Sanjay Subrahmanyan @ Boston
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Sanjay Subrahmanyan @ Boston
Sanjay Subrahmanyan
S. Varadarajan
B. Venkatesh
Evaremi – sahana varnam, PS
Mallari
Asaveri – Sri Kanchi Nayike, Annaswami Sastri
Simmendra madyamam – maya vamanane, nammazhvar, R, N @ Maya vamanane madhusUdha nee arulay, S
Kambhoji – evari mata, T, R, N @ bhakta paradhInudanucu parama bhAgavatula S
Thani
Yamuna kalyani – Nanu brovamani cheppave, Bhadrachala Ramadas
RTP
Abheri – eppadi padinaro adiyar appadi pada asai konden, adhi
kosalam - Indhu sruthi smrithi, PD
Thodi – yar poi solluvar, Ghanam Krishnayer
Desh - Thunbam nergayil, Bharathi dasan
Sindu bhairavi - Moothavale followed by Mavoor valam, HMB
Ananda bhairavi – thillana, ST
Quick recap:
Warm cheers greeted the trio. Then they began their first performance of the tour with a varnam in sahana.
With a ceremonial feel and dance-like lilt ‘mallari’, his time-honored fare unfolded like a benediction persuasively demonstrating the springier rhythms …
From this, with a judicious tempo, he segued into Annaswami Sastri’s elegant account of Sri Kanchi nayike with textual fidelity. His affinity for rhythm and meter was evident as he breathed life into this. This was movingly shadowed by Varadarajan and Venkatesh’s embellishments between the spaces in stretching the recitative like lyrics…
Then came a fascinating distillation of simmendra madyamam with quintessential Sanjay flair. He interpreted it in his own inimitable way, embellishing each note exuding adventure and Varadarajan held his own as he further polished it to a fine sheen in his exposition setting the stage for ‘Maya vamanane’, a work encountered very rarely in the concert platform.
With immaculate intonation, Sanjay projected the composer’s textural flamboyance with the blend of melody in addition to plumbing a vein of piety. The underlying philosophical depth that bespoke the composer’s musings were all richly manifest. This was backed by Varadarajan’s seamless facility in blending effectively with him and Venkatesh’s embellishments with crisp strokes hugging the composition …
With interpretive insight he extended the composer’s reflection at ‘Maya vamanane madhusUdha nee arulay’ aided by Varadarajan and Venkatesh as they judged the ebb and flow skillfully, tugging here, floating there with some vibrant playing to the cadence of his interpretations.
Drawing on his consummate virtuosity, kambhoji blossomed forth blending catchy phrases with some surreal oscillations strung together. Varadarajan found his footing, gracefully echoed and chiseled it further in his deft exercise setting the tone for what was to follow...
Thyagaraja’s majestic ‘evari mata’ came with fine articulation and tempo as he adorned it with fluid ornamentation of sangathis. Varadarajan was his simpatico duo, clicking on all gears and Venkatesh cushioned the work in putting across the composition’s relentless rhythm with evocative languor. They were at their most ardent and played with anticipation giving a delicate lilt to the piece…
Rhythmic and melodic improvisation came at ‘bhakta paradhInudanucu parama bhAgavatula‘ in full grace. Sanjay soldiered on and ornamented the text with conviction to elevate the composer’s earnestness. Varadarajan and Venkatesh deftly handled Sanjay’s episodic progression and the gait showing their musical partnership. Followed by swarams with improvisatory delight indulging in nadai changes as Varadarajan and Venkatesh wafted in, each feeding the other in their agile interplay followed by Venkatesh’s thani.
It was an extension of Sanjay’s permutations of the swara patterns and rhythmic variations with immense clarity and build up of tempo with a firm pulse rewarded with a vociferous ovation leading straight into 'nanu brovamani cheppave' that was presented highlighting the work’s raw pathos ...
The concert was capped by RTP in abheri
His voice rolled through the notes, executing phrases with precision to bring out aesthetically telling elements of the raga with his own interpretive touches. As impressive was the elegant solo of Varadarajan. An apt foil to Sanjay, he reflected Sanjay’s spacious take with a nice organic flow.
Tanam - Sanjay brought new light to the raga through rhythmically kinetic outbursts over the lilting, sinuous melody with intricate webs of abheri meandering and Varadarajan distilled it further to reveal the subtleties laying the groundwork for the pallavi.
With Abheri as an evocative backdrop, Suddananda Bharathi’s anthem ‘eppadi padinaro adiyar appadi pada asai konden‘, swung along merrily with sensitive word-painting in chatusra triputa. The ragamalika was particularly interesting, moving thru yadukula kambhoji, dravida kalavathi (Sanjay's creation) shubha pantuvarali, bahag, and Charukesi. Varadarajan and Venkatesh were his equals as they expertly shaded his ebb and flow of dynamics bouncing off each other in their interplay.
