or some face book or website like ragasudha.
All said sabhas and concert counts are going down in the so called Carnatic capital of the world. This musician Suryaprakash had recently travelled to usa and Australia/new Zealand we are all in the dark apart from some mention by Meenakshi from Cleveland Aradhana we hardly know how are Carnatic musicians are performing elsewhere - absolute zero coverage. THis facebook and WhatsApp has killed the concert reporting too.
The concert had some preplanned glorious opening as it started at 6 pm (not 06 : 30 ), hooray thanks to this sabha nadasudha . I have been going to this sabha for the last say 10 yeas ,this sabha is very good just like yesteryear nadopasana they appear to have monthly concert series here . The main patron of nadasudha is Brahma gana sabha Balu sir is what i came to know many years back .
All said when concert starts at 6 pm i assumed it will be atleast for 2 and half hours and may be will i be lucky for 3 hours , but no luck there. Suryaprakash strategized most of the songs on Lord muruga as he said it is sashti or some thing and even the grand Pallavi is in perhaps murugas favourite raga shanmughapriya
The start in hamsadhwani with a rare Ganapathi sachidananda swami krithi was kind of well done . Could spot little slow fingers in mrudangam and hence the swaras were more of a little slow but definitely well done. Gopinath settled very well and he had the right press and melody Kind of kutcheri kalalikattufied in hamsadhwani
The next in atana came out well but i am not a fan of in general for stand alone krithi without neraval or swaras (narada gana lola is a short one when say compared to evarani to be an enjoyable standalone). Atana could have segued to a better finish. There was some sabha patron who spoke at the end , he said he had listened to atleast 400 concerts of Tanjore S kalyanaraman and he compared this Kosalam to SKR Kosalam . These lovely raga Kosalam have a certain sedate feel i am talking all these Kalyanaraman cluster. THe Kosalam raga alapana and omnipresent koteeswara iyer krthi was well done and i liked immensely the Kosalam raga swaras as it is quite rare to hear swaras in kosalam. Personally the 72nd melakartha rasikapriya is more registered in my head than 71st Kosalam this rendition was kind of bridging the gap , i think i got bit more internalized with Kosalam
Venkatarmana bAro in saveri was a good choice but i felt again a standalone krithi like atana did not capture my attention as it just got over bit too soon. I am assuming the sarvalaghu filler enta venduko is usually a bit tad slower than say a bantureeti/sarasasama/manavyala/orajupu etal . THe choice was good as the mrudangam had fairly nice naadham but he dragged a bit with little longer farhans but definitely saraswati manOhari and this krithi of entavendunkO of T is always a great choice to illustrate what i call asymmetry of glorious sarvalaghu of Madurai mani school.
my mind was thinking may be he will go for Kalyani/poorvikalyani with a main krithi but he went to alapana of shanmughapriya. I made up my mind that it may be a RTP.
RTP was a kind of classic semmangudi type cast with a throw of a typical Madurai somu at many angles. THe first part of alapana was a great madhyamakalam orientation then a cute alapana return then a little higher register alapana round 2 was so good that is a typical a semmangudi approach . Taanam was the best piece around 9 to 10 mins with a start of no mrudangam and a significant foray with mrudangam brought the expansiveness to illustrate the aesthetically beautiful RTP Born ragam that is shanmughapriya . He gave some brief explanation on six and patterns of laya , i forgot to capture the explanation but the Pallavi line was well done . Particularly liked the ragamaliga patterns of sarvalaghu i thought he could go with 6 as he is singing on AAru mugan but it was reduced to Naalu mugan .
