Suryaprakash@Parthasarathy Sabha on Dec 31st, 2023
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Vocal : Suryaprakash
Violin : Kamalkiran Vinjamuri- Student of A Kanyakumari
Mrudangam : Patri Satish Kumar
Ghatam : Sowmiya Narayanan
Concert Type : Non Nirvana - concert to follow , Free
Day : Sunday
Duration -2 hours and 15 mins
Sabha/Hall : Parthasarathi Sabha
Time : 10 15 AM to 12 30 PM
01A. vanthAi eN maNam PugundAi - bEgaDa - Pasuram
01B. Anudinamu kaavumayya (N,S) - bEgaDa - Poochi
Neraval in kanakana Ruchi nee rupamu for 4 mins
Swaras for 4 mins
02. baNtureeti (N,S) - hamsanAdam - T
neraval in rAma naama maanE for 5 mins
Swaras for 9 mins
03A. Innamum sandEha padalaama (R N S T) - keeravani - GKB
14 mins alapana and 6 mins violin return
Neraval for 6 mins in thannai arigindra thavamE peridhu
8 mins swaras
03B. Tani for 10 mins
04. RTP in hamsanandi with graha dedham to suddha saveri and suddha dhanyasi
Ragam for 13 mins in 3 ragas with anchor in Nandi
7 mins non metered taanam only in Nandi
Pallavi line in 3 ragas was ==>>>>
Sreenivasa thiruvenkata mudaiyaan , Tripura Sundari sOdharA(focus of suddasaveri)
Subramanyan mAmanE (focus of suddadhanyasi),
Gathi neeyE sadA
Pallavi was for 34 mins
05. Sangeetha sowbhAgyamE - ragamalika with a reduced subset of 5 or 6 ragas - Suryaprakash
06A. Viruththam - kunram Erindhadhum - sindhubhairavi + enrum yemmai - rAkheshri - thirumurugaatrupadai
06B. ninaikaadha neramillai - rAkeshri - kavignar vaali (popularized by madurai somu)
07. Western note - shankrabharanam - HMB
08. Alapana of madhyamavati
Suryaprakash@Parthasarathy Sabha on Dec 31st, 2023
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rajeshnat
- Posts: 9931
- Joined: 03 Feb 2010, 08:04
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rajeshnat
- Posts: 9931
- Joined: 03 Feb 2010, 08:04
Re: Suryaprakash@Parthasarathy Sabha on Dec 31st, 2023
Margazhi Concerts have 2 constraints , the constraint for artist working backwards to ensure there is no compromise despite significant reduced time. For a Rasika , trying to focus wholeheartedly for a concert . The Sabha is 120 plus years , they have their constraints of not having a hall on their own , but still they do very well
One clear and important distinction is his training with more semmangudi gurus (his athimber thirukodikaval Rajamani, MA Venugopal and few more names )but the branding of MMI is more prominent . One remarkable originality that suryaprakash brings is his voice generally has more kaarvai like nAyanam . kaarvai are more longer shoot cycles without fragments and those came quite handy . Adding kaarvais gives so much of continued concentration to me . That too with two ragas keeravani and hamsanandi they add more charm to bring its own intrinsic beauty.
This concert was quite remarkable for two big heavy numbers that I liked far more and I felt he should plan bit more rationing in thukkadas for the future . BEgada anudhinamu , I am making a guess maybe poochi Srinivasa Iyengar could have sung in early years of parthasarathi sabha . Poochi is the Kutcheri paddhati original creator though lot of credit is given to his sishya ariyakudi. BEgada heaviness is good for the voice taking heavy ragas is important for the usually opened voice to open far more.
Three neravals and swaras came one after another and then a RTP did show the energy of Vidwan Suryaprakash. Bantureeti set the stage rolling with such intense kalapramanam with Rama naaama neraval patri and suryaprakash were musical monsters tearing skilfully the hamsa-“naadam” .
If musicians sing main, submain and RTP in a 2 hour plus concert it is not that great -some thing appears dilute in most cases. For this concert he dropping submain was a great choice . What a lovely keeravani , fluid and dynamic kaarvai , I kind of connected with a lot of semmangudi keeravanai there . Alapana was intense . There is this flagship kaligi yuntE which I liked a lot . Then I used to like punniyam oru koti or Devi neeye Thunai . Then much much later this krithi of Gopalakrishna Bharathi innamum sandheha Padalama is one of the best output of GKB . Such lucid thamizh and that too with repeated anchor in neraval with the words “”Thannai aRiginra thavamE peridhu “ each of the four were musically doing the same introspection of looking inside in the neraval . Keeravani oozed so well musical oomph to me .
