Sanjay Subrahmanyan(m), MA, 26-12-2012
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Sanjay Subrahmanyan(m), MA, 26-12-2012
Sanjay Subrahmanyan, S. Varadharajan, Neyveli Venkatesh , t. radhakrishanan (kanjira)
Songlist:
1.Sendhil Andavan, Karaharapriya, rupakam, P.Sivan
2. Budhamashrayami, MisraJhampa, M.Dikshitar, Nattakurinji (S)
3. Aparadhamula, Latangi, adhi, p. subramaniaiyer?
4. Endhu Dhaginaado, Thodi, Misrachapu, Thyagaraja (R, N, S and T)
5. Mamava jagadeeswara, Saraswathi manohari?, adhi, Swati tirunal
6. RTP, Aarabhi, adhi, 3 thalli??
kuzhalindhu, yazh indhu enbar mazhalaichchol keladhavar
Did not do thrikalam, but did thisram
ragamalika swaras in Kapi, Behag, Revathi and Madhuvanthi (long hindustani like intonation)
7. Had to leave the venue.. please fill
The concert was very nice,
Nattakurinji piece had nice swarams (few rounds)
Endhu dhaginaado was rendered in chowka kalam, nice chittaswaram
This was followed by a nice thani by the percussion team
Varadharajan's thodi was superb, he followed the pattern Sanjay set and his playing was free flowing..
Songlist:
1.Sendhil Andavan, Karaharapriya, rupakam, P.Sivan
2. Budhamashrayami, MisraJhampa, M.Dikshitar, Nattakurinji (S)
3. Aparadhamula, Latangi, adhi, p. subramaniaiyer?
4. Endhu Dhaginaado, Thodi, Misrachapu, Thyagaraja (R, N, S and T)
5. Mamava jagadeeswara, Saraswathi manohari?, adhi, Swati tirunal
6. RTP, Aarabhi, adhi, 3 thalli??
kuzhalindhu, yazh indhu enbar mazhalaichchol keladhavar
Did not do thrikalam, but did thisram
ragamalika swaras in Kapi, Behag, Revathi and Madhuvanthi (long hindustani like intonation)
7. Had to leave the venue.. please fill
The concert was very nice,
Nattakurinji piece had nice swarams (few rounds)
Endhu dhaginaado was rendered in chowka kalam, nice chittaswaram
This was followed by a nice thani by the percussion team
Varadharajan's thodi was superb, he followed the pattern Sanjay set and his playing was free flowing..
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
7. Mannupugazh Kosalai: Suddha Saveri/Durga-ish; Lalitha, Saranga, Hindolam, Nilambari (Rupakam) - Kulasekara Alwar.
8. Brief Viruttam: Vizhikku thunai followed by Nadi tEdi thozhuvAr pAl: Bagesri
9. nI nAma rUpamulaku - Mangalam - Sowrashtram.
And yes 5 was in Saraswati Manohari.
Sanjay was his usual self, Varadarajan was exceptional!
TGFI (Thank god for the internet).
8. Brief Viruttam: Vizhikku thunai followed by Nadi tEdi thozhuvAr pAl: Bagesri
9. nI nAma rUpamulaku - Mangalam - Sowrashtram.
And yes 5 was in Saraswati Manohari.
Sanjay was his usual self, Varadarajan was exceptional!
TGFI (Thank god for the internet).
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
Usual Sanjay affair....Any reason why lot of tamil stuff coming up these days ?
