Vocal : Sanjay Subrahmanyan
Violin : S Varadarajan
Mrudangam : B Harikumar
Ganjira : Venkataraman
01 everEmi bOdhana ( varNam) – sahAna – Patnam Subramanya Iyer
02 paralOka sAdhanamE – pUrvikalyAni – Thyagaraja ( S )
03 rAma ninnu vinA – SankarAbaraNam – Thyagaraja
04 mAmava pattAbhirAma – maNirang – Dikshitar ( A,N,S )
neraval & swara @ ‘ vichitra maNimaya simhAsanE navaratna maNTapE’
05 nIyE sharaN shanmukhA – kAmbOji – Papanasam Sivan
06 endukO nI manasu – kalyANi – Thyagaraja ( A,N,S,T)
neraal & swara @’ sharaNAgata vatsala nammiti tAaka nAma parAtpara’
07 chalamlarA – mArgahindOLam – thyagaraja
08 RTP – sAvEri – tisra tripuTa
pallavi line ‘ varaTTum, manamE varaTTum, iru manamE varaTTum, patarAdiru maname – varaTTum..’
pallavi in rAgamAlika sAvEri, Anandabhairavi, hamIr kalyANi, mOhanam
ragamalika swaras in sAvEri, Anandabhairavi, hamIr kalyANi, mOhanam
09 mAtADa bAradEnO – khamAs – Narahari Dasa
10 kaLilO hari caraNamokaTiyE – kApi – Muthaiah Bhagavathar
11 viruttam ( vizhikku tuNai ) – mAND
ArumO Aval – mAND – Kannan Iyengar
12 mangaLam – saurAshtram – Thyagaraja
Another brilliant concert by Sanjay at the Fort high School grounds. The cracking swaras of Purvi kalyani, the outstanding manirang, the sangatis of the rare sankarabharanam kriti and saveri alapana stood out in a remarkable day.
Concert started with the sahana varnam in the typical two speed variation. The purvikalyani kriti came quick follwed with some fabulous swara singing, despite the dampener came in the form of power interruptions. Power outage seems to be following Sanjay here almost every time ( last time while he was concluding a mesmerisig everi mata main ). While he was at the cresendo ( so to say) with some superb swara the power went off to the dismay of the listeners. Sanjay , unperturbed continue singing, but was harldy audible to people sitting in the back rows.
A rare Sankarabharanam kriti of Thyagaraja came in next. The only knowledge I have of this kriti is a BMK version (I was told that there is another by Dr.S Ramanathan). The elaborate sangati’s he sng for nannu rakshimpa’ was phenomenal. If this wasgood, what followed was fabulous. A 7-8 minutes of manirang alapana followed by the predictable mAmava pattAbhirAma’. Neraval , interestingly was taken up at ‘vichitra manimaya’ ( this kriti provides ample possibilities of neraval lines). Neraval, to say the least, was just briliant, so was the swaras that followed.
A short shanmukhapriya came in before the main. Sanjay started the main with few shortish phrases. an unplanned, uncontrolled yawn broke out from me, and I immeditely sensed the ‘kalyani’ on its way. I dont know if it’s only me, but the kalyani alapana did not give many aha or ‘tsch, tsch’ moments. However, the kriti with rather shortish neraval and swaras were good enough to cover the main. Harikumar and the young Venkataraman gave a spirited, well received tani avartanam.
To make up, sAvEri alapana was very very good. All that was missing in kalyani was her e. He received the maximum applause after the brilliant saveri alapana. Tanam was just good. Pallavi was interesting. After few rounds of pallavi neraval , he changed the raga to Anandabharabi, hamir kalyani nd mohanam. He did it in a tricky ( may be a it gimmicky) way with these combinations as :saveri , saveri+ anandabhairavi, saveri+anandabhairavi+hamirkalyani, saveri+anandabhairavi+hamirkalyani+mohanam easing from one raga to other for the same line. ragamalika swaras folowed the same pattern in the reverse order.
The support cast did a great job to make this concert memorable. Varadarjan was following Sanjay near 100%. His retunrs for manirang , kalyani and saveri were top class, so was his swara returns. Harikumar also gave a great support, along with the Ganjira aritst.
Post main had only couple of songs. I was expecting a longer version of viruttam, before arumo aval. Apart from the small glitch in the power, the rest of the concert was very very good.