And aren't TNR and Mali considered the best ever at their instruments?Sanjay Subrahmanyan
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rasam
- Posts: 139
- Joined: 10 Oct 2006, 06:36
We have talked about food, breathing etc. Has anyone studied the effect of alcohol on music? I dont about y'all but my bhairavi always sounds so much better after a couple of beers And aren't TNR and Mali considered the best ever at their instruments?
And aren't TNR and Mali considered the best ever at their instruments?
Last edited by rasam on 23 Feb 2007, 05:30, edited 1 time in total.
drAkshArasam?
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chalanata
- Posts: 603
- Joined: 06 Feb 2010, 15:55
rasam,
i'm very sorry. alcohol damages breath, voice and brain. it keeps on reassuring you about your capabilities and pushes you into an empty well. are you aware of the preservatives in alcohol? they are more harmful than alcohol. if you are a performing artist please keep away from alcohol in any form. there is history of geniuses in CM ruined by drink. i know you're not going to like this. but i'm unable to resist these words.....
i'm very sorry. alcohol damages breath, voice and brain. it keeps on reassuring you about your capabilities and pushes you into an empty well. are you aware of the preservatives in alcohol? they are more harmful than alcohol. if you are a performing artist please keep away from alcohol in any form. there is history of geniuses in CM ruined by drink. i know you're not going to like this. but i'm unable to resist these words.....
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Sam Swaminathan
- Posts: 846
- Joined: 04 Feb 2010, 08:45
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mohanam
- Posts: 3
- Joined: 09 Jan 2007, 12:14
Sorry I haven't checked with this forum for the last two days.
chalanata is quick to dismiss any of the artistes I mentioned from different genres. His/her disrespect of artistes and art forms is stunning. It just means that I am less inclined to respect his/her views and deem them worthy of a comment.
rshankar, terrific post. And yes, you have dug up scientific evidence that obesity does restrict ones lung capacity. Hats off. That wasn't my only point.
My point is that singing-quality is a multi-dimensional problem. And I admit I may not have made it very well. Let me try again...
We have/had singers like Pavarotti, Lata Mangeshkar, Asha Bhosle, Talat Mahmood, Bade Ghulam Ali Khan, MLV, S. Janaki, Chitra, SPB, Nusrat, et al who have been sensational singers, despite being obese.
Sure they could have been "better singers", as you say rshankar. But that is speculative. Let us live in the realm of evidence-based learning. The above set may be generally classified as obese and by MOST accounts, they are (or have been, or were) sensational singers.
Clearly, at least anecdotal evidence suggests that quality-singing does not get deterred by obesity and the resultant loss in lung power. Clearly, quality-singing is not only/merely related to the obesity and lung power.
We even have the adage: "It is not over until the fat lady sings"!!
Let us pause to think about that adage. Why is the adage constructed the way it is?
It is because most opera singers are obese. It is actually an acute problem in the world of opera. And let us also recognise and acknowledge that opera singing requires more lung power than, perhaps, any other form of singing. Apart from Pavorotti, other examples include the brilliant Jessye Norman and Leontyne Price. Even Dame Kiri Te Kanawa is not exactly lean-and-mean.
Moreover, it has been suggested that most singers have endomorphic metabolisms. This is not helped by a crazy lifestyle.
Furthermore, there was a seminal paper in the American Journal of Physiology by Peter Osin. He suggests that that lung cells release a hormone-like substance called leptin as a response to the repeated mechanical lung-stress caused by high vitality singing. Leptin regulates appetite and metabolism. High levels of Leptin cause the body to crave for food.
So, one could perhaps even conclude that if one is obese and one is a singer, one is involved in much more high-vitality singing! The corollary could be that if you are non-obese-singer, you are probably not involved in high-vitality singing! However, I am not prepared to mount that argument. Osin has an explanation for why some good singers who do not gain weight too. Read the paper. Gain insights. Or read: http://theartofsinging.blogspot.com/200 ... chive.html
For more on inordinate levels of leptin release, check out Wickipedia.
I am not a champion of obese people. Nor am I saying that obesity is good for singing. I am merely saying that anecdotal evidence suggests that being obese did not deter several artistes from being sensational singers. Precisely because quality singing is a multi-variate multi-dimensional problem and to strip it down to one variable and debate it is a somewhat futile exercise.
Talking about lung capacity as a variable on its own, let me pose this question... With immensely limited lung capacities, Madurai Mani Iyer and Ramnad Krishnan rose to be amongst the best singers of the previous generation! How? Clearly, they had other things going for them.
Let us celebrate good artistes for what they are.
chalanata is quick to dismiss any of the artistes I mentioned from different genres. His/her disrespect of artistes and art forms is stunning. It just means that I am less inclined to respect his/her views and deem them worthy of a comment.
rshankar, terrific post. And yes, you have dug up scientific evidence that obesity does restrict ones lung capacity. Hats off. That wasn't my only point.
My point is that singing-quality is a multi-dimensional problem. And I admit I may not have made it very well. Let me try again...
We have/had singers like Pavarotti, Lata Mangeshkar, Asha Bhosle, Talat Mahmood, Bade Ghulam Ali Khan, MLV, S. Janaki, Chitra, SPB, Nusrat, et al who have been sensational singers, despite being obese.
Sure they could have been "better singers", as you say rshankar. But that is speculative. Let us live in the realm of evidence-based learning. The above set may be generally classified as obese and by MOST accounts, they are (or have been, or were) sensational singers.
Clearly, at least anecdotal evidence suggests that quality-singing does not get deterred by obesity and the resultant loss in lung power. Clearly, quality-singing is not only/merely related to the obesity and lung power.
We even have the adage: "It is not over until the fat lady sings"!!
Let us pause to think about that adage. Why is the adage constructed the way it is?
It is because most opera singers are obese. It is actually an acute problem in the world of opera. And let us also recognise and acknowledge that opera singing requires more lung power than, perhaps, any other form of singing. Apart from Pavorotti, other examples include the brilliant Jessye Norman and Leontyne Price. Even Dame Kiri Te Kanawa is not exactly lean-and-mean.
Moreover, it has been suggested that most singers have endomorphic metabolisms. This is not helped by a crazy lifestyle.
Furthermore, there was a seminal paper in the American Journal of Physiology by Peter Osin. He suggests that that lung cells release a hormone-like substance called leptin as a response to the repeated mechanical lung-stress caused by high vitality singing. Leptin regulates appetite and metabolism. High levels of Leptin cause the body to crave for food.
So, one could perhaps even conclude that if one is obese and one is a singer, one is involved in much more high-vitality singing! The corollary could be that if you are non-obese-singer, you are probably not involved in high-vitality singing! However, I am not prepared to mount that argument. Osin has an explanation for why some good singers who do not gain weight too. Read the paper. Gain insights. Or read: http://theartofsinging.blogspot.com/200 ... chive.html
For more on inordinate levels of leptin release, check out Wickipedia.
I am not a champion of obese people. Nor am I saying that obesity is good for singing. I am merely saying that anecdotal evidence suggests that being obese did not deter several artistes from being sensational singers. Precisely because quality singing is a multi-variate multi-dimensional problem and to strip it down to one variable and debate it is a somewhat futile exercise.