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
Mannupugazh Kosalai: Durga; Mayamalavagowlai, Saranga, Hindolam, Nilambari (Rupakam) - Kulasekara Alwar.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
Kunthalavarali: I am pretty certain that it was Lalitha and not MMG.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
When we have studied well we say "Padicchu Kizhichachu". Sanjay after the concert must be saying "Padi Kizhichutten". (Literally he tears the ragas with his hands). This is the only way Sanjay can sing. Without a voice what can he do. If he chooses to be ordinary no one will attend his concerts. I was happy he chose Arabhi for RTP & not Dwijavanti or Brindavana Saranga. A thought which crossed my mind in this concert. I can understand why Iyengarval is worshipped by every musician. Iyengarval is the Bradman of CM. He had a rich voice. But it was not blemishless. Yet he never resorted to creating any effect be it singing Ragam or Kirtana. Had the knack of giving the essence. Every other musician resorts to some kind of dramatisation or the other to earn an applause. But for Iyengarval we will be listening to only noisy dramatised Carnatic Music.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
It was a definitely a better concert than the last year concert by Sanjay @ MA. In my view, Thodi alapana and Arabhi alapana were the highlights. The thodi krithi (supposedly the musiri masterpiece) was rendered very well. Varadarajan is a superb violinist. Mannu Pugazh (Pasuram) was also rendered very well. The lyrical quality of pasurams are in another level and BVR and BVL tune for the pasuram is also great. Hearing Mamava jagadeeswara for the first time, does not have the grandeur of Enta Veduko...
Last edited by annamalai on 27 Dec 2012, 09:01, edited 1 time in total.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
I feel when you go to a concert and you only look at the clock when the artiste starts his Mangalam, then he has done well. Sanjay certainly packs that energy in his concert. Absolutely brilliant Thodi and the RTP in half-hour and less was so complete. This team together has chemistry. Loved it.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
I have attended some fabulous concerts this season but haven't had access to laptop so haven't put up any reviews.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
It was a decent concert. Again, in certain phrases the sruthi sutham was missing.
Thodi ragam was nice .. though several sangatis showed up again n again. . Must mention abt this ... His style to capture the nadaswaram bhani proved his vidwat.
While rendering ragamalika swaram ... He sang kapi swaram for few seconds ...where as for madhuvanti swaram went on for few minutes ( don't know why ... The ragamalika swaram proportion was missing) ... The ragamalika swarams did not appeal to me.
Mannupugazh was just okay... I have heard him rendering it well last yr @ academy ...
It was not SanJay's day.
Thodi ragam was nice .. though several sangatis showed up again n again. . Must mention abt this ... His style to capture the nadaswaram bhani proved his vidwat.
While rendering ragamalika swaram ... He sang kapi swaram for few seconds ...where as for madhuvanti swaram went on for few minutes ( don't know why ... The ragamalika swaram proportion was missing) ... The ragamalika swarams did not appeal to me.
Mannupugazh was just okay... I have heard him rendering it well last yr @ academy ...
It was not SanJay's day.

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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
Although it was a very good concert, I agree that it was not Sanjay's best performance especially against the high expectations from an academy concert. We have all heard much better from him in the past.
Sanjay might have his faults (I would be the first to point them out) but to my mind he has done more for exciting an entire generation of listeners than most others before him. To call Sanjay as noisy, "without a voice" or dramatizing for applause, is like missing the entire point about what makes his music appeal.
And with all due respect, I am tired of this pseudo-nostalgia for Iyengarval's music. I acknowledge his greatness as a performer and guru and all the important contributions to the history of CM. That said, I have listened to several concerts of his; I have most of his recordings from the public domain and I can't label a single one as "memorable". They all have the same madhyamakalam, the same predictable structure, the gapless playback (long before itunes came up with it), the excessive rushing of the accompanists and the assembly line production. He might have given the essence, but so what? There is more to writing than just providing a precis.
Bradman, he might have been. But there have been several amazing players since then, some from our own backyard. Time to wake up and celebrate the Gavaskars and Tendulkars instead of complaining about what ails Carnatic music today.
To my mind, what ails Carnatic music is a number of holier-than-thou critics who just can't seem to let go...