Next was a gripping version of Yar poi sholluvar as Sanjay allowed the drama to unfold naturally by teasing out the pent-up yearning of the work beautifully…
Then he emoted through the celebrated hymn Abhirami andadhi, ’poothavale’ in Sindhu bhairavi with pictorial vividness followed by 'mavoor valam peruga' of HMB.
The evening ended in the same rhythmic note that started it as Sanjay sealed the deal with a tillana in Ananda bhairavi…
S. Varadarajan
B. Venkatesh
Evaremi – sahana varnam, PS
Mallari
Asaveri – Sri Kanchi Nayike, Annaswami Sastri
Simmendra madyamam – maya vamanane, nammazhvar, R, N @ Maya vamanane madhusUdha nee arulay, S
Kambhoji – evari mata, T, R, N @ bhakta paradhInudanucu parama bhAgavatula S
Thani
Yamuna kalyani – Nanu brovamani cheppave, Bhadrachala Ramadas
RTP
Abheri – eppadi padinaro adiyar appadi pada asai konden, adhi
kosalam - Indhu sruthi smrithi, PD
Thodi – yar poi solluvar, Ghanam Krishnayer
Desh - Thunbam nergayil, Bharathi dasan
Sindu bhairavi - Moothavale followed by Mavoor valam, HMB
Ananda bhairavi – thillana, ST
Quick recap:
Warm cheers greeted the trio. Then they began their first performance of the tour with a varnam in sahana.
With a ceremonial feel and dance-like lilt ‘mallari’, his time-honored fare unfolded like a benediction persuasively demonstrating the springier rhythms …
From this, with a judicious tempo, he segued into Annaswami Sastri’s elegant account of Sri Kanchi nayike with textual fidelity. His affinity for rhythm and meter was evident as he breathed life into this. This was movingly shadowed by Varadarajan and Venkatesh’s embellishments between the spaces in stretching the recitative like lyrics…
Then came a fascinating distillation of simmendra madyamam with quintessential Sanjay flair. He interpreted it in his own inimitable way, embellishing each note exuding adventure and Varadarajan held his own as he further polished it to a fine sheen in his exposition setting the stage for ‘Maya vamanane’, a work encountered very rarely in the concert platform.
With immaculate intonation, Sanjay projected the composer’s textural flamboyance with the blend of melody in addition to plumbing a vein of piety. The underlying philosophical depth that bespoke the composer’s musings were all richly manifest. This was backed by Varadarajan’s seamless facility in blending effectively with him and Venkatesh’s embellishments with crisp strokes hugging the composition …
With interpretive insight he extended the composer’s reflection at ‘Maya vamanane madhusUdha nee arulay’ aided by Varadarajan and Venkatesh as they judged the ebb and flow skillfully, tugging here, floating there with some vibrant playing to the cadence of his interpretations.
Drawing on his consummate virtuosity, kambhoji blossomed forth blending catchy phrases with some surreal oscillations strung together. Varadarajan found his footing, gracefully echoed and chiseled it further in his deft exercise setting the tone for what was to follow...
Thyagaraja’s majestic ‘evari mata’ came with fine articulation and tempo as he adorned it with fluid ornamentation of sangathis. Varadarajan was his simpatico duo, clicking on all gears and Venkatesh cushioned the work in putting across the composition’s relentless rhythm with evocative languor. They were at their most ardent and played with anticipation giving a delicate lilt to the piece…
Rhythmic and melodic improvisation came at ‘bhakta paradhInudanucu parama bhAgavatula‘ in full grace. Sanjay soldiered on and ornamented the text with conviction to elevate the composer’s earnestness. Varadarajan and Venkatesh deftly handled Sanjay’s episodic progression and the gait showing their musical partnership. Followed by swarams with improvisatory delight indulging in nadai changes as Varadarajan and Venkatesh wafted in, each feeding the other in their agile interplay followed by Venkatesh’s thani.
It was an extension of Sanjay’s permutations of the swara patterns and rhythmic variations with immense clarity and build up of tempo with a firm pulse rewarded with a vociferous ovation leading straight into 'nanu brovamani cheppave' that was presented highlighting the work’s raw pathos ...
The concert was capped by RTP in abheri
His voice rolled through the notes, executing phrases with precision to bring out aesthetically telling elements of the raga with his own interpretive touches. As impressive was the elegant solo of Varadarajan. An apt foil to Sanjay, he reflected Sanjay’s spacious take with a nice organic flow.
Tanam - Sanjay brought new light to the raga through rhythmically kinetic outbursts over the lilting, sinuous melody with intricate webs of abheri meandering and Varadarajan distilled it further to reveal the subtleties laying the groundwork for the pallavi.
