RSS

Tag Archives: Sanjay Subrahmanyan

Sanjay Subrahmanyan @ Nadasurabhi Annual Festival , 04 Nov 2018

Vocal : Sanjay Subrahmanyan

Violin : S Varadarajan

Mrudangam : Neyveli Venkatesh

Ganjira : G Guruprasanna

List :

01 inta parAkEla namma ( varNam) – kunTaLavarALi – Adi – Calcutta K S Krishnamurthy

02 sUrymUrtE namOstutE – saurAStram – Chaturashra dhruvam – Dikshitar

03 sakala bhuvana nAyaka – kEdAram – Roopakam – Papanasam Sivan ( A,S )

04 shrI vaTukanAtha shiva samjAta – dEvakriya – mishrachap – Dikshitar ( A,N )

neraval @ ‘shakti sahita bhakti vihita dEva dEvakriyA ‘

05 kaligiyuNTE gada – kIravANi – Adi x 2 – Thyagaraja ( A,S,T )

06 jaladhisutA ramaNEna – calanATa? – Adi – Swathi Thirunal

07 maneyoLagADO gOvinda – shrIranjani – Adi – Purandara Dasa

08 RTP – harikAmbOji – mishra tripuTa, 2 kaLai , 1/2 Eduppu

pallavi line :¬† ‘ nI bhaktiyuDan tODutta pAmalaikkiNaiyuNDO, subramaNya bhAratiyE’

rAgamAlika swaras in ranjani,dhanyAsi, kadanakutUhalam, kanakAngi

kriti : pAmAlaikkINai uNDO – harikAmbOji – Adi – Papanasam Sivan

09 ettanai kOTi inbam – dEsh – Adi – Subrahmanya Bharathi

10 apadUruku lOnaitinE (javaLi ) – khamAs – ?? – Pattabhiramaiah

11 viruttam ( UraNi manOnmaNi ) – mOhanam, sAvEri, AbhEri , behAg

karpakAmbikai nI allavO – behAg – roopakam – Papanasam Sivan

12 kuru yadunandana ( nijagAda sA yadunandanE ) – sindhubhairavi – Adi – Jayadeva

13 mangaLam – saurAStram – Adi – Thyagaraja

Two weekends in row, Sunday evenings are spent in the company of Sanjay and his team, and how he made both a memorable ones. Two splendid concerts. The only regret for me is that on both the weekends, Arsenal had to content with a draw and single points each ūüôā

Some one commented after the concert that ‘kaligiyunte’ is the only kriti she was familiar with. I know it was an exaggeration but it shows the kind of selection he did for this concert.¬† The kuntalavarali varnam was a first time for me too, his Guru’s which had the ‘ragamudra’ cleverly incorporated. Very sedate, slow saurashtram , very moving. In general, the entire concert was singing mostly slow tempo kritis, especially in the first half of the concert.

Nice kEdAram alapana by both and mildly surprised with the Papanasam Sivan’s composition, as I probably was expecting MDR’s tyAgarAja gurum ashraye. Nice rounds of kalpana swaras as well. But the ‘piece de resistance’ of the evening to me was the dEvakriya. Fabulous alapana, again, slow and moving phrases. I’ve heard him sing devakriya before, but this was superb. Shri vatukanatha, of Dikshitar was very good and a grand neraval at the ‘dEva dEvakriya’ line. Awesome. He left me wanting for more, and if that is a measure of a good singing, here is one.

Keeravani alapana started with some delectable phrases. 5-6 years ago, I remember him singing this at Unnati.¬† To me, every one sings keeravani, the same way and I remarked after that concert that I was happy that there was some freshness in that alapana. Yesterday too, I liked the way he parlayed (sorry for that expression) the whole alapana. Brilliant. Kaligiyunte was good, but a little disappointed when he skipped the neraval. But, boy how did he compensate for that and more with a great swaras. The early phases were the traditional slow speed, with typical laya innovations and his usual change in sangatis. The second speed was very ‘Mani iyer’ influenced ‘sarva laghu’ style of singing. He was in some form by now. Interestingly, there was no exhilaration on his part , but the excited percussion support at time was very intrusive and wasn’t adding to the listening pleasure. The tani avartanam was good.

He sang two short kritis in quick succession before Pallavi. I would have been happy if he had skipped one and did a neraval for keeravani. Harikamboji was the pallavi raga, though it took a while to register. From the responses by many ( as seen on the social media), I wasn’t the only one who was scratching the head.¬† The opening sequence of the alapana, was teasing and flirting around shankarabharam and later kamboji. Tanam, as usual, was very good.¬† Pallavi line was, from the composition of Papanasam Sivan in the same raga. After the ragamalika swaras, he sang the kriti in full.

Post main was some of his usual list.  Javali was very nice. The rgamalika viruttam before the behag kriti was the highlight of the post main section. An ashtapadi, probably the only fast paced kriti in the concert, concluded a concert. Another enriching concert, with many not often heard compositions, by Sanjay, yet again.