IN the tukkadas i liked the most when he sang enna kavi paadinaalum Madurai somu emote was well done the preceding tirumurganaatrupqdai virththam was also well done in both ragas particularly neelamani was so good where he brought start like paaadinaalum, kavi paadinaalum ,enna kavi padinaalum structure to start the krithi . The preceding krithi of his own social theme based ragamaliga of 20 plus ragas (is that 29) was reduced to just aaru mugan count of six ragas . The last drops of eppovaruvaRo or Note of HMB in succession was to me a bit of not suiting my taste as there is overlap , i felt he could have dropped one and possibly taken that apportioned time to give more emote to the viruthham . THe last was a long slokham in madhyamavati was new and karpagame was taken from anupallavi
M R Gopinath had a great sound quality , nice press with melody . HE is one of the veterans who has played even for the great Madurai somu and that experience came handy during shanmughapriya . Both the percussionist are new to me the mrudangist had a slight noticeable drag in speed but he had a nice sound quality. The kanjira artist was a clean non intrusive percussion artist he kept his play only at appropriate moments , i know for sure he did not learn kanjira from his appa/ thatha but nice to see a kanjira grandson for a violin Parampara
I felt possibly little excess tail swing of successive eppo varuvaro - note - karpagamE could have been censored to just two so that he could have swayed with little more emote like say a maharajapuram Santhanam in that murugan viruththam especially little more repetition of lines in hameer Kalyani and especially in neelamani would have been better . Also if he had dropped atana or saveri and given that time bit more to say hamsadhwani or Kosalam i would have liked it better. RTP especially in shanmughapriya was worth it for a little faraway sabha of Velachery which is actually not far when you take the MRTS and alight in perungudi station.
Overall an excellent concert for 2 and half hours.
All said sabhas and concert counts are going down in the so called Carnatic capital of the world. This musician Suryaprakash had recently travelled to usa and Australia/new Zealand we are all in the dark apart from some mention by Meenakshi from Cleveland Aradhana we hardly know how are Carnatic musicians are performing elsewhere - absolute zero coverage. THis facebook and WhatsApp has killed the concert reporting too.
The concert had some preplanned glorious opening as it started at 6 pm (not 06 : 30 ), hooray thanks to this sabha nadasudha . I have been going to this sabha for the last say 10 yeas ,this sabha is very good just like yesteryear nadopasana they appear to have monthly concert series here . The main patron of nadasudha is Brahma gana sabha Balu sir is what i came to know many years back .
All said when concert starts at 6 pm i assumed it will be atleast for 2 and half hours and may be will i be lucky for 3 hours , but no luck there. Suryaprakash strategized most of the songs on Lord muruga as he said it is sashti or some thing and even the grand Pallavi is in perhaps murugas favourite raga shanmughapriya
The start in hamsadhwani with a rare Ganapathi sachidananda swami krithi was kind of well done . Could spot little slow fingers in mrudangam and hence the swaras were more of a little slow but definitely well done. Gopinath settled very well and he had the right press and melody Kind of kutcheri kalalikattufied in hamsadhwani
The next in atana came out well but i am not a fan of in general for stand alone krithi without neraval or swaras (narada gana lola is a short one when say compared to evarani to be an enjoyable standalone). Atana could have segued to a better finish. There was some sabha patron who spoke at the end , he said he had listened to atleast 400 concerts of Tanjore S kalyanaraman and he compared this Kosalam to SKR Kosalam . These lovely raga Kosalam have a certain sedate feel i am talking all these Kalyanaraman cluster. THe Kosalam raga alapana and omnipresent koteeswara iyer krthi was well done and i liked immensely the Kosalam raga swaras as it is quite rare to hear swaras in kosalam. Personally the 72nd melakartha rasikapriya is more registered in my head than 71st Kosalam this rendition was kind of bridging the gap , i think i got bit more internalized with Kosalam
Venkatarmana bAro in saveri was a good choice but i felt again a standalone krithi like atana did not capture my attention as it just got over bit too soon. I am assuming the sarvalaghu filler enta venduko is usually a bit tad slower than say a bantureeti/sarasasama/manavyala/orajupu etal . THe choice was good as the mrudangam had fairly nice naadham but he dragged a bit with little longer farhans but definitely saraswati manOhari and this krithi of entavendunkO of T is always a great choice to illustrate what i call asymmetry of glorious sarvalaghu of Madurai mani school.
my mind was thinking may be he will go for Kalyani/poorvikalyani with a main krithi but he went to alapana of shanmughapriya. I made up my mind that it may be a RTP.
