Vocal : Sanjay Subrahmanian
Violin : Avaneeswaram Vinu
Mrudangam : Mannargudi Easwaran
Ganjira : Venkataramanan
01 nera nammiti ( varNam) – kAnaDa – Ramanathapuram Srinivasa Iyengar
02 mallAri – gambhIranAtta ( S )
03 parama pAvani – aThANa – Annasami Sasthri ( A,S )
04 ennagANu rAmabhajana – pantuvarALi – Bhadrachala Ramadas ( A,N )
neraval @ rAmaciluka nokada penci prEma mATalADanEpa rAma rAma rAmayanucu‘
05 mAnam vaitharul tA sundari – SankarAbharaNam – Anai Ayya ( A,S,T )
06 ninna nambidE nIrada shAma – mukhAri – Purandara Dasa
07 RTP – kAnaDa – khanda triputa x 2 kaLai , starting at +1/2
rAgamAlika tAnam in kAnaDa, kAmbOji, janaranjani,AbhEri
pallavi line ‘srI rAma ravikulAbdhi sOma, sujana manObhirAma’
swaras in kAnaDa. No ragamalika swaras
08 mODi jEsevELara – khamAs – Pattabhiramayya
09 vaNNa mADangal – rAgamAlika ( mOhanam, hamsAnandi?, surutti) -Azhvar pAsuram
10 tumbam nErkayil – dEsh – Bharatidasan
11 thillAna – dhanasri – Swathi Thirunal
12 mangaLam – saurAshtram – thyagaraja
To put it in one word, it was cracker of a concert. Such a contrast from the previous day. Every thing was as ‘prescribed’ and executed. Not sure if there was a clue given to him, as he stuck to the traditional style including singing a pallavi in the same ragam as the varnam. Concert started 5 min ahead of time (or near about) and concluded well past 9 ‘O clock. He would have sung for nearly 3.5 hrs, with a very brief interlude by the organisers. And he did deliver a top class performance, as expected from him.
Kanada Varnam was followed by the ‘vocalisation’ of the traditional nAdaswaram mallari. It was interesting and was complimented by some smart work by Mannargudi Easwaran on percussion. He continued gambhiranatta with few rounds of swaras, again very well done. A shortish atana alapana came soon, followed by Annasami Sasthri kriti. I’ve been listening to this fairly regularly in Bangalore ( may be 3rd in last one year) , hence it is not a rare kriti anymore. Swara was sung only for a couple of rounds and nothing significant to talk about.
First major alapana was in pantuvarali, and this time he did not confuse me ( I have perennial issue with pUrvikalyani and Pantuvarali, whenever Sanjay sing the alapana ). I thought it was top class, so was the violin return by Vinu, though he was slightly loud and squeaky sound at times (which was the case through out). The kriti and neraval was brilliant. I liked the long neraval with the ‘rAma rAma’ chanting (!) phrases. He closed the kriti without singing swaras.
A majestic Sankarabharanam was the main. Classy 15 min alapana , built up meticulously was a treat ( except few areas of experiment , which I did not like). Anai ayya’s kriti was new to me. Rather short kriti and an absence of neraval was compensated by long kalpana swara, lasting nearly 20 mins, done in traditional 2 speed , concluding with the Mani Iyer popularised ending.
Mannargudi Easwaran as always was a treat to listen. His accompaniment was as great as ever. I am in the camp of those who prefer his accompaniment to Sanjay over Neyveli Venkatesh. He along with Venkataramanan gave a brilliant tani avartanam. It was rather too long to my comfort, spilling over to 25 mins.
A nice mukhari devarnama came before the next major take off of Kanada. Alapana was very good, so was the tanam done in 4 ragams. There was no trikalam during pallavi, but he did the same while singing the swara, with some great effects. Mannargudi Easwaran was in full anticipation and played with great control. They played another short tani avartanam at the end of the pallavi.
Post main after a short speech and presentation to the artists by Prince Rama Varma, had his usual set of kritis. The khamas kriti of Pattabhiramayya and the Desh kriti in particular was very nice. Concert concluded with the dhanasri pallavi.
As said earlier, a very contrasting presentation from the previous day, giving it a wholesomeness of a concert. And he did in style too.