S. Varadarajan
B. Venkatesh
Mukhari – madirakshi, Thiruvottiyur Thyagayyar?
Arabhi – Ongi ulagalandha, thiruppavai, Andal, S
Sourashtram - varalakshmeem bhajare, MD
Reethigowlai – Janani ninnuvina, Subbaraya Shastry, R, N @ dikkevaramma jagamulona gana, S @ tamasamu seyakane brovumu
Shubhapantuvarali – enna rakshiso, PD
Vagadeeshwari – paramathmudu, R, T, S
thani
Huseni – netrandhi nerathile, Subbaraamiyer?
Nagaswaravali – RTP
Siva chidambarame darisikka maname jananamillai idhu nijame, Chatusra triputa
kapi narayani, darbari kanada
Nagaswaravali – shiva chidambarame, Muthu thandavar
Kapi – namasudharasam, ST
ragamalika – mannu pugazh, Kulasekara azhwar
kanduga madakariyai followed by Angai Kodu Malar, Thayamanavar
Desh – Bharatha Samrajya, Mayuram Vishwanatha sastri
Kamas – thiruval mayilayin, PS
The concert from the opening varnam to the rousing Sivan composition from his core repertoire was a journey of uncompromising artistic standards.
My picks:
Sanjay opened with a lilting ata tala varnam in Mukhari. Yep, mukhari can be lilting
setting the tone of the evening.Sourashtram - His interpretation of the wistful melody with samashti charanam, ' Varalakshmeem bhajare' came with tremendous aesthetic sensitivity, without unnecessary ornamentation to a comprehensive work – a clean and crisp affair…
Reethigowlai –
Sanjay explored reethigowlai, enshrining the phrases by traversing the octaves gently with allusions to masters, refracted through his prism and he did so to wonderful effect and Varadarajan, the perfect catalyst, nourished it with intricate details in his exposition.
Then he resurrected with a judicious tempo the rhythm-centered ‘janani ninnuvina‘, with the sparkling Chittaswaras/sahityam, which is the hall mark of this composition. It unfolded with floating ease, lilting along in mishra chapu, by letting the melody guide the poetic language of the composition in bringing out its brilliance as Varadarajan and Venkatesh accompanied him with remarkable restraint, showing their immaculate rapport.
Then with improvisatory fervor, Sanjay lodged on the phrase, ‘dikkevaramma jagamulona gana‘, by bending phrases and buttressing the melody in teasing out the emotions and the heady rhythm lurking below, exemplifying the work. And Varadarajan and Venkatesh fortified his interpretations admirably in their repartee. And Sanjay sealed the deal by lavishing it with kinetic swirls of swarams @ 'tamasamu seyakane brovumu', reminding how much scope this composition offers, when taken as a major work, as SS has packed quite a punch and exploited the ragam to the maximum core in this work.
Next was his fervent account of PD’s 'enne rakshiso' with inward reflection and clarity of diction …
Vagadheeshwari –
Next came, the imposing exercise as he marshaled his voice against the dissonant notes of the vivadhi mela, navigating with ease the piercing notes, pulsating with microtonal nuances with remarkable depth and however tight the rope-walk was, Varadarajan’s playing was incisive and smooth…
Paramathmudu unfolded, dripping with pathos to poignant effect in underscoring the composer’s anguish tellingly, folding the ethereal dissonant notes into the flowing, ominous melody and making the pungency of the notes beautiful by allowing the whimsy of the composer to come out with an air of sincerity. Then he romped through the spiraling swarams with improvisatory delight as Varadarajan and Venkatesh wafted in, each feeding the other in their agile interplay. Followed by Venkatesh’s rhythmic command in his thani with scrupulous clarity in the varied permutations, bringing the house down…
Huseni –
Sanjay outlined the phrase based huseni, indulging in the folkish prayogas, leading straight into, ‘netrandhi nerathile’, an ode to lament of a bereft lover. He revived a poignant expression of existential angst in his impassioned rendition of the forlorn melody, highlighting the underlying turbulence with all the drama you could want...
Nagaswaravali-
With a palpable gear shift, came nagaswaravali, upending the anguished padam that preceded it.
Sanjay approached the expedition with a burnished tone, tapping into its infinite potential, flirting with the lilting phrases of the raga with pure transition of notes, with a quick lightning speed graha bhedam into hamsadwani and he seemed swept up in his creative domain while stretching the boundaries to milk its beauty in its entirety - his labor of love. This was well articulated by his assertive partner, Varadarajan, in his scintillating account completing the picture.
The pensive tanam evolved, with the melody clinging insistently to undulating rhythm with mridangam accompaniment. It came in fulminating surges with a tentative calm in chatusra triputa and he did tisram in keezh and mel kalam with some vibrant playing by Varadarajan and Venkatesh applauded by the listeners that gradually gave way to the Pallavi.
Then Sanjay employed the notes and fused the text in a smooth narrative line, ‘Shiva chidambarame darisikka maname jananam illai idhu nijame’ driven by the rhythmic verve of chatusra triputa with a supple swing. The evocative stretches unfolded with melody and rhythm overlapping, beginning with technicality in the change of nadais and building up to jubilation in his embellishments. And Varadarajan and Venkatesh flexed their fast reflexes, played to his technical demands in response to his creativity. Followed by swararagamalika in kapi narayani and there was also darbari kanada, kind of a CM crossover in the ragamalika. Kapi narayani was exquisite. Darbari kanada, is not my cup of tea. I feel it lends itself too much to theatricality, so it didn’t matter
What mattered was that they returned to the home base and finished off with Muthu Thandavar’s Shiva chidambarame… And the undulating waltzy Sivan composition concluded
my spring journey with life affirming music as the tremendous ovation lingered…And for a few blissful moments, I can pretend all is right with the world…
) - Was it really paras in mannu pugazh ?? Sounded like Lalitha!
).