Vocal : Sanjay Subrahmanyan
Violin : S Varadarajan
Mrudangam : Neyveli Venkatesh
Ganjira : Guruprasanna
01 sAmi nI rammanavE – kEdAram – Thiruvottiyur Thyagayya
02 rA rAmA intitAka – asAvEri – Thyagaraja ( S )
03 enta rANi tanakenta – harikAmbOji – Thyagaraja ( N,S )
neraval & swara @ ‘ shEshuDu shivuniki bhUshuDu lakshmaNa’
04 ardhanArIshwaram – kumudakriya – Dikshitar ( A,S )
05 Anandavalli – nIlAmbari – Swathi Thirunal
06 marugElarA O rAghavA – jayantaSrI – Thyagaraja ( A )
07 RTP – ShankarAbharaNam – Chaturasra triputa, 2 kaLai
pallavi line : “chakkagAni bhajana jEsE vAriki takkuva galadA srI rAmA dina dinamu’
no Ragamalika swaras
08 gOpAla bhaktim mE – bhAgEshrI – Swati Thirunal
09 nanda tanaya gOvindana – bhAgEshrI – Purandara Dasa ( started at Anupallavi)
10 slOkam ( jAnAdi rAma ) – sindhu bhairavi , durga
mannupughazh kOsalai than – rAgamAlika ( durga,laLita, tilang, sAranga,hindOLam,nIlAmbari)
11 bhArata sarAjya sakhi – dEsh – Mayuram Viswanatha Shastri
12 paNiyin vintuLipOlavE – harikAmbOji ? – Thirupugazh
13 mangaLam – saurAshtram – Thyagaraja
A typical Sanjay concert. Power packed, with excitement galore ( both the performers and the audience alike). He stsarted with another special varnam. This time in kEdAram. I dont know if any other current performer who brings so much variety into varnam. Asaveri kriti followed quickly, giving us some taste of what is to follow with some sparkling swaras at the end. Harikamboji kriti , enta rAni tanakentu’ came with out an alapana, and he chose to do neraval at the standard ‘sheshudu shivuniki” , in detail followed by another longish swara singing, lasting nearly 30 mins.
First alapana of the day came with kumudakriya, keeping us guessed for a long time. To me, this was the highlight of the concert. The alapana by Sanjay and Varadarajan were top class, so was the kriti that followed. He chose to sing swara at two places, one at “kumudakriyA rAganutam” and soon at ‘AgamAdi sannutam’ and it just added to the overall appeal to the kriti. Swathi Thirunal’s padam ‘Anandavalli’ came with all it emotive grandeur , before the alapana for Jayanthasree, I understand a requst from one rasika. Jayanthasree alapana was also very good.
Without any further delay or fillers, he began Sankarabharam alapana. It was grand and awesome, lasting more than 30 mins between the vocal and violin. Varadarajan in his return , reproduced some of the notes based phrases which Sanjay sang earlier in his turn. A longish alapana and the style, dashed some hopes for a tamil kriti ( betting for tUkiya tiruvadi or s Shyama Sastry kriti) , but hte tanam that followed erased any concern we had. Fabulous job by Sanjay and Varadarajan. Pallavi line popularised by Semmangudi was very interesting, longinsh and more sounds like a neraval singing ( since there was no trikalam). There were no ragamalika swaram, but the Sankarabharanam swaras were again fitting to the build up thus far. By now , the noise levels were beyond comfort, with the excitement getting into the percussion team. In general, mrudangam was noisy and often repeated the same pattern. Tani avartanam was a continuation of the chaos. Guruprasanna , on the other hand was very good and it was pleasure listening to him whenever he had a chance to come forth.
Post main had 2 back to back bhAgeshri kritis, and a ragamalika kriti in Tamil. The slokam was started in sindhubhairavi, but a chit that put across, seems to have changed the original plan. Mayuram Viswanatha Shastri’s desh kriti was another note worthy rendition before the close.
A very fulfilling concert, with an outstanding kumudakriya and the grand pallavi to remember.