With Abheri as an evocative backdrop, Suddananda Bharathi’s anthem ‘eppadi padinaro adiyar appadi pada asai konden‘, swung along merrily with sensitive word-painting in chatusra triputa. The ragamalika was particularly interesting, moving thru yadukula kambhoji, dravida kalavathi (Sanjay's creation) shubha pantuvarali, bahag, and Charukesi. Varadarajan and Venkatesh were his equals as they expertly shaded his ebb and flow of dynamics bouncing off each other in their interplay.
Next was a gripping version of Yar poi sholluvar as Sanjay allowed the drama to unfold naturally by teasing out the pent-up yearning of the work beautifully…
Then he emoted through the celebrated hymn Abhirami andadhi, ’poothavale’ in Sindhu bhairavi with pictorial vividness followed by 'mavoor valam peruga' of HMB.
The evening ended in the same rhythmic note that started it as Sanjay sealed the deal with a tillana in Ananda bhairavi…
Last edited by kedharam on 09 Oct 2017, 07:33, edited 3 times in total.
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Re: Sanjay Subrahmanyan @ Boston
I love Sri Kanchi Nayike, especially DK Jayaraman and Maharajapurams renditions
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Re: Sanjay Subrahmanyan @ Boston
Any recording of kosalam song?
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Re: Sanjay Subrahmanyan @ Boston
Kedharam- your yAtra seems to have gotten off to a great start...
Just a question - I think the order of the words in Sri Siddhananda Bharati’s pallavi should be ‘eppaDi pADinarO aDiyAr
appaDi pADa nAn Asai koNDEn SivanE’...
Just a question - I think the order of the words in Sri Siddhananda Bharati’s pallavi should be ‘eppaDi pADinarO aDiyAr
appaDi pADa nAn Asai koNDEn SivanE’...
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Re: Sanjay Subrahmanyan @ Boston
I think T means Thyagaraja
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Re: Sanjay Subrahmanyan @ Boston
yAr pOi solluvAr is by Ghanam Krishna Iyer.
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Re: Sanjay Subrahmanyan @ Boston
Thanks rshankar. Corrected.
Thanks Lakshmanji!
rajeshnat, the concert must have been for around 3 1/2 to 4 hours. Not sure.
Thanks Lakshmanji!
rajeshnat, the concert must have been for around 3 1/2 to 4 hours. Not sure.
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Re: Sanjay Subrahmanyan @ Boston
"the concert must have been for around 3 1/2 to 4 hours. Not sure"
It is the most scintillating review of the concert.
It is the most scintillating review of the concert.
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Re: Sanjay Subrahmanyan @ Boston
Kedharam,
You were there at the concert yesterday. I was there too. You were as elusive as ever At least, we have your inimitable review on it. Thanks
Autumn is beginning to unveil its brilliant annual show in my neighborhood and yesterday's drive to the concert was an endless unfurling of an expanse of blue sky and the verdure. The vast canvas of green is getting emblazoned with orange and yellow, foretelling of a grand seasonal show
Musically, it morphed into that mallari which Sanjay sang. The scene now was the temple courtyard. The experience was peaceful and yet stirring. How many piDis, each so caringly sculpted, his fellow artistes adding to the weight of it...
Then, the majestic simhEndra madhyamam. mAyA, vAmananE, as if it turned the northeastern landscape into bucolic gOkula, the focus of the adoration of the AzhvArs. Here, the vAmanA, who was all the elements--fire,water, earth, sky, air. One's mother, father, children, others, the entirety of it all (maTrumAi, muTRumAi). The awe, the wonder of how that one force can be all that--and here, in a mere dwarf, vAmana! Sanjay's singing it is a moving experience...
Another majestic march into kAmbOdi. Another extensive yet imaginative full treatment of it as with mAyA vAmananE. RNS richly woven in both pieces, two substantial entrees before the elaborate RTP.
A sketch of an yamunA kalyANi rAgA pre-pallavi meant no nanda gOpAla after these weighty pieces (pallavi time, folks!). A tad disappointed, but heard nannu brOvamani, a new one for me.
Sanjay's AbhEri was brilliant in its imaginative forays. The three together on stage made it sparkle.
YAr pOi solluvAr is a miniature gem in thODi. For those of us who long for a main or RTP in it, can easily be placated with this offering.
Yes, tunbam nErgaiyil is ever popular, bhArati dAsan's fine lines but where was bhArathi? I missed him
The virutham always pleases, and mAvUr kAli amman has a vibrant presence whenever we think of her...
Sanjay is Sanjay.
Waiting for today's concert review now...