RTP was a kind of classic semmangudi type cast with a throw of a typical Madurai somu at many angles. THe first part of alapana was a great madhyamakalam orientation then a cute alapana return then a little higher register alapana round 2 was so good that is a typical a semmangudi approach . Taanam was the best piece around 9 to 10 mins with a start of no mrudangam and a significant foray with mrudangam brought the expansiveness to illustrate the aesthetically beautiful RTP Born ragam that is shanmughapriya . He gave some brief explanation on six and patterns of laya , i forgot to capture the explanation but the Pallavi line was well done . Particularly liked the ragamaliga patterns of sarvalaghu i thought he could go with 6 as he is singing on AAru mugan but it was reduced to Naalu mugan .
IN the tukkadas i liked the most when he sang enna kavi paadinaalum Madurai somu emote was well done the preceding tirumurganaatrupqdai virththam was also well done in both ragas particularly neelamani was so good where he brought start like paaadinaalum, kavi paadinaalum ,enna kavi padinaalum structure to start the krithi . The preceding krithi of his own social theme based ragamaliga of 20 plus ragas (is that 29) was reduced to just aaru mugan count of six ragas . The last drops of eppovaruvaRo or Note of HMB in succession was to me a bit of not suiting my taste as there is overlap , i felt he could have dropped one and possibly taken that apportioned time to give more emote to the viruthham . THe last was a long slokham in madhyamavati was new and karpagame was taken from anupallavi
M R Gopinath had a great sound quality , nice press with melody . HE is one of the veterans who has played even for the great Madurai somu and that experience came handy during shanmughapriya . Both the percussionist are new to me the mrudangist had a slight noticeable drag in speed but he had a nice sound quality. The kanjira artist was a clean non intrusive percussion artist he kept his play only at appropriate moments , i know for sure he did not learn kanjira from his appa/ thatha but nice to see a kanjira grandson for a violin Parampara
I felt possibly little excess tail swing of successive eppo varuvaro - note - karpagamE could have been censored to just two so that he could have swayed with little more emote like say a maharajapuram Santhanam in that murugan viruththam especially little more repetition of lines in hameer Kalyani and especially in neelamani would have been better . Also if he had dropped atana or saveri and given that time bit more to say hamsadhwani or Kosalam i would have liked it better. RTP especially in shanmughapriya was worth it for a little faraway sabha of Velachery which is actually not far when you take the MRTS and alight in perungudi station.
Overall an excellent concert for 2 and half hours.
Last edited by rajeshnat on 28 Jun 2025, 05:46, edited 2 times in total.
-
rajeshnat
- Posts: 10120
- Joined: 03 Feb 2010, 08:04
Re: Suryaprakash@Nadasudha (Velacheri) On June 22nd,2025
Suryaprakash@Nadasudha (Velacheri) On June 22nd,2025
-----------------------------------------------------------
Vocal : Suryaprakash
Violin : M R Gopinath
Mrudangam : N Ramakrishnan - student of Subhash Chandran
Kanjira : Mukunda Sai - son/grandson of kandadevi alagariswamy/ Kandadevi vijayaraghavan
Concert Type : Nirvana - Non Ticketed concert
Day : Sunday
Duration - 2 hours and 30 mins
Sabha/Hall : Nadasudha/ Ganapathi sachidananda ashram, velachery
GLICSPAWES 2025 "Goto LIve Concert Show PAtronage Without Excuses Series" concert #7 of xy(hopefully 30 is goal) is done.
www.rasikas.org/forums/viewtopic.php?p=384780#p384780
-----------------------------------------------------------
Vocal : Suryaprakash
Violin : M R Gopinath
Mrudangam : N Ramakrishnan - student of Subhash Chandran
Kanjira : Mukunda Sai - son/grandson of kandadevi alagariswamy/ Kandadevi vijayaraghavan
Concert Type : Nirvana - Non Ticketed concert
Day : Sunday
Duration - 2 hours and 30 mins
Sabha/Hall : Nadasudha/ Ganapathi sachidananda ashram, velachery
GLICSPAWES 2025 "Goto LIve Concert Show PAtronage Without Excuses Series" concert #7 of xy(hopefully 30 is goal) is done.
www.rasikas.org/forums/viewtopic.php?p=384780#p384780