Talking about lung capacity as a variable on its own, let me pose this question... With immensely limited lung capacities, Madurai Mani Iyer and Ramnad Krishnan rose to be amongst the best singers of the previous generation! How? Clearly, they had other things going for them.
Let us celebrate good artistes for what they are.
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mohanam
- Posts: 3
- Joined: 09 Jan 2007, 12:14
sirsub11, good point. I had forgotten Kumar Gandharva in my post. Another example. Vijay, do listen to Ramnad Krishnan's alapanai's. The phrases are almost always short and crisp. He overcame a significant lung capacity problem to belt out some forceful and thoughtful music. And yes, SKR is also a good example. Why? He used to even perform in whistle-kutcheris with his impediments.
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
I get the point about the one-lunged singing wonders (and many are my favorites and I would not want them to sound any different), but there are some points that need to be clarified for the sake of evidence-based learning.
Leptin levels in the blood by and large, correlate with body fat: higher body fat, higher leptin. This means that obese individuals will have higher leptin levels. If this leptin was functioning normally, then these guys should become satiated early, eat less and lose wieght naturally. Ah! If it were only so. Most of these situations are examples of 'leptin resistance' where weight gain continues despite high levels of leptin. Treating these individuals with elephantine dosed of rleptin does get them to lose some weight, but it is not cost effective. Humans and animals with leptin receptor mutations are also very obese and have aggressive food seeking behaviours.
Now coming to obese opera singers, organizers, and even the artists themselves, maybe singing a different tune these days - 'dekhO ulTE srOt sIdhE kis tarah bahnE lagE':
The bolded statements are clearly incompatible with one another - anecdotal evidence does not make for evidence-based learning. If anecdotal evidence were enough, then Kunnakudi's claims that Anandabhairavi has the power to revive the dying would gain wider credence!mohanam wrote:But that is speculative. Let us live in the realm of evidence-based learning. Clearly, at least anecdotal evidence suggests that quality-singing does not get deterred by obesity and the resultant loss in lung power. Clearly, quality-singing is not only/merely related to the obesity and lung power.
Can you please post the article in question? AFAIK, other than the blogger you posted a link to, I do not see any article by P. Osin on the topic you have alluded to. I have checked the Ovid and PubMed databases extensively. Reminds me of one of the Oncologists I worked with who used to say 'In God we trust, Everyone else must bring references along'!mohanam wrote:Furthermore, there was a seminal paper in the American Journal of Physiology by Peter Osin. He suggests that that lung cells release a hormone-like substance called leptin as a response to the repeated mechanical lung-stress caused by high vitality singing.
Perfectly true statement.mohanam wrote:Leptin regulates appetite and metabolism.
Do you have a reference for this? All of us who have been working in the field of obesity know leptin as the 'hormone' of satiety - a hormone that is secreted by the fat cells when they are replete - causing the body to increase energy expenditure and stop eating. However, the teleological role for leptin is in the opposite scenario: when we starve, leptin levels drop, and that is a potent stimulus to crave food, seek food, lower energy expenditure etc. Leptin deficient mice and humans have HUGE appetites, and are morbidly obese and treatment with recombinant leptin causes weight loss in these individuals. So, even if Dr. Osin's observations are correct and mechanical strees causes the alveolar cells to secrete leptin, then singers with the most stress should be the lean ones, and not the fat ones.mohanam wrote:High levels of Leptin cause the body to crave for food.
Leptin levels in the blood by and large, correlate with body fat: higher body fat, higher leptin. This means that obese individuals will have higher leptin levels. If this leptin was functioning normally, then these guys should become satiated early, eat less and lose wieght naturally. Ah! If it were only so. Most of these situations are examples of 'leptin resistance' where weight gain continues despite high levels of leptin. Treating these individuals with elephantine dosed of rleptin does get them to lose some weight, but it is not cost effective. Humans and animals with leptin receptor mutations are also very obese and have aggressive food seeking behaviours.
Now coming to obese opera singers, organizers, and even the artists themselves, maybe singing a different tune these days - 'dekhO ulTE srOt sIdhE kis tarah bahnE lagE':
Innes - Nov 1 2005 entry Why fat ladies sing wrote:John Treleaven, the clarion-voiced Cornish heldentenor who’s just been singing Siegfried at the Royal Opera. He’s lost 26 kg (almost five stone) since I first saw him singing another Wagner role in Nice a few years ago, and looks terrific. “My God, this is dangerous!â€
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rasam
- Posts: 139
- Joined: 10 Oct 2006, 06:36
The great Ramnad Krishnan sang with a limited lung capacity? Thats truly unbelievable!
Regarding SKR, I read somewhere that due to a weak lung, he trained himself to sing from the stomach or something like that. The article also mentioned that he found it much easier to whistle than sing in his last days.
http://www.carnaticcorner.com/articles/kalyanaraman.txt
I quote from the article:
SKR had some original ideas/theories about voice production and was
very keen on publishing these in a collaborative effort with some
experts in the medical and scientific fields. During our conversations,
he talked about it very briefly and in an idiom entirely of his own.
I don't remember all the details but he said that KVN had perfected
the "chest" voice to a great extent. After saying this, he sang
Todi in typical KVN style phrasings and enunciation that left
me stunned by the accuracy of his imitation. Then he mentioned his
own congenital heart problem and other respiratory afflictions,
and said that he could not have survived singing all these years
had he not learnt early to use his stomach muscles for voice production
and projection. He stressed that one of the distinct
characteristics of his technique was that the voice/tone/shruti will
not "spill" when producing a pure note - I took this to mean that
he could produce pure notes of great strength and weight that would
waver very little. He remarked that with a chest voice there is
a lot of "spillage".
Another interesting thing he mentioned was that it was physically
easier for him to give an exclusive whistling concert than a vocal
concert, despite all his afflictions. For those who don't know this,
he has given quite a few such concerts - of 2.5 hrs duration -
accompanied by prominent artistes. With a twinkle in his eye,
he said that he charged a much higher fee for a whistle concert
than vocal.
Regarding SKR, I read somewhere that due to a weak lung, he trained himself to sing from the stomach or something like that. The article also mentioned that he found it much easier to whistle than sing in his last days.
http://www.carnaticcorner.com/articles/kalyanaraman.txt
I quote from the article:
SKR had some original ideas/theories about voice production and was
very keen on publishing these in a collaborative effort with some
experts in the medical and scientific fields. During our conversations,
he talked about it very briefly and in an idiom entirely of his own.
I don't remember all the details but he said that KVN had perfected
the "chest" voice to a great extent. After saying this, he sang
Todi in typical KVN style phrasings and enunciation that left
me stunned by the accuracy of his imitation. Then he mentioned his
own congenital heart problem and other respiratory afflictions,
and said that he could not have survived singing all these years
had he not learnt early to use his stomach muscles for voice production
and projection. He stressed that one of the distinct
characteristics of his technique was that the voice/tone/shruti will
not "spill" when producing a pure note - I took this to mean that
he could produce pure notes of great strength and weight that would
waver very little. He remarked that with a chest voice there is
a lot of "spillage".