You were there at the concert yesterday. I was there too. You were as elusive as ever At least, we have your inimitable review on it. Thanks
Autumn is beginning to unveil its brilliant annual show in my neighborhood and yesterday's drive to the concert was an endless unfurling of an expanse of blue sky and the verdure. The vast canvas of green is getting emblazoned with orange and yellow, foretelling of a grand seasonal show
Musically, it morphed into that mallari which Sanjay sang. The scene now was the temple courtyard. The experience was peaceful and yet stirring. How many piDis, each so caringly sculpted, his fellow artistes adding to the weight of it...
Then, the majestic simhEndra madhyamam. mAyA, vAmananE, as if it turned the northeastern landscape into bucolic gOkula, the focus of the adoration of the AzhvArs. Here, the vAmanA, who was all the elements--fire,water, earth, sky, air. One's mother, father, children, others, the entirety of it all (maTrumAi, muTRumAi). The awe, the wonder of how that one force can be all that--and here, in a mere dwarf, vAmana! Sanjay's singing it is a moving experience...
Another majestic march into kAmbOdi. Another extensive yet imaginative full treatment of it as with mAyA vAmananE. RNS richly woven in both pieces, two substantial entrees before the elaborate RTP.
A sketch of an yamunA kalyANi rAgA pre-pallavi meant no nanda gOpAla after these weighty pieces (pallavi time, folks!). A tad disappointed, but heard nannu brOvamani, a new one for me.
Sanjay's AbhEri was brilliant in its imaginative forays. The three together on stage made it sparkle.
YAr pOi solluvAr is a miniature gem in thODi. For those of us who long for a main or RTP in it, can easily be placated with this offering.
Yes, tunbam nErgaiyil is ever popular, bhArati dAsan's fine lines but where was bhArathi? I missed him
The virutham always pleases, and mAvUr kAli amman has a vibrant presence whenever we think of her...
Sanjay is Sanjay.
Waiting for today's concert review now...
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Re: Sanjay Subrahmanyan @ Boston
Greetings to all of you, I've just joined, after following for a long time. I am a total lay person, with no knowledge of Carnatic Music, but with a keen desire to know.
I read this "Dravida Kalavathi (Sanjay's creation)" in Shri Kedharam's review above, and was curious. Isn't there a "Kalavathi" raga already? How is "Dravida Kalavathi" different? From the name, I assume that it is related to "Kalavathi"?
Because I was curious, I went to Shri Sanjay's wiki page and found that he has also created a raga called " Roja Poo". Do you know if there are any others? I'm curious about the creation of these ragas; does anyone know when he created them? I ask because I would like to know whether these were the endeavours of youth or of a more mature time in his career.
I am spontaneously asking all these questions because I've seen the generosity with which members answer. I'm very happy to be here and look forward to learning. Could one of you advise me about the etiquette of asking questions: are there any dos and don'ts? Thank you! Maybe I should have used "Curious" as my user name
I read this "Dravida Kalavathi (Sanjay's creation)" in Shri Kedharam's review above, and was curious. Isn't there a "Kalavathi" raga already? How is "Dravida Kalavathi" different? From the name, I assume that it is related to "Kalavathi"?
Because I was curious, I went to Shri Sanjay's wiki page and found that he has also created a raga called " Roja Poo". Do you know if there are any others? I'm curious about the creation of these ragas; does anyone know when he created them? I ask because I would like to know whether these were the endeavours of youth or of a more mature time in his career.
I am spontaneously asking all these questions because I've seen the generosity with which members answer. I'm very happy to be here and look forward to learning. Could one of you advise me about the etiquette of asking questions: are there any dos and don'ts? Thank you! Maybe I should have used "Curious" as my user name
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Re: Sanjay Subrahmanyan @ Boston
“Isn't there a "Kalavathi" raga already? How is "Dravida Kalavathi" different? From the name, I assume that it is related to "Kalavathi"?”
The carnatic equivalent of kalavati is Valaji.
Valaji scales :
S G P D N S
S N D P G S
Dravida kalavati scales as i heard/noted :
S R G P D S
S N D P G R S
His experimentation was beautiful with plaintive notes invoking a longing feel.
Sanjay's muse being one Ilayaraja’s song. I didn’t catch the name.
To me it sounded like a blend of ‘vasantha kalam varumo’ with a tinge of sivaranjani.
Here is vasantha kalam varumo:
https://www.youtube.com/watch?v=hZy4UgL7mi8
The carnatic equivalent of kalavati is Valaji.
Valaji scales :
S G P D N S
S N D P G S
Dravida kalavati scales as i heard/noted :
S R G P D S
S N D P G R S
His experimentation was beautiful with plaintive notes invoking a longing feel.
Sanjay's muse being one Ilayaraja’s song. I didn’t catch the name.
To me it sounded like a blend of ‘vasantha kalam varumo’ with a tinge of sivaranjani.
Here is vasantha kalam varumo:
https://www.youtube.com/watch?v=hZy4UgL7mi8
Last edited by kedharam on 12 Oct 2017, 05:35, edited 1 time in total.
