Suryaprakash@NGS on Dec 26th ,2024

[rajeshnat]

Suryaprakash@NGS on Dec 26th ,2024
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Vocal : Suryaprakash
Violin : Raghavendra Rao
Mrudangam : Melakaveri Balaji
Ghatam : Sowmiya Narayanan, disciple of ???(dont know i know he is us based)
1 Tambura : Miraj Tambura

Concert Type : Nirvana - Non Ticketed concert
Day : Thursday
Duration - 2 hours plus
Sabha/Hall : NGS Main Hall/ Swami Gnanananda hall

03. mA Janaki (RS, N ,S) - StOrm BOdhi -T
2 mins alapana with no violin return
neraval for 5 mins in rAja rAja vara
swaras for 10 mins

04. sukhi EvarO (R S T) - kAnadA - T
7 mins alapana and 4 mins violin return
swaras for 10 mins
04B.tani for 11 mins

05. sadA nin pada maargam - bhavapriya - suryaprakash
06. RTP in thilang for 32 mins
ragam for 10 mins inclusive of 3 mins violin return
taanam for 7 mins
Pallavi and swararaga maliga for rest of 32 mins
Pallavi line was mAruthi jayamaruthi lanka vijaya maruthi, mAm pAhi
swararagamaliga in thillang + srothaswini + darbari kAnadA

Concerts usually have 3 intense strikes to me on what i call as most important . They are submain, main and RTP. I personally go to concerts where surely experiencing this three is what usually gives that days joy where artists indeed have a greater chance to exhibit a larger cavas of their classicism .Rest of the song also matters but it does not matter as much as these 3.

The submain was stormBodhi . This is where i see the influence of a well tested submain status krithi, lot of avenues of manodharma and also the allegiance of the paddhantara school matters. IT is not a paddantara vomit of hearing a tape recorder of MMI but certainly lot of innovative swara Kalpana patterns that gets organically stitched after a very long neraval just brings joy.

If submain stormbOdhi gives way to KAnadA it is surely too good a sign . KAnadA is an extraordinary ragam for any school and in particular ganakaladhara school they have mastered with such finesse of sarvalaghu sowkhyam . Krithi is surely balanced with emote and expression and somehow the accompanist take it so skillfully without a millisecond sag of kalapramanam is lovely. Particularly suryapraksh singing nearly 4 to 5 mins the final round of kANadA with a different anchor than the usual anchor of ma da da ni pa pa ... ga ga was lovely. How he does with such one go without violin return is un explainable

While stormbodhi and kAnada had the usual allegiance of MMI school , the thilang is lovely with almost all his originality. I remember reviewing this Pallavi few years back in rasikas. Pallavi is significant line adaptation of Shri TN Seshagopalan where he cleverly embedded the keyword thilang . but how with just one key word mampAhi suryaprakash incorporated was superb. Taanam was great but the best of best was that long srotaswini , i have never heard ever with any musician that srotaswini had a kapi like swara ragamaliga status. THe last darbari was also great , his swaras in general are out of the park and it came for all 3

The intermediate filler sada nin in bhavapriya was his own composition, has a lot of swarakshara pattern, i missed certain more elaboration like how he sang 18 years back when i heard for the first time when coolkarni conducted one of his 20 plus concerts in the presence of doyen manakkal Rangarajan was before my eyes . Bhavapriya is a lovely ragam possibly brought in first by s kalyanaraman and/or MLV

[rajeshnat]

01.sadAnanda tAndavam (RS, S) - bahudari - Achutadasar
swaras for 4 mins
02. ninnE nammiti nayya (R N )- simmhendra madhyamam - MV
5 mins alapana and 3 mins violin return
neraval in pannagendra sayanA neeraja nEtra for 7 mins

07. Theertha karaiyinilE - mukhari + suddasArang(tunesmith is suryaprakash) - mahakavi bharathiyar
08. Note -shankarabharanam - HMB

Rest of the songs did matter . The start of bahudari with this rare vaggeyakkara achutadasar . Who is he he just gave one great number that gives a run for money for even brova ba ramaa. Simmhendra madhyamam with neraval was nice , i guess he cut swaras to save time to deliver a non fractured Pallavi

In the tukkadas , many musicians generally tune many of the bharathiyar , this varumai niram sivapppu orginal one of SPB is now morphed with many musicans and yesterday it had a lovely mukhari head and a suddasarang tail, nice choices. Whenever i hear suddasarang i only think of our late nageswaran sir who loves so much

Thank YOu Thank YOu for melakaveri Balaji . Sunaadam with lovely Naadam through out . every touch he refused to bang , what a kalapramanam , he was equivalent and marching towards the great pazhani Subramania pillai. He also sacrificed his tani and gave more air time , otherwise who knows we may not have srothaswini and darbari in swara ragamaliga or a one avarthana fractured rendition or may be he gave the theertha karaiyinilE.Sowmiya Narayanan played well in the course of the song , he has great body language he is enthusiastic at every step and he clearly listened every non communicative guidelines from Balaji. The Violinst Raghavendra rao is one of the fastest bowers , he has great skills , being a student of late TNKrishnan and few more from Andhra whom i forget he is bit under rated in the circuit . Last few times when i heard , there was a bit of fusion and the violin itself had may be more western touch , yesterday he played very well,

Special shout out for NGS
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This is my third concert in NGS . It is difficult to bring in the flair of say Late R Krishnaswami Sir . Post his passing away i did not notice that intensity from NGS even before Covid. I and Krishnaswami knew each other very well, but it looks this year NGS is slowly bringing in those glorious days. Kudos to his son Harishankar and the NGS office bearars i dont know any one yet other than few faces. They start on time and i also see some lovely big portraits of musician and they intensely brand for margazhi . As i walked in i even saw even 100 year old Dr TK Murthy in a recent snap where a street is named after him where the legend is with mruduangam. When time permits i will push that photo . For many years morning slots in NGS Main was not open and they only kept it open in mini. Now like pre 2010 years it is back, 7 to 10 artists are singing in morning . This point i have talked with Krishnaswamy sir and he was not that keen , i am assuming this is now taken up by his son Harishankar Sir and others. So far this year season is more brimming with more concert and sabha spread compared to 2023 (hope mudhra bounces from 2025 onwards and more importantly we need far more NRI's)

All said spectacular creativity with especially exhilarating manodharmam from team of 4.

Overall an excellent to outstanding concert for 2 hours

[rajeshnat]

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Suryaprakash@NGS on Dec 26th ,2024
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Vocal : Suryaprakash
Violin : Raghavendra Rao
Mrudangam : Melakaveri Balaji
Ghatam : Sowmiya Narayanan, disciple of ???(dont know i know he is us based)
GLICSPAWES 2024 "Goto LIve Concert Show PAtronage Without Excuses Series" concert #26 of xy is done.

www.rasikas.org/forums/viewtopic.php?p=383492#p383492

[shankarank]

05. sadA nin pada maargam - bhavapriya - suryaprakash
............
Bhavapriya is a lovely ragam possibly brought in first by s kalyanaraman and/or MLV

SSI had sung this in concerts , I remember - and here is a direct recording clip in youtube : https://www.youtube.com/watch?v=xyN6OnLG-so

The song is part of BrahmaSri Balakrishna Sastrigal discourses on SrI tyAgarAja rAmAyaNam.