Another interesting thing he mentioned was that it was physically
easier for him to give an exclusive whistling concert than a vocal
concert, despite all his afflictions. For those who don't know this,
he has given quite a few such concerts - of 2.5 hrs duration -
accompanied by prominent artistes. With a twinkle in his eye,
he said that he charged a much higher fee for a whistle concert
than vocal.
Last edited by rasam on 24 Feb 2007, 01:05, edited 1 time in total.
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mahesh3
- Posts: 584
- Joined: 06 Feb 2010, 21:32
Link edited..
Sanjay sings a lilting Bageshri RTP in this Season 2007 concert available on sangeethapriya.org....enjoy!
Many thanks to TVG, and his yeoman service on sangeethapriya....
Sanjay sings a lilting Bageshri RTP in this Season 2007 concert available on sangeethapriya.org....enjoy!
Many thanks to TVG, and his yeoman service on sangeethapriya....
Last edited by mahesh3 on 26 Dec 2007, 18:39, edited 1 time in total.
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vijay
- Posts: 2522
- Joined: 27 Feb 2006, 16:06
Sanjay's blog (the non-board games one!) has been udpated. Forum regulars who miss Sanjay's comments/opinions on sangeetham.com would find it especially interesting. Check out:
http://sanjaysub.blogspot.com
http://sanjaysub.blogspot.com
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sasa110
- Posts: 10
- Joined: 18 Jul 2007, 13:46
Hi al, please do check out the Second Episode of Sanjay's podcast!
http://media.libsyn.com/media/sanjaysub ... de_002.mp3
It has some interesting thoughts and features a great clip on MMI
http://media.libsyn.com/media/sanjaysub ... de_002.mp3
It has some interesting thoughts and features a great clip on MMI
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arasi
- Posts: 16785
- Joined: 22 Jun 2006, 09:30
Mahesh3,
Did you tune in on the 2nd podcast? No less than MMI's music here! The topic is Creativity. He speaks with fervor about interacting with artistes of other genres, a touch of a renaissance man here ( the arts flourish when artistes exchange ideas, enrich themselves and the society too, in the process). This time, Sanjay plays MMI's neraval of 'ettanaiyO piRavi' and brings to us a magical moment in music when the performer and the accompanists are only concerned with the music which is happening on the stage. All that matters is the music. A poignant moment it is, when all their egos are erased as it were! We get to hear what was frozen and preserved for posterity in all its vibrancy.
This is something which might happen 'in camera', especially when an eminent musician is commenting on it . Sanjay's remarks on his podcast is shared with all who care to tune in. Hope he keeps making more of these podcasts--an original approach from a prominent vocalist who has a flair for communicating his ideas and his concerns about CM...
Did you tune in on the 2nd podcast? No less than MMI's music here! The topic is Creativity. He speaks with fervor about interacting with artistes of other genres, a touch of a renaissance man here ( the arts flourish when artistes exchange ideas, enrich themselves and the society too, in the process). This time, Sanjay plays MMI's neraval of 'ettanaiyO piRavi' and brings to us a magical moment in music when the performer and the accompanists are only concerned with the music which is happening on the stage. All that matters is the music. A poignant moment it is, when all their egos are erased as it were! We get to hear what was frozen and preserved for posterity in all its vibrancy.
This is something which might happen 'in camera', especially when an eminent musician is commenting on it . Sanjay's remarks on his podcast is shared with all who care to tune in. Hope he keeps making more of these podcasts--an original approach from a prominent vocalist who has a flair for communicating his ideas and his concerns about CM...
Last edited by arasi on 14 Jul 2008, 03:24, edited 1 time in total.
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mahavishnu
- Posts: 3341
- Joined: 02 Feb 2010, 21:56
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mohan
- Posts: 2806
- Joined: 03 Feb 2010, 16:52
Sri Sanjay Subrahmanyan gave an energy-filled concert at the Sydney Music Festival on 6 June 2009. I didn't keep a list but he sang a lovely kAnada (kAnthimathi), bEgada (loka vanachathura) and a brief RTP in madhuvanti.
An amusing moment was when as he started singing Dikshitar's santAnagOpAlakrishnan (khamAs), Sri Neyveli Santhanagopalan entered the hall. When he sang the madhyamakAla section starting 'nartana muralidharam', Sanjay gestured towards his violin accompanist, Sri Nagai Muralidharan. The other accompanists were Sri Tanjavur Murugabhoopathy (mrudangam) and Sri Neyveli Venkatesh (ganjira).
An amusing moment was when as he started singing Dikshitar's santAnagOpAlakrishnan (khamAs), Sri Neyveli Santhanagopalan entered the hall. When he sang the madhyamakAla section starting 'nartana muralidharam', Sanjay gestured towards his violin accompanist, Sri Nagai Muralidharan. The other accompanists were Sri Tanjavur Murugabhoopathy (mrudangam) and Sri Neyveli Venkatesh (ganjira).
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padren68
- Posts: 126
- Joined: 26 Oct 2005, 20:31
Singing RTPs in Hindustani oriented raga (maduvanti, patdeep, behag ...) seems to be order of the day.mohan wrote:Sri Sanjay Subrahmanyan gave an energy-filled concert at the Sydney Music Festival on 6 June 2009. I didn't keep a list but he sang a lovely kAnada (kAnthimathi), bEgada (loka vanachathura) and a brief RTP in madhuvanti.
An amusing moment was when as he started singing Dikshitar's santAnagOpAlakrishnan (khamAs), Sri Neyveli Santhanagopalan entered the hall. When he sang the madhyamakAla section starting 'nartana muralidharam', Sanjay gestured towards his violin accompanist, Sri Nagai Muralidharan. The other accompanists were Sri Tanjavur Murugabhoopathy (mrudangam) and Sri Neyveli Venkatesh (ganjira).
There was fairly a bit amount of resistance in accepting this as a norm some years ago where old masters like Voleti and Kalyanaraman infused hindustani ragas in a pure CM concert.
This seems to be well accepted by listeners which I am glad of.
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srinivasasarma
- Posts: 89
- Joined: 23 Oct 2006, 18:16
Last friday, there was a concert of Shri Sanjay at AIR (will be broadcast during Navrathri days)
Fortunately I could go and listen, it was fantastic. Started with
abhohi varNam- evaryboda
chakravaham-senthamizh thaayai poTruvOmE-AruNachalam pillai
begada-yaarukkum adangadha neeli-harikesanallur
sivE paahimam-kalyani-thyagaraja
natakurinchi-paahi jagajjanani-swathi
suruti-Lalithaparameswari jayathi
Since a longtime I dint/could not go to any concert and am hearing Sanjay after abt 2-3 yrs.
Oh- how much I had missed!
Fortunately I could go and listen, it was fantastic. Started with
abhohi varNam- evaryboda
chakravaham-senthamizh thaayai poTruvOmE-AruNachalam pillai
begada-yaarukkum adangadha neeli-harikesanallur
sivE paahimam-kalyani-thyagaraja
natakurinchi-paahi jagajjanani-swathi
suruti-Lalithaparameswari jayathi
Since a longtime I dint/could not go to any concert and am hearing Sanjay after abt 2-3 yrs.
