Sandeep Narayan @ Nadasurabhi , 18th March 2018

Vocal :  Sandeep Narayan

Violin : Mathur Srinidhi

Mrudangam : K U Jayachandra Rao

Ghatam : G Omkar Rao


01 mahA gaNapatE pAlayAshumAm – naTanArAyaNi – Adi – Dikshitar

02 nAda tanumanisham – cittaranjani – Adi – Thyagaraja ( A,S )

03 saundararAjam AshrayE – brindAvana sAranga – rUpakam – Dikshitar ( A )

04 kAdiruvEnu nAnu – ranjani – Adi -Ambujam Krishna ( A,N )

neraval @ ‘pAdAmbujagaLa pUjeya mADi ‘

05 mahAlakSmi jaganmAtA – shankarAbharaNam – mishra chAp -Papanasam Sivan ( A,S,T )

06 ninnayE ratiyenru – bhAgEshrI – rUpakam – Subramanya Bharati (  O )

07 mayilmIdu viraindODi – cArukEshi – Adi – ??  ( o )

08 candrashEkharA Isha sundarEshvara – sindhu bhairavi – Adi – Anai Vaidyanatha Iyer ( O )

09 thillAna ( tAm tAm tAm udani ) – khamAs – Patnam Subramanya Iyer ( O )

10 mangaLam – saurASTran – Thyagaraja

Brilliant concert by the young vidvan yesterday at Nadasurabhi.  He sang with such an elan, composed and in control.  Despite some of his mannerism and singing style which regularly reminded us about his guru, he was on a roll.

Very sedate start with the natanarayani piece, which has a folkish tune to it, was a great way to get in.  Both on the pallavi line and the ‘ragamudra’ line, he sang ample sangatis, which I liked.  Chittaranjani alapana was top class. Gave the hint by singing the ‘sarigamapadhani’ phrase of the composition in his alapana. Not heard many chittaranjani full alapana in concerts, hence it indeed was welcome. Other impressive of his singing ‘nAda tanumanisham’ was at the anupallavi.  He sang with the break at ‘mOdakara nigamOttama’ unlike ‘ nigamOttama sAma’ as many artists sing. Very good. Some good rounds of kalpana swaras followed at the pallavi line. The concluding round by both the artists, I thought, were superb.

A fabulous brindavana saranga alapana started soon. Surprised to see two janya of kharaharapriya back to back. Of course, they have different feel and musical beauty. Brindavana sarang alapana was mesmerising . Srinidhi was equally aswesome in his turn. Full marks. The composition was sung with all it grandeur. To me, this was the best part of the concert.

A rather shortish ranjani alapana followed ; decent with some of the standard phrases. Srinidhi tried some innovative strokes. Amubjam Krishna’s composition was nice.  HE sang a compelling neraval at pAdAmbujagaLa pUjeya mADi’ with some nice twists and turns. Good work here. There was no swaras.

Soon, a detailed shankarabharanam alapana started. The way it was progressing, it was evident that he is not taking up some of the well known compositions. Very good effort in alapana, little to and fro, odd phrases of class, some impressive longer phrased upper octaves. Srinidhi played much more standard shankarabharanam. Mahalakshmi Jaganmata was a nice choice , even though I was expecting a Shyama Shastry composition to come. There was no neraval ;surprising on two counts a) There was only one neraval in the entire concert b) he did not sing a pallavi.  Kalpana swarams are mostly done as two long takes, one at the lower speed and one the shorter phrases at the faster tempo. The repeats from Srinidhi was equally eloquent. Jayachandra Rao, who did a commendable job through out the evening, played a structurally intricate tani avartanam with Omkar.

There was no pallavi, but sang couple of songs and a requested thillana. He sang all of them after a short raga sketch. Some good team play, triggered by the vocalist in the khamas thillana was nice change.

His powerful voice, open throat style of singing, command over lyrics and laya etc are the highlights of his singing. Yesterday’s concert was no different. Hope to see and listen to him more in Bangalore.


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Posted by on March 19, 2018 in Uncategorized


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Sanjay Subrahmanyan at Ranjani Fine Arts, 10 Feb 2018

Vocal : Sanjay Subrahmanyan

Violin : S Varadarajan

Mrudangam : Neyveli Venkatesh

Ganjira : Anirudh Athreya


01 ninnE kOriyunna nApai (varNam) – mALavi – Calcutta Krishnamurthy

02 inta parAkA – mAyAmALavagauLA – Roopakam- Anai Ayya ( N,S )

neraval & svaras at ‘kannatalli tanri sujanulanna tammu’

03 kAntimati annai nI gati – kAnaDa – Mishra Chap- Papanasam Sivan ( A )

04 munnu rAvaNa – thODi – Mishra Jhumpa – Thyagaraja  ( A,N,S )

neraval & svaras at ‘ rAjarAja virAjavAha ravikulAbdhi rAja’