The RTP was well done . What an alapana in hamsanandi , a lot of TNS like sangathis with longer kaarvai and not the usual TVS like short burst cycle . Taanam was sung very well in two speeds , I wish he had taken Duracell mrudangam but still it was great .
Pallavi was beautifully crafted with hamsanandi famous krithi line , there is a song tripura Sundari for sudda saveri and Subramanyena for sudda dhanyasi . HE said he is doing bedhams where he is omitting sA and going from gA to gA and ma to ma for sudda saveri and suddha dhanyasi . Personally the clarity of sudda saveri was bit more richer than sudda dhanyasi
IN the tail segment the ragamaliga of his Sangeetha sowbhagyame was sung bit faster and the viruththam in two ragas ending with kavignar Vaali - Madurai Somu popularised ninaikadha neramillai was very janaranjakam . Usual note was a populist addition
Kamalkiran was a joy, he has intense concentration during song and he plays with high azhuttam and fidelity quotient . In the last few concerts I noticed a bit longer violin return ,this time he was great and apt , I think he predicted so well as kamalakiran and suryaprakash toured this year in USA.
Patri the Duracell battery biggest plus is within first minute he sets the kalapramanam tempo so well and goes with the intent of the main artist with superb mrudanga madam , there is no virisal at all. While hamsanadam was racy , the joy of neraval of keeravani bought patri to a different plane and personality . HE teamed with Sowmiya Narayanan who was just good , his body language was always a josh and he giving a crisp tani of 10 mins gave more time for this lovely 3 raga Pallavi. In tani patri rolled so well for first 2 rounds
Suryaprakash has to watch out for one thing . When he decides to sing his own raagamaliga Sangeetha sowbhagyame or devarga,l the audience are not able to catch that well the intensity . Usually I liked the dictum of the 1960 to 1980 concerts where they keep just one ragamaliga or may be two ragamaliga . If the Pallavi itself has its 3 ragas in R , P and Swaras , and if the viruththam also has two ragas the intermediate ragamaliga is not the best of drop for a 2hour plus concert . I would have preferred little more dwelling in suddha dhanyasi or a little more repetition of sangathis like Santhanam or KVN in viruththam. Suryaprakash has to focus bit more in bringing more rasikas with a little more dwelling to bring in unwashed or partiallly washed masses to CM like how Santhanam did .
On a best note ,Suryaprakash voice is maturing and slowly more masculinity is getting added . He is peaking and not reached a peak . Let him add more and more kaaravai in his music and bring more Semmangudi touches . Keervani and Hamsanandi have a tinge of melancholy , melancholy adds bit more musical attention to me - to an extent some raga choices makes it more appealing to me .
It was a joy to meet Arasi , when viruththam was on I was thinking her kalyana Vasantham krithi . I also add a chance to spend time with Arasi along with Cleveland prime photographer Meenakshi . We also met briefly Sridhar Rang .The count of NRIs this season is not that high for sure and it is a joy to meet Meenakshi and Arasi .
My head is in the swirl with the line “ thannai ariginra thavamE peridhu and hamsAnandi alapana kaarvai and also in the evening with very musically deep presentation by Amrutha Venkatesh was a great end for 2023.
Overall an excellent concert for 2 hours and 15 mins
One clear and important distinction is his training with more semmangudi gurus (his athimber thirukodikaval Rajamani, MA Venugopal and few more names )but the branding of MMI is more prominent . One remarkable originality that suryaprakash brings is his voice generally has more kaarvai like nAyanam . kaarvai are more longer shoot cycles without fragments and those came quite handy . Adding kaarvais gives so much of continued concentration to me . That too with two ragas keeravani and hamsanandi they add more charm to bring its own intrinsic beauty.
This concert was quite remarkable for two big heavy numbers that I liked far more and I felt he should plan bit more rationing in thukkadas for the future . BEgada anudhinamu , I am making a guess maybe poochi Srinivasa Iyengar could have sung in early years of parthasarathi sabha . Poochi is the Kutcheri paddhati original creator though lot of credit is given to his sishya ariyakudi. BEgada heaviness is good for the voice taking heavy ragas is important for the usually opened voice to open far more.