Oh- how much I had missed!
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srinivasasarma
- Posts: 89
- Joined: 23 Oct 2006, 18:16
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srinivasasarma
- Posts: 89
- Joined: 23 Oct 2006, 18:16
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mahavishnu
- Posts: 3341
- Joined: 02 Feb 2010, 21:56
Re: Sanjay Subrahmanyam
Some very nice new videos of Sanjay are on youtube. Just thought I would link to one here. It is one-half of a full kutcheri, so the clip is over an hour long.
http://www.youtube.com/user/prakashraon ... 4-pley9rlU
The same user has uploaded a number of other Sanjay concerts/clips. A large number of them seem to be from live concerts in Kerala.
http://www.youtube.com/user/prakashraon ... 4-pley9rlU
The same user has uploaded a number of other Sanjay concerts/clips. A large number of them seem to be from live concerts in Kerala.
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vasanthakokilam
- Posts: 10956
- Joined: 03 Feb 2010, 00:01
Re: Sanjay Subrahmanyam
Thanks mv. I did not realize youtube allowed such long uploads.
Instead of going after these uploaders with a stick or trying to shame them into submission,
Sanjay himself has a youtube channel where he organizes all these links of his concerts uploaded by others: http://www.youtube.com/sanjaysub
Instead of going after these uploaders with a stick or trying to shame them into submission,
Sanjay himself has a youtube channel where he organizes all these links of his concerts uploaded by others: http://www.youtube.com/sanjaysub
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venkatakailasam
- Posts: 4170
- Joined: 07 Feb 2010, 19:16
Re: Sanjay Subrahmanyam
"I did not realize youtube allowed such long uploads."
You Tube do not allow uploads exceeding 15mts.
In my case they have permitted uploads exceeding 15 mts which they say as a special case.
My recent uploads are nearly 40-50mts.
However some times I split the concerts to two or three as uploading larger concerts take 2 to 3 hours.
venkatakailasam
You Tube do not allow uploads exceeding 15mts.
In my case they have permitted uploads exceeding 15 mts which they say as a special case.
My recent uploads are nearly 40-50mts.
However some times I split the concerts to two or three as uploading larger concerts take 2 to 3 hours.
venkatakailasam
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sruthi
- Posts: 204
- Joined: 21 Sep 2010, 19:59
Re: Sanjay Subrahmanyam
Documentary (in 10 parts) titled 'Arar Aasaipadaar' on Sri Sanjay : http://www.youtube.com/watch?v=W8xuc_-2VL4
It also gives us a glimpse into his practice sessions and family life - very nice!
It also gives us a glimpse into his practice sessions and family life - very nice!
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mohan
- Posts: 2806
- Joined: 03 Feb 2010, 16:52
Re: Sanjay Subrahmanyam
sruthi - thanks for the link
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rahm221
- Posts: 73
- Joined: 28 Sep 2006, 09:08
Re: Sanjay Subrahmanyam
Thanks for the link, it was great
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venkatakailasam
- Posts: 4170
- Joined: 07 Feb 2010, 19:16
Re: Sanjay Subrahmanyan
Sanjay....with a rare raga...sucaritra...
vElu mayilumE...koteeswara Iyer...
http://soundcloud.com/venkatakailasam/s ... niyam-velu mayilume
vElu mayilumE...koteeswara Iyer...
http://soundcloud.com/venkatakailasam/s ... niyam-velu mayilume
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venkatakailasam
- Posts: 4170
- Joined: 07 Feb 2010, 19:16
Re: Sanjay Subrahmanyam
'E'-SWARA-023-Shri. Sanjay Subramanyam-Mallari-GambheeraNatai.flv
http://www.youtube.com/watch?v=2CXQKxEdzbQ
http://www.youtube.com/watch?v=2CXQKxEdzbQ
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abhimani
- Posts: 6
- Joined: 01 Nov 2013, 12:50
Sanjay Subrahmanyam
Please have a look at this:
http://tamil.thehindu.com/general/art/த ... epage=true
Thanks.
sivakumar.
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-%E0%AE%9A%E0%AF%81%E0%AE%AA%E0%AF%8D%E0%AE%AA%E0%AE%BF%E0%AE%B0%E0%AE%AE%E0%AE%A3%E0%
AE%BF%E0%AE%AF%E0%AE%AE%E0%AF%81%E0%AE%AE%E0%AF%8D/article5410177.ece
http://tamil.thehindu.com/general/art/% ... A%E0%AE%AF%
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AE%9F%E0%AF%8D%E0%AE%95%E0%AF%88-%E0%AE%A8%E0%AE%BF%E0%AE%B7%E0%AE%BE-%E0%AE%B0%E0%AE%BE%
E0%AE%9C%E0%AE%95%E0%AF%8B%E0%AE%AA%E0%AE%BE%E0%AE%B2%E0%AE%A9%E0%AF%8D/article5410162.ece
Thanks.
sivakumar.
*********************************************
I am sorry again. You may have to COPY this link and PASTE it on your browser to view it. Please bear with me.
Thanks again.
sivakumar.
http://tamil.thehindu.com/general/art/த ... epage=true
Thanks.
sivakumar.
***************************************************************
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http://tamil.thehindu.com/general/art/% ... A%E0%AF%88%
E0%AE%AF%E0%AF%81%E0%AE%AE%E0%AF%8D-%E0%AE%9A%E0%AE%9E%E0%AF%8D%E0%AE%9A%E0%AE%AF%E0%AF%8D
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sivakumar.
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kvchellappa
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venkatakailasam
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Re: Sanjay Subrahmanyam
An article about Sanjay Subramanyam at Dina Mani..02 January 2014...
( http://www.dinamani.com/music/2014/01/0 ... 978135.ece)
ஐம்பதுகளில் தமிழிசைக்கு பலம் சேர்த்தவர் ஜி.என்.பி. என்றால் இந்த தலைமுறையில் அந்த இடத்தை பிடித்திருப்பவர் சஞ்சய் சுப்பிரமணியம். அதுமட்டுமல்ல, நாதஸ்வர பிடிகள் இவருக்கு தண்ணீர் பட்டபாடு. கணக்கு விவகாரங்கள் சிரமப்படாமல் அவரிடம் சேவகம் செய்கின்றன. குரலில் கவர்ச்சியில்லை என்று வேண்டுமானால் சொல்லலாம். ஆனால், அவரது சாதக பலமும் சங்கீதத்தின் கனமும் மதுரை சோமுவைப் போலவே இவருக்கும் கைகொடுக்கின்றன.
தனக்கென்று மிகப்பெரிய ரசிகர் கூட்டத்தை சஞ்சய் சுப்பிரமணியம் சம்பாத்தித்திருக்கிறார் என்பதை அவரது கச்சேரிக்கு போனால் தெரிந்து கொள்ளலாம். எந்த சபாவில் சஞ்சய் கச்சேரி செய்தாலும் குறைந்தது முந்நூறு நானூறு ரசிகர்கள் தவறாமல் ஆஜராகிவிடுகிறார்கள். அந்தப் பட்டியலில் அவ்வப்போது நாமும் சேர்ந்து கொள்கிறோம் என்பதை மறைக்க விரும்பவில்லை.