05 jagadIshA sadA mAmava  – nAtakurinji – Adi X 2 Swathi Thirunal ( A,S,T )

06 evvarE rAmayya – gAngEyabhUSaNi – Thyagaraja

07 RTP – dharmavati – chaturashra tripuTa x 2 Kalai , 1/2 Eduppu

pallavi line ‘ unadu pAdam oru tuNai ena nambinEn, sadA dayai puriyum sharavaNabhava guhanE’

rAgamAlika Svaras in bahudhAri, ranjani and bhImplAs

08 manamE kanamum – bhImplAs – Papanasam Sivan

09 rAmakrSNaru managE bandaru – tilang – Purandara Dasa

10 viruttam ( theerthakkarayinilE ) – bhAgEshrI – Subramanya Bharati

ninnayE ratiyenru ninaikkirEn – bhAgEshrI – Subramanya Bharati

11 apadUruku lOnaitinE (jAvaLi) – khamAs – Pattabhiramayya

12 mangaLam – saurAStram – Thyagaraja

“Surprise us”, requested the organiser as he handed over the stage to the artists of the evening.  Did I notice a glimmer of a smile on his face. Well, he can’t surprise us. The element of surprise is part of the expectation and standard set by him over the years. So, the surprise to us is to have an ‘off day’, which  wasn’t the case to be. Second time in this week, he was here with yet another scintillating concert. Probably, the ‘munnu rAvaNa’ can be the the surprise factor for those who was looking for one.

I am itching to use the superlatives again. The evening excitement started with the mAyAmALavagauLA piece. Fabulous neraval and svaras with some innovative support from Venkatesh. I will pass the kAnaDa, but to say the sedate kriti was very nice. Brilliant thOdi by both the artists. Some of his typical forays:  the holding on to the svara with a loooong single breath singing  – which always have people applauding, and the build up to some mesmerising higher octave passages and a clever termination ( again a staple ingredient for instant gratification from the audience). But beyond these, some of the takes were really superb. So was the violin return. Haven’t heard him singing munnu rAvaNa before. Again, he was very impressive in the neraval and some of the intrinsic swaras that followed.

Natakurinji was the main piece, if you insist  ( To me it WAS the thODi , but the tani avartanam followed nAtakurinji ). Elaborate alapana again. Similar progress with some elegant phrases. Tried some of the lower octave takes, to some lesser effect. Jagadeesha sadA mAmava was against our speculations of ‘kuvalayadala nayana’ or ‘ mAmava sadA varadE’. No neraval ( hence not main 🙂 ), but had some nicely set svara patterns with a whole lot of sweeping gamakas at ma,ga,sa swaras ( which went on for a while). Neyveli Venkatesh was very good through out, except a few places during natakurinji swaras. He later played superbly for the pallavi, following Sanjay during his various takes and variations (Aniruddh struggled a bit here). The tani Avartanam, especially the closing sequences were very good.

Dharmavati pallavi, this time. Nothing great to talk about the alapana. Rather shortish. But the tanam ( compensated for the depth in alapana) was delectable. From the start it was destined for an outstanding affair. Varadarajan was equally brilliant.  Long pallavi line set to Adi tala , 2 kaLai. But, the purvangam and uttarangam were set to two different speeds ( I don’t think, there was a naDai variation) and that was the key essence of the pallavi singing. Everything, including the trikalam he did, was around these speed variations between pUrvAngam and uttarAngam.  The bhImplAs svaras during the rAgamAlika stood out, which followed up with Papanasam Sivan’s composition , as is his wont.

This time we did not have a quick wind up post pallavi. The khamAs jAvaLi was the pick of this section.

The organisers were pleased. The huge hall was full, fabulous ambience, excellent seating and amplification systems and a start one would hope for , for the Annual Festival. I can pardon Arsene Wenger for another lose, as I was listening to another Arsenal Follower, providing us some relief  ( taking the clue from the closing speech from the organiser again).


Posted by on February 11, 2018 in Uncategorized


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Sanjay Subrahmanyan @ Spring Festival , Sri Rama Lalitha Kala Mandira at Gayana Samaja, 06 Feb 2018

Vocal : Sanjay Subrahmanyan

Violin : S Varadarajan

Mrudangam : Neyveli Venkatesh

Morsing : Bhagyalakshmi Krishna


01. celimi kOri( varNam ) – gauLa – Adi – Veena Kuppiyer?

