Vocal : Sanjay Subrahmanyan
Violin : Nagai Muralidharan
Mrudangam : Patri Satishkumar
Ganjira : K V Gopalakrishnan
01. kanakAngi nI chelimi( varNam) – thODi – Pallavi Gopala Iyer ( S )
02. tatvam ariya taramA – rItigauLa – Papanasam Sivan ( N,S )
neraval & swara @ ‘matiSEkhara makanE, sumukhanE, madavAraNa mukhanE’
03. paralOka bhayamu – mandAri – Thyagaraja ( A,S )
04. SrI mAtA shiva vAmAngE – bEgaDa – Dikshitar ( A )
05. kaligiyuNTe gada – kIravANi – Thyagaraja ( A,N,S,T )
neraval & swara @’bAgugA SrI raghu rAmuni padamulA’
06. tEril ErinAn – kalyANi – Papanasam Sivan
07. RTP – ravi chandrika – misra chApu x 5 ??
pallavi line ” murugA tirumAlmagizh varugA Siva kumAra’
rAgamAlika swaras in hindOLam, valachi, hamsAnandi, brindAvana sAranga
08. kaNDEnA gOvindana – chandrakauns – Purandara Dasa
09. viruttam ( …manidanE maraindAl?) – behAg
cholla cholla varmam – behAg – Duraiswamy Kaviyar
10. mangaLam – saurAshtram – Thyagaraja
Its been a while since I experienced sheer exhilaration in a concert. Been to many sedate, sublime ones recently, which were very also very good. But the intensity, excitement, and energy that was in the air yesterday wasn’t something that was experienced recently. The center of the energy was indeed from the lead singer, who as a transponder, transmitted the same to the fellow artists on the stage, and to the listeners. One glance around could see many elated faces, enthusiastic responses, vigorous shake of heads and hands in the audience. That to me is the connect between the artists and the audience and on that part, the concert was a grand affair.
He started the concert with the thodi varnam, adding a few rounds of swara, before quickly moving on to reetigaula. The neraval at ‘matishekhara mukhanE’ was stupendous. The violin replies was equally eloquent and at one point ( I guess towards the end) , Sanjay turned towards at Nagai Murali , singing ‘sumukhanE’ ( and not mada vAraNa mukhanE 🙂 ).
As he started his next alapana, we were all set to use the ‘third umpire’s help. I have this difficulty with pantuvarali and purvikalyani, especially when Sanjay sings. But the confusion was short lived as we realised it is neither and the next safest bet was mandAri. He did ratify, our judgement,at the end of the alapana. Begada alapana was grand and had few interesting phrases, at the early stages of the alapana. Sri mAta shiva vAma, was a surprise choice. I haven’t heard this in a concert before.
Keeravani is often heard and all of them are similar – the alapana, kriti, the neraval and same set of swaras. I am a bit bored of this kriti of late. However, yesterday was different. There was freshness in the way the alapana was taken up, the way the sangati’s in the kriti came out, the clever way of singing neraval ( especially the rAmuni, raghu rAmuni, Sri raghu rAmuni use before padamula), the intrinsic swara singing with calculative intervals between swara ( which he used again in the pallavi during swara) made the overall impact good.
There was a short filler in Kalyani, while I had to attend to a couple of calls outside. I missed the later part of the tani avartanam as well, which I was told was nice. The percussion duo was in great support, with Patri Satishkumar, in great form, matching to all those swara manipulations.
Pallavi again was a great surprise. Not sure if there was any pallavi in Ravichandrika before. Detailed alapana, few resemblance to natakurinji at times, was followed with detailed ‘madhyamakala’ tanam, brilliantly followed by Nagai Muralidharan. Pallavi was set to Mishra chapu ( nadai) with 5 (?) avartanam. There was trikalam, detailed swaraprasthana in ravi chandrika and ragamalika swaras.
Concert concluded with a devarnama and a behag piece, which went beyond the usual 3 hrs. A cracker of a concert by Sanjay and his team.
A short note on Unnati
Unnati (unnatiblr.org), an initiative of SGBS Trust, has been providing employable vocational training to underprivileged youth since 2003. With the motto ‘Lean, Earn and Stand Tall’ its programs are social transformation in nature as they are aimed not only to enable the youth to become ‘employable’ and engage in a gainful job, but also to mold them in to responsible citizens for our country.
Unnati meets its expenses from the donations received from individuals and Corporate Donors. The training budget per youth Rs 12,000. With a target of around 750 youth per year (across 5 batches) the annual budget for Unnati Centre is Rs 90 lakhs.