நேற்று காலை 10 மணிக்கு பிரம்மகான சபாவில் சஞ்சய் சுப்பிரமணியத்தின் கச்சேரியை கேட்காமல் விட்டவர்கள் வாழ்க்கையில் நல்லதொரு சங்கீதத்தை கேட்கும் வாய்ப்பை இழந்தவர்கள். ஏறத்தாழ நான்கு மணி நேரத்துக்கு மேல் பாடியிருக்கிறார். சஞ்சய்க்கு அப்படியொரு ஸ்டாமினா. ரசிகர்களும் அவரை விடாமல் சீட்டுக்கு மேல் சீட்டு அனுப்பி அன்றைய நிகழ்ச்சியின் கடைசி ஒரு மணி நேரத்தை நேயர் விருப்பமாக மாற்றிவிட்டனர்.
அன்றைக்கு சஞ்சய்க்கு அமைந்தது பக்கவாத்தியம் அல்ல, பக்கா வாத்தியம். வயலினில் வரதராஜனும் மிருதங்கத்தில் மன்னார்குடி ஈஸ்வரனும் கஞ்சிராவில் கே.வி. கோபாலகிருஷ்ணனும் அவ்வளவு அனுசரணை. அப்படியே அந்த கச்சேரியின் தரத்தை விண் அளவு உயர்த்திவிட்டனர்.
எடுத்த எடுப்பிலேயே அன்றைக்கு சஞ்சய் ஒரு சங்கீத சாகசத்தை நிகழ்த்தினார். எல்லோரும்தான்
பைரவி ராக விரிபோணி அடதாள வர்ணம் பாடுகிறார்கள். விளம்ப காலம், மத்யம காலம், துரித காலம், திஸ்ரம் பண்ணி பார்த்திருக்கிறோம். இவை அனைத்தையுமே இணைத்து ஒரே சமயத்தில் வருமாறு ஒரு பாடகர் பாட முற்பட்டதை அன்றுதான் கேட்டோம்.
தொடர்ந்தது நாட்டையில் ஜெய ஜெய. ஸ்வரம் மட்டும் பாடிவிட்டு சஹானாவை தொட்டுக்காட்டி ஸ்ரீகமலாம்பாயாம் என்கிற தீட்சிதர் சாகித்யம். அடுத்தாற்போல பூர்விகல்யாணி. விஸ்தாரமான ஆலாபனையில் இறங்கவில்லை. அனுபல்லவியில் தொடங்கி சற்றே விலகியிரும் பிள்ளாய். நிரவல் ஸ்வரம் பாடிவிட்டு அன்றைய மெயின் அயிட்டத்துக்கு நகர்ந்தார் சஞ்சய்.
புத்தாண்டும் அதுவுமாக ஒரு தர்பார் ஆலாபனை செய்திருக்கிறார் மனிதர், இந்த ஜென்மாவில் அப்படியொரு தர்பாரை இதுவரை கேட்டதில்லை. தர்பாரில் தர்பார் நடத்தினார் சஞ்சய் என்று சொன்னாலும் தப்பில்லை. அன்றைக்கு தனி ஒரு தனி ரகம். மன்னார்குடி ஈஸ்வரனும் கோபாலகிருஷ்ணனும் நிகழ்த்திய லய வின்யாசத்தை வார்த்தைகளால் விவரிக்க முடியாது.
நவரஸ கன்னடாவில் வந்தே சதா பத்மநாபம் என்கிற ஸ்வாதித் திருநாள் சாகித்யத்தை பாடிவிட்டு சண்முகப்ரியா ராகம், தானம், பல்லவிக்கு நகர்ந்தார் சஞ்சய். சண்முகப்ரியா ராக ஆலாபனைக்குப் பிறகு தானத்தில் சஞ்சய் ராகமாலிகை செய்தது வித்தியாசமாக இருந்தது. கானடா, நாட்டைக்குறிஞ்சி, காபி என்று தானத்திலேயே அவர் ராகங்களை இசைக்க முற்பட்டபோது ரசிகர்கள் பேஷ் பலே போட்டு
ரசித்தனர். ராகம், தானம், பல்லவி சஞ்சயின் ஸ்பெஷாலிட்டி. சாதாரணமாக பல்லவியில் அவரது நிரவல் ஸ்வரம் ரசிகர்களுக்கு சங்கீத விருந்தாக அமையும். வழக்கம்போலவே அன்றைக்கும் ஆர்.டி.பி. "க்ளாஸ்'!
யார் போய் சொல்வார் (தோடி), எத்தனை கோடி இன்பம் வைத்தாய் (தேஷ்) என்று தொடங்கி வரிசையாக நேயர் விருப்பங்கள். கடைசியில் மணி இரண்டை நெருங்கிய போது மனதில்லா மனதுடன் சிந்து பைரவியில் தில்லானா பாடி நிகழ்ச்சியை நிறைவு செய்தார். அடுத்த கச்சேரியில் ரசிகர்களின் மீதமுள்ள கோரிக்கைகள் நிறைவேற்றப்படும் என்கிற வாக்குறுதியுடன் திரை விழுந்தது.
அதிஅற்புதமான கலைஞன். இதற்கு மேல் சஞ்சய் சுப்பிரமணியத்தை வர்ணிக்க தெரியவில்லை.
Translitration..
aimbadugaLil tamizhisaikku palam sErttavar ji.en.pi. enRAl inda talaimuRaiyil anda iDattai piDittiruppavar sa~njay suppiramaNiyam. adumaTTumalla, nAdasvara piDigaL ivarukku taNNIr paTTabADu. kaNakku vivagAra#ngaL siramappaDAmal avariDam sEvagam seyginRana. kuralil kavarcciyillai enRu vENDumAnAl sollalAm. AnAl, avaradu sAdaga palamum sa#ngIdattin kanamum madurai sOmuvaip pOlavE ivarukkum kaigoDukkinRana.
tanakkenRu migapperiya rasigar kUTTattai sa~njay suppiramaNiyam sambAttittirukkiRAr enbadai avaradu kaccErikku pOnAl terindu koLLalAm. enda sabAvil sa~njay kaccEri seydAlum kuRaindadu munnURu nAnURu rasigargaL tavaRAmal AjarAgiviDugiRArgaL. andap paTTiyalil avvappOdu nAmum sErndu koLgiROm enbadai maRaikka virumbavillai.
nETRu kAlai 10 maNikku pirammagAna sabAvil sa~njay suppiramaNiyattin kaccEriyai kETgAmal viTTavargaL vAzhkkaiyil nalladoru sa#ngIdattai kETgum vAyppai izhandavargaL. ERattAzha nAngu maNi nErattukku mEl pADiyirukkiRAr. sa~njaykku appaDiyoru sDAminA. rasigargaLum avarai viDAmal sITTukku mEl sITTu anuppi anRaiya nigazhcciyin kaDaisi oru maNi nErattai nEyar viruppamAga mATRiviTTanar.
