Sanjay Subrahmanyan's concert on Dec 16th at Mudra
Reethigowlai- varnam
Manavyala- nalinakanthi
Mohanam-sree rama ramani, raga alapanai, N,S
Shulini - Paramugamadeno
Neelambari - Amba Neelambari, elaborate alapana, s
Thani
Maduvanthi-RTP
Chathushra jati triputa, 2 kalai, 1 edam
Pallavi - Kuzhal inithu YAzh inithu enbAr Mazhalai chol KelA Thavar
Swararagamalia in shivaranjani, priyadarshini, Sindu bairavi,
Kani nilam vendum- bharathiar
Virutham- behag, ahiri, begada, kapi
Orumaiudan ninathu malaradi
Mangalam
The kutcheri was an exposition of the all the ragams and compositions at its creative best yet very traditional.
Mohanam ragam alapana was a bhava filled and once we got deeply involved, the aesthetic part of this ragam did unfold. The niraval at "atulita divyaguNAbharaNa sanakAdi munivarya mAnasa" was sumptuous as he presented the essence of Mohanam. ` Every swara was improvised in the first, thisram and second speeds. The assured gait of the niraval, his interpretation of the ragam reflecting its vitality with enticingly energetic brigas, portrayed his admiration for GNB, MLV followed by kalpanaswaras in two speeds.
The gait with which Shulini was rendered, did ample justice to Kotteswara Iyer’s composition.
Neelambari raga alapana was tradition to the core yet fresh replete with ripe phrases and passages in the most exquisite way. The raga contours, the structural excellence in the combination of swaras and the resultant swara prayogas were brought out with the inherent melody. While presenting Amba Neelambari in all humility in slow tempo he brought the raga bhava as well as the sahitya bhava to the fore.
Next came MADUVANTHI in all its glory. The romantic aura of this vibrant raga was a nice contrast after the previous serene melody Neelambari. Maduvanthi was extremely moving, and the melody was overflowing with the bhava of the Raga. In the thanam, the undercurrent of inherent romantic appeal added extra emotional piety to the vivacity and verve.
The pallavi text, "Kuzhal inithu YAzh inithu enbAr Mazhalai chol KelA Thavar"
continued to emphasize the subtleties of Maduvanthi with its lyrical beauty surely shaking maternal feelings of the listeners to the core.
The viruttam came out very emotive pleading Muragan in behag, ahiri, begada, kapi.
Sri. Dorai and Sri.Varadarajan’s support were simply superb.
Sanjay Subrahmanyan at Mudra on Dec 16th.
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HarishankarK
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rajeshnat
- Posts: 10121
- Joined: 03 Feb 2010, 08:04
I was also there for the concert from Patnam's mOhanam onwards. mOhanam was excellent with a very brilliant neraval in the lines "atulita divyaguNAbharaNa
sanakAdi".An excellent manOdharmam followed in the swarams . There was also shree kamalAmbAya (R) - bhairavi -md krithi immediately afer mohanam . To
me the bhairavi was just good to very good , particularly he did have problems towards closer to the end of this mammoth krithi. Shulini also had brief swaras that was just good.
Who says neelAmbari induces sleep ? That Too with me not sleeping that much yesterday , I stayed fully awake .Certainly his alApanai in neelAmbari had a lot
of manOdharmam for about 9 minutes. The krithi and swaras were for 17 minutes and was very well presented , his second half of swaras was slightly dipping not as excellent as how he built up.
The cracker of the concert was the rtp in madhuvanti. The raga alApanai was for 8 full minutes and was perfect (love hm-cm combos in general). TAnam of Sanjay was gripping for 4 minutes and there was nice breath control there. Pallavi was for about 10 minutes and the rAgamAliga swaras was for about 10 minutes all maintaining should I say the elegance of HM within cM.
BhArathiyAr's famous kAni niLam VeNdum was presented in hamsadhwani ?? + bhAgeshri + sindhubhairavi and was excellent . THe virurththam was presented
which was maharAjapuram santhAnam's famous ecstasy KanDA guhA shaNmugha - yazhpAnam veeramani ?? in the ragas as mentioned before (liked the Ahiri and begadA more than behAg and kApi), his finish in ramalinga swamigal's Orumaiudan ninathu malaradi was very good.
Two minuses in the concert :
1. Sanjay has a style where he finished the pallavi and launches into the krithi in the same rAgam . Perhaps I dont mind that jump but to me he jumping from a stunning sindhubhairavi swaras into nijadAsa pramaracha ??? - sindhubhairavi - jayadeva was perhaps bit restless there did not get much lyrics there. It just did not click
there perhaps a little restraint there like vijayashiva would have been appropriate
2. Just drawing a parallel to suryaprakAsh- srimushnam a week before in the same mudhra, certainly the manOdharamic Mohanam and bhairavi did not have that kind of zing effect . I would say perhaps I missed a more expressive mrudangist like srimushnam than a little slower Sri Durai here. I felt at quite few places the percussinist support was not as charged as the violinist.
