Sanjay Subramaiam at Nadhasurabhi (22nd nov 2010)

Difficult to keep short a review of Sanjay’s concert. However I shall try to do so.

Vidwan Sanjay Subrahmanyan     Vocal

Vidwan Mysore Nagaraj               Violin

Vidwan Tumkur B.Ravishankar   Mridangam

Vidwan Guruprasanna                 Khanjira

@ Nadasurabhi Annual Music Festival – 2010

Sanjay was at his ever best. I know I say this after every concert of his. But that’s what he does. He keeps the crowd spell bound by his creative explorations. Nothing seems to be left behind to explore! There was tradition, innovation, excellence and an effortless blend of the trio on stage at Nadasurabhi  by Vid. Sanjay Subramaniam today. 

-Varnam - Hindolam
-Shankari neeve - begada
-O raajeevaksha - Aarabhi
-Kanthimathi karuna - kalyani
-Niravadi sukhada - Ravichandrika
-Kori sevimparada – kharaharapriya
-RTP – Tilang, hamsanandi, kadanakuthoohalam, vakulabharanam, bhagyashree
-Ninnaye rathi endru - bhagyashree
-Nanda tanaya govinda - bhagyashree
-Tunbam nergayil – desh
-Mangalam(Pavamana) - sowrashtra

He kept the varnam simple. Subbaraya Shastry’s shankari neeve in begada was a neat presentation. Aarabhi was very articulate. The expressions mirrored fertile imagination. References were peeking in from Sandhinchane swara patterns, yet maintained striking difference. There was a full import of kalyani ragam in “kanthimathi karuna”. The aalapana reflected traditional kalyani  and the krithi was handled with due care considering its vilamba pace. Niravadi sukhada was delightful. Alapana in ravichandrika is a rarity. Sanjay’s committed endeavors in the various departments of this piece kept the interest of the audience high. Neraval at “maamava marakatha” was most welcoming. The 3 swara edupu at mamava-marakatha gives a beautiful space for swara exploration and Sanjay made every bit of it. Then came kharaharapriya. This raga seldom needs extra effort to beautify it; Sanjay glorified the raga. Neraval at pallavi “ Oh rajeevaksha Orajupula juchedha”  was exemplary and had fitting swara prasthara. This was followed by thani.

Pallavi in thilang was surprising. Thilang is mostly set aside as a ragam for the last part of the concerts like devaranamam, abhang, bharathiyar padal. But Sanjay proved that Thilang could dress the center stage of the concert. 2 nishadhas were shown visibly. Thanam was handled with dignity and finesse. The pallavi “Ninnaye rathi endru ninaikiren adi kannamma” though set to a simple talam – chatusra triputa (adi), had its start at atheetha(begins 1 swara behind the tala starting) making it demanding. Pallavi ragamalika encompassed Hamsanandi, kadanakuthoohalam, vakulabharanam and bhagyashree. He interpreted Subramanya Bharathi’s “ninnaye rathi endru” in bhagyashree with the same grit. This was followed by a kannada krithi, yet again in bhagyashree “nanda tanaya gOvindana”. Tunbam nergayil in Desh was the concluding piece. His lucid tamil diction conveyed clearly the meaning of the lyrics with the needed sentiment.

At some point during the RTP, Sanjay paused to say that he couldn’t match to the speed of Sri Nagaraj’s playing to which Nagaraj modestly said - what he was playing today was because of Sanjay’s splendid singing. This reflected Sanjay’s humility. How unassuming! Vid. Mysore Nagaraj’s simple personality contrasts to his violin’s astounding virtuosity and outstanding imagination. Thani avarthanam enveloped a beautiful conversation between Vid. Ravishankar’s mridangam and Vid. Guruprasanna’s khanjira. The percussion vidwans added to the enthusiasm of the main artiste and gave the extra ingredients making the concert a complete success.

Concert highlights: Krithi selections, Rare raga pallavi (thilang), Sanjay’s style and free expressions