Advertisements
 
1 Comment

Posted by on November 5, 2018 in Uncategorized

 

Tags: ,

Sanjay Subrahmanyan @ Gayana Samaja 49th Annual Festival, 28 Oct 2018

Vocal : Sanjay Subrahmanyan

Violin : S Varadarajan

Mrudangam : Neyveli Venkatesh

Morsing : B Rajashekhar

List

01 E nAdamulO (varNam) – nATa – Adi – Balamuralikrishna

02 kumArasvAminam guruguham – asAvEri – Adi x 2 – Dikshitar

03 kalayAmi raghurAmam – bEgaDa – mishra chAp – Swathi Thirunal ( A,S )

04 evaritO nE telpudu rAma – mAnavati – Adi – Thyagaraja ( A,S )

05 koluvai unnADE – bhairavi – Adi – Thyagaraja ( A,N,S,T )

neraval& svara @ ‘manasu ranjilla sura satulu aNimAdulu koluva vEyi vannE ‘

06 viruttam ( mAnADa mayilADa ) – kalyANi

Ananda kUthADinAr ambalam tannilE – kalyANi – Gopalakrishna Bharathi

07  RTP РArabhi РKhanda Eka  +1 eDuppu

pallavi line : rAjIvAkSA bArO, rAdhA ramaNa

ragamalika svaras in hamsadhvani, AbhOgi , kEdAram, ranjani, bahudhAri and hamsAnandi

08 beTTada mElondu manEya mADi ( vachana ) – nArAyaNi?? – mishra chAp – Akka Mahadevi

09 japat japat hari nAm – rAgamAlika – Swathi Thirunal

10 mangaLam – saurAStram – Adi – Thyagaraja

It’s been a while since he sang in Bangalore. He had ‘postponed’ two of his concert during the Gokulashtami series, hence the expectations were high. To avoid being ‘elevated’ to the balcony seats, I decided to reach early, even though that meant skipping the second half of the Bangalore Literature Festival. I managed to enter the gates before¬† the Central Minister Rajnath Singh’s convoy and the restrictions in front of the gate / road by the police. Their action reminded me of the kid’s outdoor games where one shouts ‘Freeze’.

Back to the concert. For some days, many will be talking about the bhairavi he sang yesterday. Stupendous. Brilliant alapana, with typical characteristics of his style. Many moments of public appreciation, the holding at a swara with long breath, some astonishing parleys at the higher octaves, some impressive fast akara phrases.¬† I heard more than one ‘brilliant’ shouts as he concluded the alapana. Varadarajan was equally good in his turn. I probably will shift towards him if I may have to choose. Koluvai Unnade was class, the ‘kOdaNDapANi’ sangatis were a gem.¬† Detailed neraval and ‘manasu ranjilla’ , some of which were breathtaking.

Begada was another gem. Very refreshing take during alapana, teasing sequences at the starting. Kalayami Raghuramam was not expected and hence a pleasant surprise. He was again teasing with ‘dyumaNi kula tilakam’ , raising a hope for a neraval, which did not materialize. Manavati, the other raga taken for alapana, was also nice. Very short rounds of swaras for manavati too.

Arabhi pallavi was rather short. Pallavi line was concluded after 3-4 repeats, and swaras for arabhi was also short. However, the alapana and tanam was fairly long. However, there was a long chain of ragamalika swaras.

Akka mahadevi’s vachana was beautifully sung. I was told that it was set to tune in nArAyaNi, but can’t be sure. Concert concluded exactly at 9, after a short ragamalika piece of Swathi Thirunal. This was after the over enthusiastic organiser made some funny and embarrassing moments for the artists. Another typical Sanjay concert. Full, with no dull moments, more than enough to keep the fans happy.¬† And, we will have him again here in a week for another treat.

 
1 Comment

Posted by on October 29, 2018 in Concert songlist

 

Tags: ,

Sanjay Subrahmanyan at Ranjani Fine Arts, 10 Feb 2018

Vocal : Sanjay Subrahmanyan

Violin : S Varadarajan

Mrudangam : Neyveli Venkatesh

Ganjira : Anirudh Athreya

List:

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 РthODi РMishra Jhumpa РThyagaraja  ( A,N,S )

neraval & svaras at ‘ rAjarAja virAjavAha ravikulAbdhi rAja’

05 jagadIshA sadA mAmava  РnAtakurinji РAdi 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 ūüôā ), 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).

 
5 Comments

Posted by on February 11, 2018 in Uncategorized

 

Tags: ,

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

List:

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 РsAvEri РAdi x 2 РArunachala Kavi  ( A )

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

06. shrI subrahmaNyAya namastE РkAmbOji РAdi  x 2 РMuthuswamy Dikshitar ( A,N,S,T)

neraval & svara @ vAsavAdi sakaladEva vanditAya’

07.  mAlOn maruganai ( viruttam) РSaNmukhapriya РArunagiri 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.

 
1 Comment

Posted by on February 7, 2018 in Uncategorized

 

Tags: , ,

Sanjay Subrahmanyan @ Nadasurabhi Annual Festival, 01 Nov 2017

Vocal : Sanjay Subrahmanyan

Violin : S Varadarajan

Mrudangam : Neyveli Venkatesh

Ganjira: G Guruprasanna

List:

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.

 
2 Comments

Posted by on November 2, 2017 in Uncategorized

 

Tags: , ,