Vocal : Sanjay Subrahmanyan
Violin : S Varadarajan
Mrudangam : Neyveli Venkatesh
Ganjira: G Guruprasanna
01 inta chAlamu sEyaka (varNam) – kAmbOji – aTa – Pallavi Gopala Iyer
02 kari kaLabhamukhAm – sAvEri – Eka? – Dikshitar ( S )
03 shrI pArvati paramAidvaita shivE – shrI – aTa – Kunrakudi Krishna Iyer
04 kaNDE kaNDE svAmiya bEDikoNDE – kannaDa – mishra chAp – Purandara Dasa ( A )
05 enta vEDukoNDu rAghavA – sarasvati manOhari – Adi – Thyagaraja ( N,S )
neraval & swara @ ‘cinta dIrcuTakenta mODirA antarAtma nA centarAka nEn-‘
06 tAyE ezhaipAl – bhairavi – Adi – Papanasam Sivan ( A,N,S,T )
neraval & swara @ eNNAda eNNamellAm eNNi eNNi eTTAda pErAsai kOTTai kaTTi’
07 Anandavalli – nIlAmbari – Adi x 2 – Swathi Thirunal
08 RTP – cHAyA ranjani – vilOma chApu x 4 repeats
pallavi line : ‘enkaL kulathinamudhE shrI rAmA tALElO’
rAgamAlika swaras in shankarAbharanam, aThANa, mukhAri, hamsAnandi
09 mannipugazh kOsalai tAn- rAgamAlila – rUpakam – Azhwar
10 ghaNTAmaNi ADudu – kAnaDa – Adi – Gopalakrishna Bharati
11 viruttam( vizhikku tuNAi) – ?,sahAna , behAg, jOnpuri
muruganai bhaji manamE – jOnpuri – Papanasam Sivan
12 mangaLam – saurAStram – Thyagaraja
Another one of his classic concerts. 3 hrs of high energy concert, never a lag, never a loss of focus or concentration. Variety of songs, another new varnam, a kannada kriti up front and a speciality pallavi. I guess, all that a listener wanted to absorb in a concert was there in its right proportion. Kudos to him.
One has to admire his professionalism. He was on stage at 5:55, allowing the organisers to finish the formalities of introductions. Concert started on time ( well, 6:05 ) and there was no break for next 3+ hrs.
Another not often heard varnam ( at least it was for the first time for me) , set the evening in motion. I heard a traces of Yadukulakamboji, caused some confusion on kAmbOji. But, Pallavi Gopala Iyers varnam was very good. A sudden burst of kari kalabha mukham came in , in the upper octave. He played around the same ‘ka(ga) ri’ in the kalpana swaras as well, singing ‘ga ri’ in three octaves and extending at kalabha mukham. Made some good impression.
Another rare one followed. Kunrakudi Krishna Iyer’s composition in Shri, which started like shrI varalakshmi and had a lot of traces of pancharatna kriti, especially in the chitta swarams. First detailed alapana was in Kannada, both the artists playing it delectably well. As expected, a Purandara Dasa devarnama was sung. Enta vEdukondu had a similar high energy entry. He sang a classy neraval, toying with the words ‘enta dIrchina’ and few rounds of swaras.
Bhairavi alapana was grand. Through out the evening, I observed he was focusing his alapana largely on the upper register and the kritis in general was also picked in the same vein ( kari kaLabha, enta vEdukondu). Upacharamu jEsEvAr was playing in my min, but he decided to sing the Papanasam Sivan kriti. Another superb neraval at eNNAda eNNamellam. Some interesting laya intricacies during the kalpana swaras, which left the percussion team in somewhat disarray, while Varadarajan was in 100% adherence and support. He was in his usual best through out the evening. Tani avartanam was the Ctrl-C / Ctrl-V of a typical Neyveli Venkatesh affair. I find them so repetitive. Faster the finger moves, faster the shake of the head , louder the noise. However, yesterday he started with an entire avartanam only on the thoppi (left side) which produced a very similar sound of Ganjira. The audience definitely liked the affair as usual, evident from the applause they received.
It needed a sedate neelambari to cool things a bit before the start of pallavi. This time, he chose another new one chAyA ranjani. He explained this as a creation of GNB after being inspired by Bade Gulam Ali Khans ‘multani’. Alapana and tAnam were very good, as one would expect from Sanjay. Not sure from which text the pallavi text was adapted, but was nice. Trikalam was executed, so was multiple rounds of ragamalika swaras. There was a all Tamil post main kritis ( As some one joked post the concert, one doubt if it was ‘kannaDa rAjyOtsava’ or a Tamil Nadu one) before mangalam.