anRaikku sa~njaykku amaindadu pakkavAttiyam alla, pakkA vAttiyam. vayalinil varadarAjanum miruda#ngattil mannArguDi Isvaranum ka~njirAvil kE.vi. kObAlagirushNanum avvaLavu anusaraNai. appaDiyE anda kaccEriyin tarattai viN aLavu uyarttiviTTanar.
eDutta eDuppilEyE anRaikku sa~njay oru sa#ngIda sAgasattai nigazhttinAr. ellOrumdAn
pairavi rAga viribONi aDadALa varNam pADugiRArgaL. viLamba kAlam, matyama kAlam, turida kAlam, tisram paNNi pArttirukkiROm. ivai anaittaiyumE iNaittu orE samayattil varumARu oru pADagar pADa muRbaTTadai anRudAn kETTOm.
toDarndadu nATTaiyil jeya jeya. svaram maTTum pADiviTTu sahAnAvai toTTukkATTi srIgamalAmbAyAm engiRa tITsidar sAgityam. aDuttARbOla pUrvigalyANi. visdAramAna AlAbanaiyil iRa#ngavillai. anuballaviyil toDa#ngi saTRE vilagiyirum piLLAy. niraval svaram pADiviTTu anRaiya meyin ayiTTattukku nagarndAr sa~njay.
puttANDum aduvumAga oru tarbAr AlAbanai seydirukkiRAr manidar, inda jenmAvil appaDiyoru tarbArai iduvarai kETTadillai. tarbAril tarbAr naDattinAr sa~njay enRu sonnAlum tappillai. anRaikku tani oru tani ragam. mannArguDi Isvaranum kObAlagirushNanum nigazhttiya laya vinyAsattai vArttaigaLAl vivarikka muDiyAdu.
navarasa kannaDAvil vandE sadA patmanAbam engiRa svAdit tirunAL sAgityattai pADiviTTu saNmugapriyA rAgam, tAnam, pallavikku nagarndAr sa~njay. saNmugapriyA rAga AlAbanaikkup piRagu tAnattil sa~njay rAgamAligai seydadu vittiyAsamAga irundadu. kAnaDA, nATTaikkuRi~nji, kAbi enRu tAnattilEyE avar rAga#ngaLai isaikka muRbaTTabOdu rasigargaL pEsh palE pOTTu
rasittanar. rAgam, tAnam, pallavi sa~njayin sbeshAliTTi. sAdAraNamAga pallaviyil avaradu niraval svaram rasigargaLukku sa#ngIda virundAga amaiyum. vazhakkambOlavE anRaikkum Ar.Ti.pi. "kLAs'!
yAr pOy solvAr (tODi), ettanai kODi inbam vaittAy (tEsh) enRu toDa#ngi varisaiyAga nEyar viruppa#ngaL. kaDaisiyil maNi iraNDai neru#ngiya pOdu manadillA manaduDan sindu pairaviyil tillAnA pADi nigazhcciyai niRaivu seydAr. aDutta kaccEriyil rasigargaLin mIdamuLLa kOrikkaigaL niRaivETRappaDum engiRa vAkkuRudiyuDan tirai vizhundadu.
adiaRbudamAna kalai~nan. idaRgu mEl sa~njay suppiramaNiyattai varNikka teriyavillai.
( http://www.dinamani.com/music/2014/01/0 ... 978135.ece)
ஐம்பதுகளில் தமிழிசைக்கு பலம் சேர்த்தவர் ஜி.என்.பி. என்றால் இந்த தலைமுறையில் அந்த இடத்தை பிடித்திருப்பவர் சஞ்சய் சுப்பிரமணியம். அதுமட்டுமல்ல, நாதஸ்வர பிடிகள் இவருக்கு தண்ணீர் பட்டபாடு. கணக்கு விவகாரங்கள் சிரமப்படாமல் அவரிடம் சேவகம் செய்கின்றன. குரலில் கவர்ச்சியில்லை என்று வேண்டுமானால் சொல்லலாம். ஆனால், அவரது சாதக பலமும் சங்கீதத்தின் கனமும் மதுரை சோமுவைப் போலவே இவருக்கும் கைகொடுக்கின்றன.
தனக்கென்று மிகப்பெரிய ரசிகர் கூட்டத்தை சஞ்சய் சுப்பிரமணியம் சம்பாத்தித்திருக்கிறார் என்பதை அவரது கச்சேரிக்கு போனால் தெரிந்து கொள்ளலாம். எந்த சபாவில் சஞ்சய் கச்சேரி செய்தாலும் குறைந்தது முந்நூறு நானூறு ரசிகர்கள் தவறாமல் ஆஜராகிவிடுகிறார்கள். அந்தப் பட்டியலில் அவ்வப்போது நாமும் சேர்ந்து கொள்கிறோம் என்பதை மறைக்க விரும்பவில்லை.
நேற்று காலை 10 மணிக்கு பிரம்மகான சபாவில் சஞ்சய் சுப்பிரமணியத்தின் கச்சேரியை கேட்காமல் விட்டவர்கள் வாழ்க்கையில் நல்லதொரு சங்கீதத்தை கேட்கும் வாய்ப்பை இழந்தவர்கள். ஏறத்தாழ நான்கு மணி நேரத்துக்கு மேல் பாடியிருக்கிறார். சஞ்சய்க்கு அப்படியொரு ஸ்டாமினா. ரசிகர்களும் அவரை விடாமல் சீட்டுக்கு மேல் சீட்டு அனுப்பி அன்றைய நிகழ்ச்சியின் கடைசி ஒரு மணி நேரத்தை நேயர் விருப்பமாக மாற்றிவிட்டனர்.
அன்றைக்கு சஞ்சய்க்கு அமைந்தது பக்கவாத்தியம் அல்ல, பக்கா வாத்தியம். வயலினில் வரதராஜனும் மிருதங்கத்தில் மன்னார்குடி ஈஸ்வரனும் கஞ்சிராவில் கே.வி. கோபாலகிருஷ்ணனும் அவ்வளவு அனுசரணை. அப்படியே அந்த கச்சேரியின் தரத்தை விண் அளவு உயர்த்திவிட்டனர்.
எடுத்த எடுப்பிலேயே அன்றைக்கு சஞ்சய் ஒரு சங்கீத சாகசத்தை நிகழ்த்தினார். எல்லோரும்தான்
பைரவி ராக விரிபோணி அடதாள வர்ணம் பாடுகிறார்கள். விளம்ப காலம், மத்யம காலம், துரித காலம், திஸ்ரம் பண்ணி பார்த்திருக்கிறோம். இவை அனைத்தையுமே இணைத்து ஒரே சமயத்தில் வருமாறு ஒரு பாடகர் பாட முற்பட்டதை அன்றுதான் கேட்டோம்.