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Re: Sanjay Subrahmanyan @ Boston
keentolearn,
Welcome to Rasikas.org. Learning is the fun part of being here--and there is so much of it to peruse in so many threads which keep multiplying!
My guess is that since there is a kalAvati in HM and this rAgA sounds very much like it, the name clarifies that it's a southern rAgA. CM's kalAvati is a totally different sounding rAgA, as we know.
rOjAppu, eh? Can't wait to hear it. Bharathi's en kaNNammA nagai pudu rOjAppu perhaps the inspiration
for this? Who knows. May be a new bHArathi song to add to his repertoire...
Welcome to Rasikas.org. Learning is the fun part of being here--and there is so much of it to peruse in so many threads which keep multiplying!
My guess is that since there is a kalAvati in HM and this rAgA sounds very much like it, the name clarifies that it's a southern rAgA. CM's kalAvati is a totally different sounding rAgA, as we know.
rOjAppu, eh? Can't wait to hear it. Bharathi's en kaNNammA nagai pudu rOjAppu perhaps the inspiration
for this? Who knows. May be a new bHArathi song to add to his repertoire...
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Re: Sanjay Subrahmanyan @ Boston
Thank you!
@Kedharam - the Ilayaraja song is beautiful, music and lyrics; I've not heard it before. Can't wait to hear SS version.
@Arasi, thank you. And yes, SS was singing " Engal Kannamma, nagai pudhu roja poo" on Jan 1, last year at Brahma Gana Sabha, when he announced that the raga's name was Rojapoo. Didn't know enough to register that it was a new raga, or one that he had invented, till Wiki said so.
Does anyone know when these ragas came into existence, Dravida Kalavathi and Rojapoo?
@Kedharam - the Ilayaraja song is beautiful, music and lyrics; I've not heard it before. Can't wait to hear SS version.
@Arasi, thank you. And yes, SS was singing " Engal Kannamma, nagai pudhu roja poo" on Jan 1, last year at Brahma Gana Sabha, when he announced that the raga's name was Rojapoo. Didn't know enough to register that it was a new raga, or one that he had invented, till Wiki said so.
Does anyone know when these ragas came into existence, Dravida Kalavathi and Rojapoo?
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Re: Sanjay Subrahmanyan @ Boston
“The Ilayaraja song is beautiful, music and lyrics; I've not heard it before”
Keentolearn, the Ilayaraja song that inspired Sanjay, i don’t remember.
‘Vasantha kalam varumo’ is a vintage one that reminded me of Dravida kalavathi.
“Does anyone know when these ragas came into existence, Dravida Kalavathi and Rojapoo?”
My guess is that they are recent
Keentolearn, the Ilayaraja song that inspired Sanjay, i don’t remember.
‘Vasantha kalam varumo’ is a vintage one that reminded me of Dravida kalavathi.
“Does anyone know when these ragas came into existence, Dravida Kalavathi and Rojapoo?”
My guess is that they are recent
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Re: Sanjay Subrahmanyan @ Boston
yes! that is a vintage song; my bad - i connected the two sentences without thinking!
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Re: Sanjay Subrahmanyan @ Boston
Thanks Kedharam for a great review of what sounds like a fantastic concert. I hope some of the songs make their way to Youtube or some recorded form eventually-like that Pasuram or Kosalam or Sindhubhairavi by HMB.
Anyway, Kalavathi is a Pandora's box. I think what was Kalavathi for MD was Yagapriya-31st Melam. S. Sowmya did a fantastic lec-dem at MA in Dec 2015 (as it happens chaired by Sanjay) Keentolearn:That might be a more clear explanation of the raga
Anyway, Kalavathi is a Pandora's box. I think what was Kalavathi for MD was Yagapriya-31st Melam. S. Sowmya did a fantastic lec-dem at MA in Dec 2015 (as it happens chaired by Sanjay) Keentolearn:That might be a more clear explanation of the raga
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Re: Sanjay Subrahmanyan @ Boston
@MV: Thank you! Any idea if Sowmya's lec-dem is online?
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Re: Sanjay Subrahmanyan @ Boston
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Re: Sanjay Subrahmanyan @ Boston
https://youtu.be/va-q-eZMUl4
This is Kalavathi Thyagaraja School. And I think LGJ has composed a Thillana in this Kalavathi
This is Kalavathi Thyagaraja School. And I think LGJ has composed a Thillana in this Kalavathi
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Re: Sanjay Subrahmanyan @ Boston
MV, thank you! Sowmya's "Kalavathi" is beautiful; the second link, "Ennadu jutuno" isn't opening, but I've heard Sanjay Subrahmanyan singing it live - quite enchanting.