The tani was pretty long for about 23 minutes ,mOrsing (Bangalore rAjasekhar ??) support was quite creative he was impressive to me .VaradarAjan was excellent to outstanding here , weighty bowing in mOhanam and a brilliant madhuvanti support. Overall not an outstanding concert , but a very good to excellent concert for 3 hours .
sanakAdi".An excellent manOdharmam followed in the swarams . There was also shree kamalAmbAya (R) - bhairavi -md krithi immediately afer mohanam . To
me the bhairavi was just good to very good , particularly he did have problems towards closer to the end of this mammoth krithi. Shulini also had brief swaras that was just good.
Who says neelAmbari induces sleep ? That Too with me not sleeping that much yesterday , I stayed fully awake .Certainly his alApanai in neelAmbari had a lot
of manOdharmam for about 9 minutes. The krithi and swaras were for 17 minutes and was very well presented , his second half of swaras was slightly dipping not as excellent as how he built up.
The cracker of the concert was the rtp in madhuvanti. The raga alApanai was for 8 full minutes and was perfect (love hm-cm combos in general). TAnam of Sanjay was gripping for 4 minutes and there was nice breath control there. Pallavi was for about 10 minutes and the rAgamAliga swaras was for about 10 minutes all maintaining should I say the elegance of HM within cM.
BhArathiyAr's famous kAni niLam VeNdum was presented in hamsadhwani ?? + bhAgeshri + sindhubhairavi and was excellent . THe virurththam was presented
which was maharAjapuram santhAnam's famous ecstasy KanDA guhA shaNmugha - yazhpAnam veeramani ?? in the ragas as mentioned before (liked the Ahiri and begadA more than behAg and kApi), his finish in ramalinga swamigal's Orumaiudan ninathu malaradi was very good.
Two minuses in the concert :
1. Sanjay has a style where he finished the pallavi and launches into the krithi in the same rAgam . Perhaps I dont mind that jump but to me he jumping from a stunning sindhubhairavi swaras into nijadAsa pramaracha ??? - sindhubhairavi - jayadeva was perhaps bit restless there did not get much lyrics there. It just did not click
there perhaps a little restraint there like vijayashiva would have been appropriate
2. Just drawing a parallel to suryaprakAsh- srimushnam a week before in the same mudhra, certainly the manOdharamic Mohanam and bhairavi did not have that kind of zing effect . I would say perhaps I missed a more expressive mrudangist like srimushnam than a little slower Sri Durai here. I felt at quite few places the percussinist support was not as charged as the violinist.
The tani was pretty long for about 23 minutes ,mOrsing (Bangalore rAjasekhar ??) support was quite creative he was impressive to me .VaradarAjan was excellent to outstanding here , weighty bowing in mOhanam and a brilliant madhuvanti support. Overall not an outstanding concert , but a very good to excellent concert for 3 hours .
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sridhar_ranga
- Posts: 809
- Joined: 03 Feb 2010, 11:36
Prashant,
It is a line from couplet#66 of tirukkuraL...the original goes as "kuzhal inidu yAzh inidu enbar tam makkaL mazhalai chol kELAdavar"
The meaning: (courtesy: http://www.tamilnation.org/literature/K ... htm#BM007)
"Sweet are the sounds of the flute and the lute," say those Who have not heard the prattle of their own children.
kuzhal=flute
yAzh= a stringed musical instrument of the ancient Tamils
inidu=sweet
mazhalai chol=prattle/chatter of children
makkaL=kids
It is a line from couplet#66 of tirukkuraL...the original goes as "kuzhal inidu yAzh inidu enbar tam makkaL mazhalai chol kELAdavar"
The meaning: (courtesy: http://www.tamilnation.org/literature/K ... htm#BM007)
"Sweet are the sounds of the flute and the lute," say those Who have not heard the prattle of their own children.
kuzhal=flute
yAzh= a stringed musical instrument of the ancient Tamils
inidu=sweet
mazhalai chol=prattle/chatter of children
makkaL=kids
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PUNARVASU
- Posts: 2498
- Joined: 06 Feb 2010, 05:42
Shri Sanjay chose to omit the words 'tam makkaL'-may be either for reasons of tALam or for giving the meaning that the prattle of any child (not alone ones own)is sweet.sridhar_rang wrote:Prashant,
It is a line from couplet#66 of tirukkuraL...the original goes as "kuzhal inidu yAzh inidu enbar tam makkaL mazhalai chol kELAdavar"
The meaning: (courtesy: http://www.tamilnation.org/literature/K ... htm#BM007)
"Sweet are the sounds of the flute and the lute," say those Who have not heard the prattle of their own children.
kuzhal=flute
yAzh= a stringed musical instrument of the ancient Tamils
inidu=sweet
mazhalai chol=prattle/chatter of children
makkaL=kids
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sridrect
- Posts: 112
- Joined: 20 Nov 2008, 13:49
The phrase of the viruttam "Kanda Guha Shanmugha Ennai Kaavendru koovi naan olam itte........" is a Maharajapuram classic.arasi wrote:My kind of a concert with vaLLuvar, bhArati, madhuvanti and I just wonder what kind of verse was taken up for viruttam--not that it's going to make me happy to know that I missed another special treat...
It is such a "depressing" feeling to have missed such a mesmerising concert of the MASTER. I fondly hope Charsur brings a CD of this concert.