தொடர்ந்தது நாட்டையில் ஜெய ஜெய. ஸ்வரம் மட்டும் பாடிவிட்டு சஹானாவை தொட்டுக்காட்டி ஸ்ரீகமலாம்பாயாம் என்கிற தீட்சிதர் சாகித்யம். அடுத்தாற்போல பூர்விகல்யாணி. விஸ்தாரமான ஆலாபனையில் இறங்கவில்லை. அனுபல்லவியில் தொடங்கி சற்றே விலகியிரும் பிள்ளாய். நிரவல் ஸ்வரம் பாடிவிட்டு அன்றைய மெயின் அயிட்டத்துக்கு நகர்ந்தார் சஞ்சய்.
புத்தாண்டும் அதுவுமாக ஒரு தர்பார் ஆலாபனை செய்திருக்கிறார் மனிதர், இந்த ஜென்மாவில் அப்படியொரு தர்பாரை இதுவரை கேட்டதில்லை. தர்பாரில் தர்பார் நடத்தினார் சஞ்சய் என்று சொன்னாலும் தப்பில்லை. அன்றைக்கு தனி ஒரு தனி ரகம். மன்னார்குடி ஈஸ்வரனும் கோபாலகிருஷ்ணனும் நிகழ்த்திய லய வின்யாசத்தை வார்த்தைகளால் விவரிக்க முடியாது.
நவரஸ கன்னடாவில் வந்தே சதா பத்மநாபம் என்கிற ஸ்வாதித் திருநாள் சாகித்யத்தை பாடிவிட்டு சண்முகப்ரியா ராகம், தானம், பல்லவிக்கு நகர்ந்தார் சஞ்சய். சண்முகப்ரியா ராக ஆலாபனைக்குப் பிறகு தானத்தில் சஞ்சய் ராகமாலிகை செய்தது வித்தியாசமாக இருந்தது. கானடா, நாட்டைக்குறிஞ்சி, காபி என்று தானத்திலேயே அவர் ராகங்களை இசைக்க முற்பட்டபோது ரசிகர்கள் பேஷ் பலே போட்டு
ரசித்தனர். ராகம், தானம், பல்லவி சஞ்சயின் ஸ்பெஷாலிட்டி. சாதாரணமாக பல்லவியில் அவரது நிரவல் ஸ்வரம் ரசிகர்களுக்கு சங்கீத விருந்தாக அமையும். வழக்கம்போலவே அன்றைக்கும் ஆர்.டி.பி. "க்ளாஸ்'!
யார் போய் சொல்வார் (தோடி), எத்தனை கோடி இன்பம் வைத்தாய் (தேஷ்) என்று தொடங்கி வரிசையாக நேயர் விருப்பங்கள். கடைசியில் மணி இரண்டை நெருங்கிய போது மனதில்லா மனதுடன் சிந்து பைரவியில் தில்லானா பாடி நிகழ்ச்சியை நிறைவு செய்தார். அடுத்த கச்சேரியில் ரசிகர்களின் மீதமுள்ள கோரிக்கைகள் நிறைவேற்றப்படும் என்கிற வாக்குறுதியுடன் திரை விழுந்தது.
அதிஅற்புதமான கலைஞன். இதற்கு மேல் சஞ்சய் சுப்பிரமணியத்தை வர்ணிக்க தெரியவில்லை.
Translitration..
aimbadugaLil tamizhisaikku palam sErttavar ji.en.pi. enRAl inda talaimuRaiyil anda iDattai piDittiruppavar sa~njay suppiramaNiyam. adumaTTumalla, nAdasvara piDigaL ivarukku taNNIr paTTabADu. kaNakku vivagAra#ngaL siramappaDAmal avariDam sEvagam seyginRana. kuralil kavarcciyillai enRu vENDumAnAl sollalAm. AnAl, avaradu sAdaga palamum sa#ngIdattin kanamum madurai sOmuvaip pOlavE ivarukkum kaigoDukkinRana.
tanakkenRu migapperiya rasigar kUTTattai sa~njay suppiramaNiyam sambAttittirukkiRAr enbadai avaradu kaccErikku pOnAl terindu koLLalAm. enda sabAvil sa~njay kaccEri seydAlum kuRaindadu munnURu nAnURu rasigargaL tavaRAmal AjarAgiviDugiRArgaL. andap paTTiyalil avvappOdu nAmum sErndu koLgiROm enbadai maRaikka virumbavillai.
nETRu kAlai 10 maNikku pirammagAna sabAvil sa~njay suppiramaNiyattin kaccEriyai kETgAmal viTTavargaL vAzhkkaiyil nalladoru sa#ngIdattai kETgum vAyppai izhandavargaL. ERattAzha nAngu maNi nErattukku mEl pADiyirukkiRAr. sa~njaykku appaDiyoru sDAminA. rasigargaLum avarai viDAmal sITTukku mEl sITTu anuppi anRaiya nigazhcciyin kaDaisi oru maNi nErattai nEyar viruppamAga mATRiviTTanar.
anRaikku sa~njaykku amaindadu pakkavAttiyam alla, pakkA vAttiyam. vayalinil varadarAjanum miruda#ngattil mannArguDi Isvaranum ka~njirAvil kE.vi. kObAlagirushNanum avvaLavu anusaraNai. appaDiyE anda kaccEriyin tarattai viN aLavu uyarttiviTTanar.
eDutta eDuppilEyE anRaikku sa~njay oru sa#ngIda sAgasattai nigazhttinAr. ellOrumdAn
pairavi rAga viribONi aDadALa varNam pADugiRArgaL. viLamba kAlam, matyama kAlam, turida kAlam, tisram paNNi pArttirukkiROm. ivai anaittaiyumE iNaittu orE samayattil varumARu oru pADagar pADa muRbaTTadai anRudAn kETTOm.
toDarndadu nATTaiyil jeya jeya. svaram maTTum pADiviTTu sahAnAvai toTTukkATTi srIgamalAmbAyAm engiRa tITsidar sAgityam. aDuttARbOla pUrvigalyANi. visdAramAna AlAbanaiyil iRa#ngavillai. anuballaviyil toDa#ngi saTRE vilagiyirum piLLAy. niraval svaram pADiviTTu anRaiya meyin ayiTTattukku nagarndAr sa~njay.
puttANDum aduvumAga oru tarbAr AlAbanai seydirukkiRAr manidar, inda jenmAvil appaDiyoru tarbArai iduvarai kETTadillai. tarbAril tarbAr naDattinAr sa~njay enRu sonnAlum tappillai. anRaikku tani oru tani ragam. mannArguDi Isvaranum kObAlagirushNanum nigazhttiya laya vinyAsattai vArttaigaLAl vivarikka muDiyAdu.
navarasa kannaDAvil vandE sadA patmanAbam engiRa svAdit tirunAL sAgityattai pADiviTTu saNmugapriyA rAgam, tAnam, pallavikku nagarndAr sa~njay. saNmugapriyA rAga AlAbanaikkup piRagu tAnattil sa~njay rAgamAligai seydadu vittiyAsamAga irundadu. kAnaDA, nATTaikkuRi~nji, kAbi enRu tAnattilEyE avar rAga#ngaLai isaikka muRbaTTabOdu rasigargaL pEsh palE pOTTu
rasittanar. rAgam, tAnam, pallavi sa~njayin sbeshAliTTi. sAdAraNamAga pallaviyil avaradu niraval svaram rasigargaLukku sa#ngIda virundAga amaiyum. vazhakkambOlavE anRaikkum Ar.Ti.pi. "kLAs'!
yAr pOy solvAr (tODi), ettanai kODi inbam vaittAy (tEsh) enRu toDa#ngi varisaiyAga nEyar viruppa#ngaL. kaDaisiyil maNi iraNDai neru#ngiya pOdu manadillA manaduDan sindu pairaviyil tillAnA pADi nigazhcciyai niRaivu seydAr. aDutta kaccEriyil rasigargaLin mIdamuLLa kOrikkaigaL niRaivETRappaDum engiRa vAkkuRudiyuDan tirai vizhundadu.
adiaRbudamAna kalai~nan. idaRgu mEl sa~njay suppiramaNiyattai varNikka teriyavillai.
