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Music Season
KARTIK FINE ARTS
Deeply rooted in tradition
V. BALASUBRAMANIAN
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Anchored well in aesthetics, Sanjay Subramaniam’s interpretations were never dull.
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Photo: R. Shivaji Rao
A treat: Sanjay Subramaniam
Whenever there is a concert by Sanjay Subramaniam, the atmosphere is charged with excitement like matches between India and Pakistan. Sanjay has seldom disappointed his rasikas. The varnam in the evening raga, Panthuvarali (‘Sami Ninne’ – Adi - Shatkala Narasayya) set the mood, with Sanjay breaking off into the dwithiya kalam from charanam. ‘Tappagane Vachchuna’ (Suddhabangala-Rupakam-Tyagaraja)
that followed, served as a warm up run.
Sanjay’s first raga for the evening was a detailed sketch of Nalinakanti that found him traverse through all the three octaves, with sancharas particularly in the tara sthayi gripping.
S.Varadarajan’s essay on the violin was noteworthy. With practically no movement about him except for his hands that play the violin, Varadarajan reminds you of Voleti. The sarvalaghu swaraprastaras were spontaneous for ‘Palaya Sada’ (Adi-Swathi Tirunal).
Sanjay’s and Varadarajan’s effort brought out the charm of the raga. The classical pursuit continued with Ritigowlai. His interpretations were never dull but anchored well in aesthetics and so was Varadarajan’s.
The lyrical beauty of Tyagaraja’s ‘Nannu Vidachi Kadalakura’ (Mishra Chapu) unfolded at the right pace, showed Sanjay’s intense discipline.
Sanjay’s exposition of Madhyamavati was impregnated with phrases that showed its colours.
Varadarajan proved a perfect foil for Sanjay. Papanasam Sivan’s ‘Saravana Bhava Guhane’ (Adi) was taken up, with niraval at ‘Annaiyodu Thandainee’ followed by kalpanaswaras. A splendid effort indeed.
A sturdy Neyveli B.Venkatesh, who never disturbed the singer with unnecessary flourishes during the concert went on to present a brilliant thani in the company of Tirupunithura Radhakrishnan (ghatam).
As one was expecting a viruttam after Sivan’s ‘Theril Erinan’ (Kalyani-Rupakam), Sanjay bowled a googly.
It was a teaser of sorts as the first few phrases of the next raga kept the audience guessing.
They were relieved of their anxiety when he sang the Uyir Pidi of Sahana. The thanam was lively.
The pallavi was in Rettai Kalai Adi with Anagatha Eduppu and the swaras were presented in ragamalika comprising Anandabhairavi, Hamir Kalyani, Begada, Nasikhabhooshani and Hindolam.
In these days of Hindustani bhajans and folk, Natya Sangeet and Abhangs served as end pieces of a Carnatic music concert, Sanjay proved his deep-rootedness in tradition with a viruttam of Thayumanavar in ‘Kandhuga Madakkariyai Vasamai Nadathalam’ Sindhu Bhairavi, Mohanam, Abheri, Chenchurutti and Nadanamakriya followed by his hymn that had a devotional fervour.
A traditional treat to the discerning rasika.
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Music Season
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