Vocal : Sanjay Subrahmanyan
Violin : S Varadarajan
Mrudangam : Neyveli Venkatesh
Morsing : Gururaj
01. dAri teliyaka vaccinAvEmO (varNam) – darbAr – Patnam Subramanya Iyer
02. viruttam ( pallANDenru padikkirEn) – nATa
pallANDu pallANDu – nATa – Periyalwar
03. intanuchu varNimpa – guNTakriya – Thyagaraja ( S )
04. marecEDi nyAyamA – hamsadhwani – Patnam Subramanya Iyer ( A,S )
05. srI mAtrubhUtam – kannaDa – Dikshitar
06. SrI vaLLi dEvasEnApatE -nbaTabhairavi – Papanasam Sivan ( A,N,S,T )
neraval & swara @’ mAmava sadASiva kumAra, vImaNi kruta chitta mayUrA’
07. vidhi chakrAdula – yamunA kalyANi – Thyagaraja
08. RTP – kAmbOji – tiSra tripuTa , -1 eduppu ( or +6)
pallavi line ‘yAr pOyi solluvAn enakkAga vELayil kANum ??’
rAgamAlika swaras in ‘thODi , nIlAmbari, husEni, tilang
09. rAmakrishNaru manege bandaru – tilang – Purandara Dasa
10. EmandunE muddu bAlAmaNiki –
kApi saindhavi – dharmapuri Subbaraya Iyer
11. viruttam ( mAlOr maruganE mannADi maindanE ) – behAg
solla soll varmam? enayya – behAg – Doraiswamy Kavi
12. mAlAsai kOpam – sindhu bhairavi – Arunagirinathar
13. mangaLam – saurAshtram – Thaygaraja
A typical Sanjay concert will have adjectives like ‘exhilarating, fireworks, cracker’ and so on. They are usually packed with physically charged atmosphere of high energy transpired from the performer to the audience. Here is another kind of Sanjay yesterday at the Gayana Samaja auditorium, equally brilliant if not better. More sedate, less charged, playful at times ( especially during the kalpana swaras of guntakriya and hamsadhwani) yet equally enterprising as a performer. The usual restlessness( not in the negative sense), the shake of the whole body, re-seating himself after a bout of cracking swara pattern, the hand gesture of “pistol pointing” at the percussionist after the culmination of a long electrifying swara singing and so on were largely restrained. It does not mean that the energy was lacking. The connect with audience was constant, but he tried to change the mode of delivery slightly. Look at the list of the kritis sang. A very refreshing list, of many unusual one, across a large variety of composers.
I always maintain that Sanjay sing a large number of different varnams in his concerts and here was another one which I haven’t heard in a concert. A long varnam ( http://www.karnatik.com/c3231.shtml ) with many charanam and chittaswaras , which took a long time to complete. Pallandu pallandu was probably a new addition during the last season so was guNTakriya kriti that followed. He did not sing an alapana for Guntakriya ( I guess he did it in one of the season 2013 concerts in Chennai) , but the kriti followed with detailed kalpana swaras. It wouldn’t be long before he attempt a pallavi in guntakriya.
Hamsadhwani was the first alapana, and has some interesting phrases which weren’t very common. Merecedi nyayama is a fabulous kriti of Patnam Subramanya Iyer. The pallavi line , especially towards the end 9rAma nIvE) was very appealing. The kriti by itself was sung beautifully with a fitting kalpana swaras starting with some nice sa,ri,ga patterns.
Natabhairavi alapana caused a lot of initial confusion to me( and Srikanth a bad influence from me). From charukesi to shanmukhapriya to begin with before doubting it as natabhairavi. Very detailed alapana for over 15 minutes with an equally eloquent return by Varadarajan, before taking up ( as the only possible choice) Sri Valli Devasenapate. Interestingly, there was no other neraval before the main. Sanjay however, compensated with a fabulous neraval, taking the ‘mAmava sada’ from the second part of the line ‘chittakumara’ with some improvisation to some marvelous effect. Kalpana swaras followed the similar two speed variations as the rest, befitting the main. Percussion, largely unimaginative and non-innovative through out, played out a spirited tani avartanam, as one would see from Neyveli Venkatesh.
Pallavi, definitely was coming and this time, it was a major raga, probably because of the other selection for the day. Sanjay’s kAmbOji alapana is always a pleasure to listen and yesterday was not different. Whole lot of appreciative sounds from the audience, as he played long phrases ending at the higher octaves and easing his way through the fast paced phrases, visibly moving the listeners. So, was the return from Varadarajan, resumed after a brief interruption by the organiser ( some car blocking the way, as usual). I saw at least ten people around me standing up and leaving on this announcement ( probably they all have heard Ritz car and not the registration number being called out or found this as an excuse to leave the concert). Back to the concert, the tanam was again very good, as expected from him. Pallavi was in tisra triputa only 7 counts, with the first word ‘yAr’ starting at the last beat of the cycle, which I found very interesting. ‘pOyi’ was at samam. Ragamalika swara stood out for an outstanding ‘thodi’ ( still gives me goosebumps) which took away the rest of the sheen from the rest. It ended with tilang swaras progressing to a devarnama in the same raga.
Post main had few tamil kritis in behag, kapi (no saindhavi) and a tirupugazh lasting almost three and half hours. Another inspiring effort, with so many not so regular kritis. Brilliant…