Three neravals and swaras came one after another and then a RTP did show the energy of Vidwan Suryaprakash. Bantureeti set the stage rolling with such intense kalapramanam with Rama naaama neraval patri and suryaprakash were musical monsters tearing skilfully the hamsa-“naadam” .
If musicians sing main, submain and RTP in a 2 hour plus concert it is not that great -some thing appears dilute in most cases. For this concert he dropping submain was a great choice . What a lovely keeravani , fluid and dynamic kaarvai , I kind of connected with a lot of semmangudi keeravanai there . Alapana was intense . There is this flagship kaligi yuntE which I liked a lot . Then I used to like punniyam oru koti or Devi neeye Thunai . Then much much later this krithi of Gopalakrishna Bharathi innamum sandheha Padalama is one of the best output of GKB . Such lucid thamizh and that too with repeated anchor in neraval with the words “”Thannai aRiginra thavamE peridhu “ each of the four were musically doing the same introspection of looking inside in the neraval . Keeravani oozed so well musical oomph to me .
The RTP was well done . What an alapana in hamsanandi , a lot of TNS like sangathis with longer kaarvai and not the usual TVS like short burst cycle . Taanam was sung very well in two speeds , I wish he had taken Duracell mrudangam but still it was great .
Pallavi was beautifully crafted with hamsanandi famous krithi line , there is a song tripura Sundari for sudda saveri and Subramanyena for sudda dhanyasi . HE said he is doing bedhams where he is omitting sA and going from gA to gA and ma to ma for sudda saveri and suddha dhanyasi . Personally the clarity of sudda saveri was bit more richer than sudda dhanyasi
IN the tail segment the ragamaliga of his Sangeetha sowbhagyame was sung bit faster and the viruththam in two ragas ending with kavignar Vaali - Madurai Somu popularised ninaikadha neramillai was very janaranjakam . Usual note was a populist addition
Kamalkiran was a joy, he has intense concentration during song and he plays with high azhuttam and fidelity quotient . In the last few concerts I noticed a bit longer violin return ,this time he was great and apt , I think he predicted so well as kamalakiran and suryaprakash toured this year in USA.
Patri the Duracell battery biggest plus is within first minute he sets the kalapramanam tempo so well and goes with the intent of the main artist with superb mrudanga madam , there is no virisal at all. While hamsanadam was racy , the joy of neraval of keeravani bought patri to a different plane and personality . HE teamed with Sowmiya Narayanan who was just good , his body language was always a josh and he giving a crisp tani of 10 mins gave more time for this lovely 3 raga Pallavi. In tani patri rolled so well for first 2 rounds
Suryaprakash has to watch out for one thing . When he decides to sing his own raagamaliga Sangeetha sowbhagyame or devarga,l the audience are not able to catch that well the intensity . Usually I liked the dictum of the 1960 to 1980 concerts where they keep just one ragamaliga or may be two ragamaliga . If the Pallavi itself has its 3 ragas in R , P and Swaras , and if the viruththam also has two ragas the intermediate ragamaliga is not the best of drop for a 2hour plus concert . I would have preferred little more dwelling in suddha dhanyasi or a little more repetition of sangathis like Santhanam or KVN in viruththam. Suryaprakash has to focus bit more in bringing more rasikas with a little more dwelling to bring in unwashed or partiallly washed masses to CM like how Santhanam did .
On a best note ,Suryaprakash voice is maturing and slowly more masculinity is getting added . He is peaking and not reached a peak . Let him add more and more kaaravai in his music and bring more Semmangudi touches . Keervani and Hamsanandi have a tinge of melancholy , melancholy adds bit more musical attention to me - to an extent some raga choices makes it more appealing to me .
It was a joy to meet Arasi , when viruththam was on I was thinking her kalyana Vasantham krithi . I also add a chance to spend time with Arasi along with Cleveland prime photographer Meenakshi . We also met briefly Sridhar Rang .The count of NRIs this season is not that high for sure and it is a joy to meet Meenakshi and Arasi .