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Re: Sanjay Subrahmanyan @ Boston
Sanjay has posted this in FB:
Nanubrovamani - Yamunakalyani - Badrachala Ramadas - Live at Chinmaya Mission, Boston, on 7th October 2017 with Varadarajan Santhanam and Neyveli B Venkatesh
Nanubrovamani - Yamunakalyani - Badrachala Ramadas - Live at Chinmaya Mission, Boston, on 7th October 2017 with Varadarajan Santhanam and Neyveli B Venkatesh
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Re: Sanjay Subrahmanyan @ Boston
Hi Everybody
SS is performing in the bay area tomorrow and unfortunately I could not get tickets. If you by any chance already have two tickets and cannot go to the concert due to unavoidable circumstances, I will be more than happy to buy the tickets from you. Apologies if this is not an appropriate forum for this question, I am just a desperate rasika
Thanks!
SS is performing in the bay area tomorrow and unfortunately I could not get tickets. If you by any chance already have two tickets and cannot go to the concert due to unavoidable circumstances, I will be more than happy to buy the tickets from you. Apologies if this is not an appropriate forum for this question, I am just a desperate rasika
Thanks!
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Re: Sanjay Subrahmanyan @ Boston
K.V.Chellappa: Thanks for the link to Tara Anand's reviews of Sanjay/Lalgudi Duo. Coming as it does from a highly competent violinist(Tara),this is truly high praise indeed and richly deserved.
Also KEDHARAM--EXCELLENT REVIEW.FELT AS THOUGH I WAS IN THE CONCERT!!! As Tara says in her review, by adhering to tradition Sanjay has not forgone innovation or imagination.Obviously he sings with so much "swanubhavam" that--despite a not-very-cooperative voice--he brings out the best in any raga or krithi.
Dear Keento learn: Welcome to the forum. AS the doyen amongst Rasikas--ARASI--says this is one of the most enlightening forums in Carnatic Music that I have been exposed to.There is so much vast trove of information,knowledge that one can get from this forum. An occasional vituperative outbursts from some passionate forum members may throw more heat than light!! But such discussions at times polemical as they might be help us to be discerning rasikas. Now a word of advice to you from a Carnatic Music Methusaleh like me: BE A CONTRIBUTOR TO THE FORUM AND NOT MERELY A CONSUMER!!!
Also KEDHARAM--EXCELLENT REVIEW.FELT AS THOUGH I WAS IN THE CONCERT!!! As Tara says in her review, by adhering to tradition Sanjay has not forgone innovation or imagination.Obviously he sings with so much "swanubhavam" that--despite a not-very-cooperative voice--he brings out the best in any raga or krithi.
Dear Keento learn: Welcome to the forum. AS the doyen amongst Rasikas--ARASI--says this is one of the most enlightening forums in Carnatic Music that I have been exposed to.There is so much vast trove of information,knowledge that one can get from this forum. An occasional vituperative outbursts from some passionate forum members may throw more heat than light!! But such discussions at times polemical as they might be help us to be discerning rasikas. Now a word of advice to you from a Carnatic Music Methusaleh like me: BE A CONTRIBUTOR TO THE FORUM AND NOT MERELY A CONSUMER!!!
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Re: Sanjay Subrahmanyan @ Boston
K.V.Chellappa: Thanks for the link to Tara Anand's reviews of Sanjay/Lalgudi Duo. Coming as it does from a highly competent violinist(Tara),this is truly high praise indeed and richly deserved.
Also KEDHARAM--EXCELLENT REVIEW.FELT AS THOUGH I WAS IN THE CONCERT!!! As Tara says in her review, by adhering to tradition Sanjay has not forgone innovation or imagination.Obviously he sings with so much "swanubhavam" that--despite a not-very-cooperative voice--he brings out the best in any raga or krithi.
Dear Keento learn: Welcome to the forum. AS the doyen amongst Rasikas--ARASI--says this is one of the most enlightening forums in Carnatic Music that I have been exposed to.There is so much vast trove of information,knowledge that one can get from this forum. An occasional vituperative outbursts from some passionate forum members may throw more heat than light!! But such discussions at times polemical as they might be help us to be discerning rasikas. Now a word of advice to you from a Carnatic Music Methusaleh like me: BE A CONTRIBUTOR TO THE FORUM AND NOT MERELY A CONSUMER!!!
Also KEDHARAM--EXCELLENT REVIEW.FELT AS THOUGH I WAS IN THE CONCERT!!! As Tara says in her review, by adhering to tradition Sanjay has not forgone innovation or imagination.Obviously he sings with so much "swanubhavam" that--despite a not-very-cooperative voice--he brings out the best in any raga or krithi.