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venkatakailasam
- Posts: 4170
- Joined: 07 Feb 2010, 19:16
Re: Sanjay Subrahmanyam
Sanjay Sanjay Sanjay all the way!..
read it here..
http://www.sabhash.com/blog/2013/12/16/ ... l-the-way/
read it here..
http://www.sabhash.com/blog/2013/12/16/ ... l-the-way/
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kvchellappa
- Posts: 3600
- Joined: 04 Aug 2011, 13:54
Re: Sanjay Subrahmanyam
An attempt of translation for those who do not understand Tamizh:
If in the fifties GNB added vigour to Tamizh Isai (music), the one who has filled that space in this generation is Sanjay. Not just that, the nadaswara ‘pidi’s are child’s play for him. The calculations in laya serve him effortlessly. One may say his voice is not rich, but practice and depth of knowledge of music lend him a hand like to Somu.
That he has a niche audience will be evident when one goes to a concert of his. In whichever sabha he performs, 300-400 rasikas flock there without faul. We do not wish to hide that we too join in that list now and then.
Those who missed out his concert at BGS at 10 AM yesterday have lost the chance to enjoy a very good concert.He has sung for over 4 hours nearly. He has such a stamina. The rasikas also sent slip after slip incessantly and converted the last one hour as a listeners’ choice.
The accompaniment for him that day was not ‘pakka’ (accompanying) vadyam, but ‘pucca’ (perfect) vadyam. Varadarajan on the violin, Mannargudi Eswaran on the mridangam and K.V.Gopalakrishnan on the Kanjari meshed in so nicely. They had lifted the standard of the concert sky-high.
At the very outset, Sanjay achieved a musical feat. Everyone rather.
They perform bhairavi raga ata tala viriboni varnam. We have seen vilamba kalam, madhyama kalam, turita kalam and tisram in succession. We heard that day only someone attempting to sing combining all these simultaneously.
Jaya Jaya in nattai followed with just swaram. With an outline of sahana, Sri Kamalambayam of Dikshitar was sung next. Next was Purvi Kalyani, with no elaborate alapana- ‘satre vilaki irum pillay’ starting from Anupallavi. After singing neraval and swaram, Sanjay moved on to the main.
He has done a darbar alapan on the new years day specially, one had not heard such a darbar in this life. It will not be an exaggeration to say that he conducted a darbar in darbar. The ‘tani’ that day was ‘tani’ (unique). The laya vinyasam unravelled by Eswaran and Gopalakrishnan cannot be described in words.
After singing Swati Tirunal’s sahityam ‘vande Padmanabham’ in navarasakannada, Sanjay moved to RTP in Shanmukhapriya. After alapana in that raga, his ragamalika in tanam stood out as different. When he tried to bring out ragas Kanada, Nattaikurinji, Kapi in tanam, the rasikas enjoyed it uttering ‘bale’ and ‘besh’. RTP is Sanjay’s forte. As a rule, his neraval and swaras in RTP will be a musical feast to the rasikas, That day also, it was classic as usual.
Beginning with ‘Yar Poi Solvar’ in Thodi, and ‘Etthani koti inbam vaitthai’ in Desh, it was listeners choice. When the clock was about to strike 2, he brought the concert to a close rather reluctantly singing a thillana in Sindubhairavi. The curtain came down with his assurance that the rest of the requests would be sung in the next concert.
A supermarvellous artiste! I do not know to describe him better than this.
If in the fifties GNB added vigour to Tamizh Isai (music), the one who has filled that space in this generation is Sanjay. Not just that, the nadaswara ‘pidi’s are child’s play for him. The calculations in laya serve him effortlessly. One may say his voice is not rich, but practice and depth of knowledge of music lend him a hand like to Somu.
That he has a niche audience will be evident when one goes to a concert of his. In whichever sabha he performs, 300-400 rasikas flock there without faul. We do not wish to hide that we too join in that list now and then.
Those who missed out his concert at BGS at 10 AM yesterday have lost the chance to enjoy a very good concert.He has sung for over 4 hours nearly. He has such a stamina. The rasikas also sent slip after slip incessantly and converted the last one hour as a listeners’ choice.
The accompaniment for him that day was not ‘pakka’ (accompanying) vadyam, but ‘pucca’ (perfect) vadyam. Varadarajan on the violin, Mannargudi Eswaran on the mridangam and K.V.Gopalakrishnan on the Kanjari meshed in so nicely. They had lifted the standard of the concert sky-high.
At the very outset, Sanjay achieved a musical feat. Everyone rather.
They perform bhairavi raga ata tala viriboni varnam. We have seen vilamba kalam, madhyama kalam, turita kalam and tisram in succession. We heard that day only someone attempting to sing combining all these simultaneously.
Jaya Jaya in nattai followed with just swaram. With an outline of sahana, Sri Kamalambayam of Dikshitar was sung next. Next was Purvi Kalyani, with no elaborate alapana- ‘satre vilaki irum pillay’ starting from Anupallavi. After singing neraval and swaram, Sanjay moved on to the main.
He has done a darbar alapan on the new years day specially, one had not heard such a darbar in this life. It will not be an exaggeration to say that he conducted a darbar in darbar. The ‘tani’ that day was ‘tani’ (unique). The laya vinyasam unravelled by Eswaran and Gopalakrishnan cannot be described in words.
After singing Swati Tirunal’s sahityam ‘vande Padmanabham’ in navarasakannada, Sanjay moved to RTP in Shanmukhapriya. After alapana in that raga, his ragamalika in tanam stood out as different. When he tried to bring out ragas Kanada, Nattaikurinji, Kapi in tanam, the rasikas enjoyed it uttering ‘bale’ and ‘besh’. RTP is Sanjay’s forte. As a rule, his neraval and swaras in RTP will be a musical feast to the rasikas, That day also, it was classic as usual.
Beginning with ‘Yar Poi Solvar’ in Thodi, and ‘Etthani koti inbam vaitthai’ in Desh, it was listeners choice. When the clock was about to strike 2, he brought the concert to a close rather reluctantly singing a thillana in Sindubhairavi. The curtain came down with his assurance that the rest of the requests would be sung in the next concert.
A supermarvellous artiste! I do not know to describe him better than this.