Vocal : Sanjay Subrahmanyan
Violin : Mysore Srikanth
Mrudangam : K U Jayachandra Rao
Morsing : B Rajasekhar
01 sharaNAgata vatsala ( varNam) – kadanakuthUhalam – Calcutta K S Krishnamurthy
02 SrI lakshmi varAham – AbhOgi – Dikshitar
03 evarikai avatAramu – dEvamanOhari – T ( A,S )
04 arumarundoru tanimarundidu – kAmbOji – Muthu Thandavar ( A,N,S )
neraval & swara @’konrai tumbai aNinda marundu kOdai mIdil paDarnda marundu’
05 evvarE rAmayya – gAngEyabhUshaNi – Thyagaraja
06 paradEvatA bhrhatkuchamba – dhanyAsi – Dikshitar ( A,N,S,T )
neraval & swara @’kalA mAlini kArtyAyani kancha lOchani bhava pASa mOchani’
07 haridAsulu veDalE – yamunAkalyANi? – Thyagaraja ( S )
08 RTP – SAma – chaturasra triputa tisra gati +1 eduppu
pallavi line : sAmagAna lOlanE sadAshivanE sharaNam’
ragamalika swaras in sAma, hindOLam, mAru behAg, laLita
09 rAmanAma pAyasakE – Anandabhairavi – Purandara Dasa
10 viruttam ( kanDuga nada,??) – hamsAnandi,sahAna,sindhu bhairavi, chenchurutti
angai kodu malar thUki – chenchurutti , nAdanAmakriya – TanumAyavar ?
11 mangaLam – saurAshtram
A cracker of a concert to conclude the six day Nadasurabhi annual festival. An unusual combination of artist on the stage ( I haven’t seen Mysore Srikanth or K U Jayachandra Rao accompanying Sanjay) made it all the more interesting. While I have few reservations on the Pallavi, overall it was as expected from a Sanjay’s concert, full of energy and vigour.
His repertoire of varNams are huge and this time it was a kadanakuthuhalam varnam. I am not sure whose composition ( I was informed that this was written by his guru Calcutta Krishnamurthy) is this, but it had some interesting chittaswaras. Dikshitar kriti in abhOgi was sung without any swaras,
Devamanohari alapana was pretty decent, with some good violin return. He started evarikai , holding his breath at the note for a long time, getting the due applause from the audience. A smile flashed across his face before he immersed into the kriti. The swaras sang for this was brilliant. Kamboji alapana came soon with all its splendor. I like his kamboji and yesterday was no difference. I thought it was top class, and Mysore Srikanth did equally good job in his turn. Muthu Thandavar’s kriti, I know Sanjay sings occassionally, but it was for the first time I’m listening. While the kriti by itself is not too appealing, having too many choices to pick in kAmboji, the neraval was splendid and so was the swara that followed. The ‘sangati laden’ gangeyabhushani was again very well sang. The sangatis at the pallavi line and charanam ( I guess) were beautiful, to say the least. Few years back, he took this kriti as the main at Sevasadan Malleswaram, which was the best I’ve heard ever.
Dhanyasi ! I couldn’t have asked for more. Dhanyasi was the main of the day with a great alapana. Some of the tricky takes towards the end wasn’t all that appealing, though. Again, not often heard Dikshitar’s composition was taken up. Neraval was long and detailed, with a fitting rounds of swaras in two speed. Mysore Srikant, did a commendable job. I liked his devamanohari and kamboji alapana, and the meticulous follow on the neraval and swara with the main artist. K U Jayachandra Rao, who was receiving many appreciative glances from the main singer played a rather short tani avartanam along with ‘Lionel Messy of Morsing’ , B Rajasekhar. ( My friend named him saw, form his control and the ‘dribbling’ a la Messi). The tani was very short, so much that the Morsing Vidwan, was busy sipping his coffee, while Jayachandra Rao concluded his turn and passed on, causing a mild eruption of laughter.
A pallavi was always in the offing. Sama was a pleasant surprise. The alapana and tanam, probably did not live to the class that was build until then, but it was good enough none the less. May be it was sung slightly fast, the tanam did not have the real Sama feel to it. Pallavi, with the raga mudra included, was nice though. He moved from the tisra nadai to the usual adi talam post the pallavi before swara. There was a shorting trikalam attempt too. Ragamalika swaras included maru behag ( he announced to the lesser mortals, who had no clue) which was very good. He ended the RTP abruptly and started singing a devar nama in Anandabhairavi. It was a bit awkward. He does this often, but are usually done on the same raga. This time the progression wasn’t as seemless as it usualy are. A ragamalika viruttam , concluded a very good concert by Sanjay Subrahmanyan, bringing down the curtains to a very well organised annual festival of Nadasurabhi.