02. kanu koNTini – bilahari – Adi – Thyagaraja ( S )

03. ninnuvinA marigaladA – rItigauLA – Adi tisragati – Shyama Shastry ( A,N,S )

neraval & svara @ ‘ shyAmakRSNanuta bhakta paripAlanamu sEyuTaku’

04. annai jAnaki vandALE – sAvEri – Adi x 2 – Arunachala Kavi  ( A )

05. entha cheluvagE magaLu – yAgapriya – Adi – Purandara Dasa ( A )

06. shrI subrahmaNyAya namastE – kAmbOji – Adi  x 2 – Muthuswamy Dikshitar ( A,N,S,T)

neraval & svara @ vAsavAdi sakaladEva vanditAya’

07.  mAlOn maruganai ( viruttam) – SaNmukhapriya – Arunagiri Nathar

sharavaNabhava enum – SaNmukhapriya – Papanasam Sivan

08. RTP – jaganmOhini – mishra naDai

pallavi line ” ‘shivakAma sundari amba vandaruL, tandaruL’

rAgamAlika swaras in mukhAri, kalyANi, rEvati and dEsh

09 lALisidaLu maganA – dEsh – Purandara Dasa

10. mangaLAm – saurAStram – Thyagaraja

Yet again, despite reaching ahead of time, braving the evening traffic, I had to be contend with the ‘Balcony seat’. May be next time, I would take half a day leave and reach by 3:00 pm or so. The seats were largely occupied by the handbags and kerchiefs than human beings. So, alternately, I would send a proxy an hour early with my hand-kerchief. Is ‘denzo’ listening ? 5:45pm was the starting time and one would expect him to start at samam. But yesterday there was an ‘atheetha eDuppu’ by about 2 mins.

One couldn’t ask for more. 5 elaborate alapana, one master class of kAmbOji with a real heavy composition, a pallavi, a rare vivAdi in the mix. A fabulous evening of enriching music. A short gauLa varnam to start ( too short even to notice ; it got over in 3 mins) and a bilahari that followed, were just warm up stuff.  The game shifted with the reetigaula. He always sings that well, but I was super impressed with the return by Varadarajan. Good neraval and svaras to add to the brilliance. I have to say the same for sAvEri alapana too. Very good, and again Varadarajan was special here. Annai Janaki vandale was a surprise.

He started a vivAdi alapana and as we were deciphering the raga ( by successive elimination method  from gAngEyabhUSani to calanATa), he came to our rescue by announcing yAgapriya. 31st mELam, mostly known for Dikshitar’s kalAvatim kamalAsanayuvatim ( kalAvati as it is called in Dikshitar’s school – not to be mistaken with the other kalAvati of ‘ennaDu jUtunO’) . Impressive alapana especially from Sanjay followed with a dEvarnama. I notice this trend in his concerts for the last 3-4 years in Bangalore, where he sing one of the Dasa kritis upfront with an alapana and neraval / svara in almost all the concerts, not restricting them to the post main section, which I appreciate.

No fillers, as he started a classy kAmbOji alapana. I predicted a Dikshitar composition to follow and here comes ‘ShrI subramaNyAya namastE’. Awesome stuff by him and Varadarajan as they presented it with all its grandeur. Outstanding neraval, fitting kalpana swaras ( percussion was left wanting at times) for one  hell of an affair. Tani avartanam, to my pleasure was much subdued and done very well, a welcome change from him.

When he started the viruttam, I thought we are not likely to have a pallavi. But soon he started the alapana of jaganmohini. After a grand kAmbOji, this couldn’t have bettered the impact on me. But, it was good nonetheless with some impressive ragamalika swaras especially the rEvati ( Varadarajan again steel my applause) and dEsh which is extended to the dEvarnama lAlisidaLu maganA.

For a change, the organisers did not want to interrupt. Upon Sanjay’s indication he came on to stage and made very  short proceedings of thanking the artists and announced the next days program. One saw Sanjay, contemplating and physically warming up and was thinking of a viruttam or thillAna to come which wasn’t there.

These days, it is very rare to get five detailed alapanas in a concert without compromising on other aspect of music. This calls for him planning and structuring the concert impeccably. If one has to make a template and tick the appropriate squares , this concert would have all those covered.  One wonder, how he manages to do this day after day, every concert across all the parts of the world.

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Posted by on February 7, 2018 in Uncategorized


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Tanmayee Krishnamurthy , Prabhata Sangeetham @ Nadasurabhi 31 Dec 2017

Vocal : Tanmayee Krishnamurthy

No Accompanyments..

