Vocal : Sanjay Subrahmanyan
Violin : S Varadarajan
Mrudangam : Neyveli Venkatesh
Ganjira : Guruprasanna
01 ninnEkOri (varNAmm) – Ahiri – Tarangampadi Panchanada Iyer
02 swAminAtha paripAlayAshumAm – nATa – Dikshitar ( S )
03 inta kaNNAnandamEmi – bilahari – Thyagaraja ( A )
04 kallu sakkare koLLirO – kalyANi – Purandara Dasa ( A )
05 kaDaikkaN nOkki kAvAtadu – thODi – Papanasam Sivan ( N )
neraval @ ‘mayilApurikkiraivA, kayilAsuttuRaivOy, magimai kuRaindiDumO’
06 dAriNi telusukoNTi – sudhasAvEri – Thyagaraja ( S, T )
07 chEtA shrI bAlakrSNam – dvijAvanti – Dikshitar
08 RTP – SaNmukhapriya – tishra tripuTa , khaNDa naDai, samam eDuppu
Pallavi line : sharavaNabhava ennum tirumandiram sadA japi yen nAvE, Om’
rAgamAlika swaras in sahAna, chalanATa? , bhAgEshrI
09 sharavaNabhavaennum tirumandiram – SaNmukhapriya- Papanasam Sivan
10 dAsara nindisa bEDa – rAgEshrI – Purandara Dasa
11 viruttam ( UrilEn kANiyillai?) – hamsAnandi
kaNNanai kANbadeppO – rAgamAlika (hamsAnandi,nAtakurinji,bhImpLAs,abhOgi) – Subramanya Bharati
12 nirupamAna sAmi ni – behAg – Ramanathapuram Srinivasa Iyengar
13 mangaLam – saurAStram – Thyagaraja
This man was in some form yesterday. Voice is at the peak of its strength, which he used to its fullest capabilities, the atmosphere is charged with overflowing audience, over enthusiastic percussion support ( to the level of distraction at times) and some very refreshing set of kritis. He started on the dot at 6:00 – one should give creditto the organisers for this, completing the formalities within the 5 mins window, and sang till 9:20-25. There was no gap between one kriti to other, as he seems to be eager to move to the next one. Only on a rare occasion, he gave a minute or two for Venkatesh to retune his instrument.
Yet another new varnam to the stage. Ahiri ata tala varnam was first time for me, and I guess to many of us in the audience. It is not about singing new varnam in every concert, it is also about which of those gems are worth bringing out to the forefront. He has been doing some wonderful stuff with that for a while now.
Yesterday’s nATa from Malladi Bros were very different, but for Sanjay it was the traditional fare. Even before the percussion conclude the varnam piece, Sanjay had taken off on ‘swAminAtha’. Elaborate swara was sung. But, did I hear he starting it at ‘ma,ga,ri’ ?
Bilahari alapana was short. I was expecting Vasudevacharya’s composition but he decided on a Thyagaraja composition. No neraval and swaras added. Similar was for the next kalyANi. However, despite my cold shoulder towards kalyANi, I thought the alapana was superb. The way he started it was one to cherish, shear beauty. I was hoping for some neraval here, but he wound it up soon. Papanasam Sivan’s thODi composition was again fabulous. The whole kriti was very nice and had one gem of a neraval followed. What a place to sing the neraval.
No traditional submain-main way of progressing the conert until now. He launched into the multiple sangati’s of darini telusukonti. A very very long rounds of kalpana swaras followed. Majestic stuff. I predicted he will hand over to Venkatesh and that is what he did. I am not a great fan of Venkatesh’s tani avartanam. He started it nice with some good left hand play, but soon returned back to his usual style. The crowd as usual seems to have been thrilled with his exploits.
To bring some balance to the whole concert, the pallavi has to be a major one. But before that, he sang a very melodious dwijavanti after a riotous, ear splitting percussion tani. It was very well sung. He did (mischievously) mimic Semmangudi as he concluded the piece. I was right with predicting shanmukhapriya as pallavi. What a classy alapana that followed by both Sanjay and Varadarajan. Sanjay, making use of the range had us mesmerised with some breathtaking higher octave passages and some ‘ati mandrasthayi’ sojourn. Haven’t seen him with such great voice condition for a while. Tanam is one of his strengths and last evening was no exception. No great invention of the pallavi line, but effectively set to tisra triputa in khanda nadai. The Om, was a bit stretched at times. Ragamalika swaras were sung as is wont, with the last bhAgEshrI taking up little longer. He did try some hindustni styled stretches of notes as he sang the bhageshri, and to a lesser effect by Varadarajan. Surprisingly, he did trikalam post the ragamalika swaras, and very detailed. I liked the way Neyveli Venkatesh supported here. As expected, he switched back to adi talam and completed the Papanasam Sivan’s composition in shanmukhapriya.
A short viruttam, followed bby a ragamalika composition and a devarnama concluded the concert. Another brilliant concert from Sanjay.