MUDHRA
Exemplary and educative too
S. SIVAKUMAR
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Sanjay Subramaniam's rich vidwat was evident in his concert.
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Sanjay Subramaniam's concert for Mudhra began with the Durbar varnam, which was followed by `Intha Paraka' (Mayamalavagowla, Annamayya). Sanjay's sense of proportion and his time slicing for swaras, alapanas, kritis and niravals for a concert, was exemplary and instructive too. His unfailing sruti-alignment reminded one of Madurai Somu.
Sanjay has imbibed various bhanis and yet strives to maintain a style of his own. His alapana for Ravichandrika (Makelara, Tyagarajar) with suggestive phrases and the commencement (eduppu) of Evari Maata Vinna (Khambodi-Tyagaraja) from the anupallavi "Avanilo" had its impact. These two songs rendered as they were without swaras, showed how the solemnity of kritis could be preserved.
The main raga was Madhyamavathi (Paalimsu Kamakshi, Syama Sastri) and the infinite variations of swara patterns for a single avarthanam was a clear expression of Sanjay'ss laya vidwath. The Ragam, Thanam and Pallavi, which has become an accepted specialty of Sanjay's concerts, featured Bahudhari. There were repeated pleasurable exchanges during the thanam with Varadarajan (violinist).
S.Varadarajan . He etched Simhendra Madhyamam and Madhyamavati with mellifluous phrases. Guruvayur Dorai meshed well with Tirupunithura Radhakrishnan on the ghatam to give a thani that was immaculate.
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