List :

01 shrI gaNEsha sharaNam – tilang – Papanasam Sivan

02 shrI pArvati paramEshvarau vandE – bhauLi – Dikshitar

03 brOva bhArama – bahudhAri – Thyagaraja ( O,S )

04 nagumOmu galanEni – AbhEri – Thyagaraja  ( A,S )

05 shLOkam ( manOjavam mAruta tulya vEgam) – AbhEri??, sahAna

rAmachandruDitaDu raghuvIruDu – sahAna – Annamacharya

06 irakkam varAmal – behAg – Gopakakrishna Bharati

07 pAlincu kAmAkSi – madhyamAvati – Shyama Shasthry

08 ugAbhOga ( mrgagaLa meyyalli bhaktuLa kastUri?? ) – dEsh

kula kula kulavennutiharu – dEsh – Kanaka Dasa

09 ninyAkO ninna hangyAkO ranga – karNaranjani – Purandara Dasa

10 bArO krSNayya – rAgamAlika – Vyasaraya

11 tambUri mITTitava – sindhubhairavi – Purandara Dasa

12 mangaLam – saurAStram – Thyagaraja

Music san noise is always pleasure, especially an early morning session in a close settings. It indeed is a challenge for the artist to perform with only tanpura to support. The short comings of the vocal issues will be out in the open , not hidden by the violin. Also, it is difficult to engage the audience for a longer period with out a percussion to add to the effect. There is also the issue of voice being ready for an early cold morning concert. But, Vidushi Tanmayee Krishnamurthy overcome all those inhibitions with a classy concert on the last morning of the year.

I liked the way she planned the morning. Eased through the early part, spent a lot of time of Shlokam/ugabhoga , spread the morning thtough various composers, mixed it up well and added her bit with two well done kalpana swaras. She, probably could have skipped the ‘pAlincu kAmAkSi’ after the listerner’s choice was in favour of the earlier abhEri. A couple of slips at the lyrics was the only miss in the whole day. She can also look at some of the word stresses in future ( bAramA/ bhAramA , ghalanEni/galanEni, dhootam/dootam etc).

Impressive voice, presentation and manodharmam. Both bahudhari and abheri kalpana swaras were very good, so was the short alapana of abheri. Finally, a grand way to end another musical year for me.

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Posted by on December 31, 2017 in Uncategorized


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Sunil Gargyan @ Nadasurabhi, 17 Dec 2017

Vocal : Sunil Gargyan

Violin : M P Aditya

Mrudangam : Anoor Vinod Shyam

Ganjira : Sunaad Anoor


01 evari bOdhana (varNam) – AbhOgi – Adi -Patnam Subramanya Iyer

02 vaiyatul vAzhvigal (tirupAvai) –  gauLa – Andal

03 lOka bharitanO krSNA – bEgaDa – rUpakam – Vadiraja  ( A,S )

04 bhajarE rE mAnasA – AbhEri – Adi -Mysore Vasudevachar

05 mAmava mInAkSi – varALi – mishra chAp – Dikshitar ( A,N,S )

neraval & Swaras @ ‘shyAmE shankari digvijaya pratApini’

06 ninnADa nEla – kannaDa – Adi – Thyagaraja ( S )

07 inta sowkhya mani nE – kApi – Adi x 2 – Thyagaraja ( A,N,S,T )

neraval & swara @ svara rAga laya sudharasa manDu’

08 ugabhOga ( baDavaroLage ) – hamsAnandi,behAg?, sindhubhairavi, brindAvana sArang

kaNDEnA uDupiya krSNana – brindAvana sAranga – Purandara Dasa

09 thillAna ( tAm tAm tAm udani tOm) – khamAs – Patnam Subramanya Iyer

10 mangaLam – saurAStram – Thyagaraja

shLOkam ( mangaLam kOsalEndrAya) – madhyamAvati

The youngsters presented a brilliant concert yesterday at Nadasurabhi. Very pleasing to see young musicians coming up with some commendable performance. Sunil Gargyan has been in the watch out list for me for last couple of years and this is the first time, I am getting to see him performing live. He indeed made a good first impression. Very compelling , with no unwanted exuberance , no overtly attempt to impress with what he has learned so far, no over reliance on speed. He will go places.

After the brisk varnam, he sang the second tirupavai ( apparently it was the second day of Margazhi) before a good begada alapana.Violin struggled a bit to getin line with the procedings,and his begada wasn’t all that appealing. As one was waiting for vallabha nayakasya to follow, the young vidvan surprised us with a Vadiraja composition ‘lOka bharitanO’. Few round of swaras accompanied.

Varali alapana was detailed and demonstrated some of his capabilities. Very impressive. Dikshitar’s mAmava mInAkSi with a sturdy neraval and swara at shyAme shankari was done very well. Changed the speed with a kannaDa and some quick fire swaras, with some brilliant percussion support. It was time to serve kApi, well done. Nice neraval, detailed swaras in the first speed and rather short one in second speed.

Percussion team should get an extra applause. Vinod Shyam and Sunad were brilliant. Good anticipation, apt improvisation, appropriate fillers and the duo improved the overall concert experience with their involvement. Aditya took time to settle on his part.

Beautiful ugabhoga ( the young man should be given credit for such wonderful selection of compositions) was the highlight of the post main section.

A very well planned ( the selection of compositions and ragams) and presented concert, the way he paced his concert, the on-stage interactions ; I think he has impressed me.

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Posted by on December 18, 2017 in Uncategorized


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