Dear Keento learn: Welcome to the forum. AS the doyen amongst Rasikas--ARASI--says this is one of the most enlightening forums in Carnatic Music that I have been exposed to.There is so much vast trove of information,knowledge that one can get from this forum. An occasional vituperative outbursts from some passionate forum members may throw more heat than light!! But such discussions at times polemical as they might be help us to be discerning rasikas. Now a word of advice to you from a Carnatic Music Methusaleh like me: BE A CONTRIBUTOR TO THE FORUM AND NOT MERELY A CONSUMER!!!
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Re: Sanjay Subrahmanyan @ Boston
MKR,
You are the doyen, among several others. My knowledge about music is questionable--simply because it's not grounded in systematic learning. If music appreciation alone counts, and cheer leader qualities, I'm 'qualified'. As years go by, we see more of young ones on Rasikas.org who amaze us with their tremendous knowledge about CM and much more. Rasikas.org attracts a lot music-minded people to share with others their musical experiences. Even the few that you refer to --to them, our bonhomie is back-scratching and being jAlrA-s! The fact is--like-minded people we are in loving music, and that's about all.
As for Sanjay, he deserves all the accolades. Those who have no ear for him can complain all they want. Let them be...
You are the doyen, among several others. My knowledge about music is questionable--simply because it's not grounded in systematic learning. If music appreciation alone counts, and cheer leader qualities, I'm 'qualified'. As years go by, we see more of young ones on Rasikas.org who amaze us with their tremendous knowledge about CM and much more. Rasikas.org attracts a lot music-minded people to share with others their musical experiences. Even the few that you refer to --to them, our bonhomie is back-scratching and being jAlrA-s! The fact is--like-minded people we are in loving music, and that's about all.
As for Sanjay, he deserves all the accolades. Those who have no ear for him can complain all they want. Let them be...
Last edited by arasi on 23 Oct 2017, 00:02, edited 1 time in total.
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Re: Sanjay Subrahmanyan @ Boston
Sanjay's voice - it used to be un-co-operative. When he was younger, it would be heart-wrenching to listen to his voice thin out so much in the higher octaves, a technical glitch which belied his immense talents.
His voice is still un-co-operative now, though to a lesser extent. Being with Sri S R D Vaidyanathan has enabled him to adopt some of the nagaswaram players' tactics to navigate higher octaves, which sound very gimicky and out of place - the Tu-Tu-Tu I refer to.
Or he might have just worn us down with his persistence and we rasikas would've catipulated to The Sanjay
His voice is still un-co-operative now, though to a lesser extent. Being with Sri S R D Vaidyanathan has enabled him to adopt some of the nagaswaram players' tactics to navigate higher octaves, which sound very gimicky and out of place - the Tu-Tu-Tu I refer to.
Or he might have just worn us down with his persistence and we rasikas would've catipulated to The Sanjay
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Re: Sanjay Subrahmanyan @ Boston
'Drivers' are road-worthy now(sort of)! Is that what I hear now? No artiste can be, or has been perfect in the first place in the history of music, as far as we know. Those who rose above all malignant critics were single-minded about overcoming their shortcomings and in making their music worthwhile for themselves and for others. At least, Singapore is spared of a series of concerts of this kind. Take heart...
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Re: Sanjay Subrahmanyan @ Boston
The Driver was always Road Worthy. Whether the Driver needs to Drive on stage is another question altogether?
In the case of the Cowherdess, she shed her strengths and took shortcuts to achieve 'success'- where was the Aruna who learnt from Brinda? All you can see is Cowherdess. If you want to see what Aruna Sayeeram is like, see Geetha Raja.
Arasi, Singapore is spared of all concerts
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Re: Sanjay Subrahmanyan @ Boston
Sanjay in spite of non- melodious voice and whatever Tut tut is attributed still gives wholesome music always introducing new items in his concerts.
Semmangudi had a nasal voice,but is considered the Pitamaha and taught M S Subbulakshmi.Melam72 has some points which will eliminate most musicians branding each one in his own style.
I would like to hear melam72 perform some day and let his concert be reviewed by knowledgeable rasikas.
Semmangudi had a nasal voice,but is considered the Pitamaha and taught M S Subbulakshmi.Melam72 has some points which will eliminate most musicians branding each one in his own style.
I would like to hear melam72 perform some day and let his concert be reviewed by knowledgeable rasikas.
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Re: Sanjay Subrahmanyan @ Boston
@Bhagavan - you see me perform every day - Rasikas.org is my sabha!
Do note I didn't say a single thing about Semmangudi or MS, for I haven't listened to them live.
There is an element of gimmickery in the music of Sanjay, which is undeniable. You may accuse me of bias, but you may refer to the reviews of Sinduja in the same forum where she talks about it. These are anavasayams and can be done away with.
At the end of the day - Satyameva Jayathe!
Do note I didn't say a single thing about Semmangudi or MS, for I haven't listened to them live.