My head is in the swirl with the line “ thannai ariginra thavamE peridhu and hamsAnandi alapana kaarvai and also in the evening with very musically deep presentation by Amrutha Venkatesh was a great end for 2023.
Overall an excellent concert for 2 hours and 15 mins
Last edited by rajeshnat on 01 Jan 2024, 21:27, edited 3 times in total.
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rajeshnat
- Posts: 9931
- Joined: 03 Feb 2010, 08:04
Re: Suryaprakash@Parthasarathy Sabha on Dec 31st, 2023
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Suryaprakash@Parthasarathy Sabha on Dec 31st, 2023
-----------------------------------------------------------
Vocal : Suryaprakash
Violin : Kamalkiran Vinjamuri- Student of A Kanyakumari
Mrudangam : Patri Satish Kumar
Ghatam : Sowmiya Narayanan
GLICSPAWES 2023 "Goto LIve Concert Show PAtronage Without Excuses Series" concert #13 of 14 is done.
www.rasikas.org/forums/viewtopic.php?p=381106#p381106
Suryaprakash@Parthasarathy Sabha on Dec 31st, 2023
-----------------------------------------------------------
Vocal : Suryaprakash
Violin : Kamalkiran Vinjamuri- Student of A Kanyakumari
Mrudangam : Patri Satish Kumar
Ghatam : Sowmiya Narayanan
GLICSPAWES 2023 "Goto LIve Concert Show PAtronage Without Excuses Series" concert #13 of 14 is done.
www.rasikas.org/forums/viewtopic.php?p=381106#p381106
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arasi
- Posts: 16789
- Joined: 22 Jun 2006, 09:30
Re: Suryaprakash@Parthasarathy Sabha on Dec 31st, 2023
Rajesh,
It was a double-header for me--listening to Suryaprakash at Partha and at GBL's 10th memorial concert at Sunadalahari--and both concerts from start to finish. Tail end of the season, two performances in a row, and yet, his voice flowed without a flaw. The very end of the season for me as well--but his singing made me feel refreshed, after all the busy time I had listening to (and watching )a number of recitals in a short span of time.
I am a bEgaDa fan, and have heard many sing the rAgA from the PUchi school on stage and informally countless times, and here was Suryaprakash doing justice to the rAgA and delighting us.
"Never a dull moment'" is something which describes his singing. He was surprised to see me, wanted to sing a song of mine as he usually does, and did so in his next concert!
By the way, the sweet filling for the Surya sandwich was the singing by Aishwarya and Saundarya at Partha following his concert--the first half of their performance which I heard was impressive, the way in which they seem to be blossoming--but sad to say that the fatigue of concert-hopping hit this old bag of bones at that afternoon hour and I dozed off
Then I had to leave before they ended the concert--to attend Gobilalitha's memorial and so, caught Suryaprkash again .
The sisters' enthusiasm and determination in refining their art is impressive--with Aishwarya's sweet off springs taking the rigors of travel in stride. There's dedication for you, thanks to the beacon of an example in Bharath Ratna MSS--her daughter, and how the the tradition continues
It was a double-header for me--listening to Suryaprakash at Partha and at GBL's 10th memorial concert at Sunadalahari--and both concerts from start to finish. Tail end of the season, two performances in a row, and yet, his voice flowed without a flaw. The very end of the season for me as well--but his singing made me feel refreshed, after all the busy time I had listening to (and watching )a number of recitals in a short span of time.
I am a bEgaDa fan, and have heard many sing the rAgA from the PUchi school on stage and informally countless times, and here was Suryaprakash doing justice to the rAgA and delighting us.
"Never a dull moment'" is something which describes his singing. He was surprised to see me, wanted to sing a song of mine as he usually does, and did so in his next concert!
By the way, the sweet filling for the Surya sandwich was the singing by Aishwarya and Saundarya at Partha following his concert--the first half of their performance which I heard was impressive, the way in which they seem to be blossoming--but sad to say that the fatigue of concert-hopping hit this old bag of bones at that afternoon hour and I dozed off
Then I had to leave before they ended the concert--to attend Gobilalitha's memorial and so, caught Suryaprkash again .The sisters' enthusiasm and determination in refining their art is impressive--with Aishwarya's sweet off springs taking the rigors of travel in stride. There's dedication for you, thanks to the beacon of an example in Bharath Ratna MSS--her daughter, and how the the tradition continues