Vocal : Sanjay Subrahmanyan
Violin : S Varadarajan
Mrudangam : Neyveli B Venkatesh
Ganjira : K V Gopalakrishnan
01. ninnu kOri ( varNam) – mALavi – Calcutta Krishnamurthy
02. brOva samayamidE rAmayya – gowri manOhari – Garabhapurivasa ( S )
03. sArasadaLa nayana – khamAs – Dikshitar ( A )
04. mahA tripurasundari – bhairavi – Pallavi Gopala Iyer ( A,N,S)
neeraval & swara @ ‘ kAppAdutaki ippuDu samayamammA kamanIyamaku bangAru bomma’
05. praNatArthihara prabhO purArE (2 chakra) – mELarAgamAlika 1-12 – Maha Vaidyanatha Sivan
06. kApAli – mOhanam – PapanAsam Sivan ( S )
07. vidhi shakrAdulaku – yamunA kalyANi- Thyagaja
08. RTP – rAmapriya – misrachapu x 6 Eduppu at +2
pallavi line : “ellAm shivan seyal enrE, kavalai inru iruppai maDa nenjamE’
ragamalika swaras in ‘SAma, vasantha, husEni, sindhuramakriya, kApi’
09. kaLilO harismaraNa – kApi – Muthaiah Bhagavathar
10. lALisidaLu maganA -dEsh – Purandara Dasa
11. viruttam ( vizhikku tuNai ) – sindhubhairavi
vA vA vElmurukA -sindhubhairavi – Mayuram Viswanatha Shastri
12 riNmadhumita – behAg- Swathi Thirunal
13. thillAna ( dhIm dhIm tadana dhiraNA) – thODi – Ramanathapuram Srinivsa Iyengar
14. magaLam – saurAshtram – Thyagraja
Concerts of this stature, which grows from one instance to the other is like watching Chris Gayle hitting sixes on every ball. One looses the choice of adjectives, and just leave it to the judgement of those reading this. On such a day, whatever he does will fall in right places, anything he sings will be better than the previous piece, and some of the fundamentals of physics on ‘space and time’ has to be revisited. Yesterday’s, concluding concert of Sanjay at the Gayana Samaja 45th Annual Music Festival was one such affair. I am not sure what to pick and choose to write about. Was it his ever lasting array of varNams, the alapana he sang ( especialy the initial 5 minutes) of khamAs, the classical bhairavi , the magnum opus of Maha Vaidyanatha Sivan, the cracking kalpana swaras of mohanam or the stylish pallavi. Go back, and take a look at the list of kritis he sang. That itself is the testimony to what would have been the atmosphere in the hall.
On such a day, when everything is going right for the artist, and he seems to be in a mood to deliver, one has to sit back and experience the electrifying atmosphere.The voice was in top form and he was traversing all octaves at a ‘never seen’ ease, playfully wants to explore the higher octaves as much as possible. The top class alapana, khamas in particular was a joy to sit and listen. Arguably, this is one of the best khamas I’ve heard in a long long time. As he was finishing the kriti (sArasadaLa nayanA), I was hoping that he will not do a neraval or kalpana swaras for it, as it might have spoiled the beauty of the rendition.
Bhairavi again, was superb. It was a bit early in the evening for the main, but the alapana was very elaborate befitting to the raga. Varadarajan played with the same vigour, reproducing almost all the nuances of the lead singer’s alapana. Kriti again was a surprise. I’ve heard this from BV Raman/BV Lakshmanan duo. The neraval was great and had a few rounds of kalpana swaras to add to the fervor. When he started the ‘mELarAgamAlika’ magnum opus of Maha Vaidyanatha Sivan, I was expecting, only the first chakra. He extended this to two and the audience seems to have liked it a lot.
The so called, main wasn’t there in the traditional sense. Tani avartanam was played after a cracker of kalpana swaras for mohanam. Though some of the ‘ga,ga,ga,gApAli’ wasnt very appealing, the way kalpana swaras were sung was spellbinding. A typical tani avartanam from Neyveli Venkatesh featured. His accompanying was much better towards the mohanam.
Pallavi was in the offing. A not so often heard yamuna kalyani kriti of Thyagaraja came in before that , another interesting selection. The alapana for RTP, kept all of us guessing. It was in the pantuvarali , purvikalyani group but not quite there. I was ‘convinced’ that it was ‘vAchaspathi’, and was believing the same until someone came to my rescue. It was rAmapriya, a minor frequency variation in the ‘rishabham’ ( R1 instead of R2). Pallavi wasn’t long. More importantly I had difficulty in identifying the pallavi line as he tends to swallow the last syllable. This must be a popular line, hope someone will come to correct me ( and they did, and I made the changes). There was detailed ragamalika swaras, and Sama, husEni and sindhuramakriya ( here the artist himself clarified) in particular was very good.
Post pallavi and felicitation was the typical Sanjay fair, a desh , sindhubhairavi, behag. At this time, a request came in. He glanced at it and smiled, and started the thillana in thOdi. I’m sure the ‘chit’ that came in wasn’t requesting a specific thillana. Whatever it was, he did not yield, singing the mangalam and close the concert.
As they say, a cracker of a concert. One of the best for me this year ( so far !! )..