There is an element of gimmickery in the music of Sanjay, which is undeniable. You may accuse me of bias, but you may refer to the reviews of Sinduja in the same forum where she talks about it. These are anavasayams and can be done away with.
At the end of the day - Satyameva Jayathe!
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Re: Sanjay Subrahmanyan @ Boston
True.But i have to see in a overall sense.If you want Music totally free of any gimmicks then look to Vijay siva , OS Thyagarajan,Madurai GS Mani,Madam Vedavalli,Sumitra Vasudev,Amritha Murali in the present day.I might not have mentioned all,but these come to my mind.Madurai GS Mani and Vedavalli are very seniors and perform less these days.
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Re: Sanjay Subrahmanyan @ Boston
I could, and I do.
But to me, educating others on the demerits of musicians <redacted since it unnecessarily drags in names unrelated to this topic> is far more important to me, so the public goes in with their eyes open.
And who said gimmicks are any bad? If Sanjay just reduces the amount of gimmicks and anaavasayams in the music, he will truly be this generation's answer to Semmangudi mama. I enjoy Sanjay's music, and stomach his odious gimmicks to listen to his music.
But to me, educating others on the demerits of musicians <redacted since it unnecessarily drags in names unrelated to this topic> is far more important to me, so the public goes in with their eyes open.
And who said gimmicks are any bad? If Sanjay just reduces the amount of gimmicks and anaavasayams in the music, he will truly be this generation's answer to Semmangudi mama. I enjoy Sanjay's music, and stomach his odious gimmicks to listen to his music.
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Re: Sanjay Subrahmanyan @ Boston
Bhagwan,
Don't you see the pattern? Good, bad and indifferent rasikAs (in our chaste music champion's view), mean nothing to him. Their appreciation doesn't count.His agenda alone matters--of spewing ill will in diverse ways.
I was thinking of SS too, whose music I did not care for at all as a child. Then of MMI who was a joy to listen to. There were those who spoke like our geTTi mELam--may be not this harshly-- about his taralallAs and Ay-s and Uy-s...
Don't you see the pattern? Good, bad and indifferent rasikAs (in our chaste music champion's view), mean nothing to him. Their appreciation doesn't count.His agenda alone matters--of spewing ill will in diverse ways.
I was thinking of SS too, whose music I did not care for at all as a child. Then of MMI who was a joy to listen to. There were those who spoke like our geTTi mELam--may be not this harshly-- about his taralallAs and Ay-s and Uy-s...
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Re: Sanjay Subrahmanyan @ Boston
Please go back and read the posts made earlier, if you haven't read them already.
I have made my intentions clear innumerable number of times.
At the end of the day, Taralalla was somewhat aesthetic, unlike 'tup-tup-tup'
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Re: Sanjay Subrahmanyan @ Boston
Now is the time for chup chup (in Hindi)for me. ini enna pEchirukkudu, pOm
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Re: Sanjay Subrahmanyan @ Boston
madam Arasi,
Melam72 wants the rasikas to appreciate what he considers as chaste music.His words to convince rasikas are the choicest ones!.
it is a question of getting used to as he is among us but albeit in a different plane!.
I for one would consider any performing artist who gets on stage to perform has definitely minimum SADHANA irrespective of he or she.
Whom you want to listen is your choice!
Melam72 wants the rasikas to appreciate what he considers as chaste music.His words to convince rasikas are the choicest ones!.
it is a question of getting used to as he is among us but albeit in a different plane!.
I for one would consider any performing artist who gets on stage to perform has definitely minimum SADHANA irrespective of he or she.
Whom you want to listen is your choice!
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Re: Sanjay Subrahmanyan @ Boston
Mr. Bhagwan,
arE bhagwAn, is all I can say...
arE bhagwAn, is all I can say...
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Re: Sanjay Subrahmanyan @ Boston
@Ramasubramanian M.K - thank you for the welcome! Sorry for the late response; still getting used to being here. I will gladly try and be a contributor;
this forum is friendly, so that's not difficult.
[An occasional vituperative outburst from some passionate forum members may throw more heat than light!! But such discussions at times polemical as they might be help us to be discerning rasikas]. I've seen that! It's enlightening, for sure, and also, fun...
Thanks to everybody who welcomed me, I may be missing some names, sorry.
PS: How does one select text that one wants to respond to, and put it in that shaded format?
this forum is friendly, so that's not difficult.
[An occasional vituperative outburst from some passionate forum members may throw more heat than light!! But such discussions at times polemical as they might be help us to be discerning rasikas]. I've seen that! It's enlightening, for sure, and also, fun...
Thanks to everybody who welcomed me, I may be missing some names, sorry.
PS: How does one select text that one wants to respond to, and put it in that shaded format?
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Re: Sanjay Subrahmanyan @ Boston
Press the 'quote' button at the top-right corner of the post.