As SriramV writes in his blog when he isn't reviewing the keera vadai at the canteen: "What ails Carnatic music has been a suitable subject for articles since the time of Sarngadeva". http://sriramv.wordpress.com/2012/12/page/4/
I, for one, am glad that we have moved on in these 60 years as I have mentioned in another thread.KNV1955 wrote:When we have studied well we say "Padicchu Kizhichachu". Sanjay after the concert must be saying "Padi Kizhichutten". (Literally he tears the ragas with his hands). This is the only way Sanjay can sing. Without a voice what can he do. If he chooses to be ordinary no one will attend his concerts. I was happy he chose Arabhi for RTP & not Dwijavanti or Brindavana Saranga. A thought which crossed my mind in this concert. I can understand why Iyengarval is worshipped by every musician. Iyengarval is the Bradman of CM. He had a rich voice. But it was not blemishless. Yet he never resorted to creating any effect be it singing Ragam or Kirtana. Had the knack of giving the essence. Every other musician resorts to some kind of dramatisation or the other to earn an applause. But for Iyengarval we will be listening to only noisy dramatised Carnatic Music.
Sanjay might have his faults (I would be the first to point them out) but to my mind he has done more for exciting an entire generation of listeners than most others before him. To call Sanjay as noisy, "without a voice" or dramatizing for applause, is like missing the entire point about what makes his music appeal.
And with all due respect, I am tired of this pseudo-nostalgia for Iyengarval's music. I acknowledge his greatness as a performer and guru and all the important contributions to the history of CM. That said, I have listened to several concerts of his; I have most of his recordings from the public domain and I can't label a single one as "memorable". They all have the same madhyamakalam, the same predictable structure, the gapless playback (long before itunes came up with it), the excessive rushing of the accompanists and the assembly line production. He might have given the essence, but so what? There is more to writing than just providing a precis.
Bradman, he might have been. But there have been several amazing players since then, some from our own backyard. Time to wake up and celebrate the Gavaskars and Tendulkars instead of complaining about what ails Carnatic music today.
To my mind, what ails Carnatic music is a number of holier-than-thou critics who just can't seem to let go...
As SriramV writes in his blog when he isn't reviewing the keera vadai at the canteen: "What ails Carnatic music has been a suitable subject for articles since the time of Sarngadeva". http://sriramv.wordpress.com/2012/12/page/4/
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
Why and in what way people are (or should be) "pseudo-nostalgic" of ARI's music or any past stalwards, for that matter?
Also,
Also,
is a very tall and sweeping statement...I am not sure if anyone who has witnessed both the past and present (past meaning pre 30's or 20s) would agree to what appeals to your mind....In my 80's, I have no clue about how ARI would have changed the excitement of listeners from his previous generation, because I'm not that old...so I guess you should be over 100 years to make such a comparison....wish you a continued healthy life!!!but to my mind he has done more for exciting an entire generation of listeners than most others before him
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
One correction Madurai veeran77 (nice name)- it was not Ganjira. It was ghatam. I can understand you got immersed in the concert !!!
Coming to the concert-
No double tambura, no double “radal”, no half a dozen disciples, no laptop, tablet, books, no half a dozen flasks with different color hot drinks, no dozen chains hanging in the neck- Sanjay.
Mellifluous voice, the amount of “uzhaippu” with his limitations in his voice, nAdaswara/somu pudis-Sanjay.
At 9 AM, when I went to Music Academy to buy ticket, the dais was full and they have LCD tickets (mini hall) that to only 5 tickets. Priced same as dais, I purchased two for my family members.
This must be the 12th kutcheri of his last 15 days tryst. The previous day, his valaji RTP and “hindi” pallavi in KGS was greeted “sitting” as well as “standing” applause. (I heard). Probably, number of concerts must have made him to limit his "efforts". He still has two more, one in Tamil Isai sangam and another in Parthasarathy Sabha.
Endu dAginadO- Talking to very close committee members of MA, ardent devotee of ThyagarAja, he emphasised the 3rd saraNam of this kriti (where the mudra was there) could have been taken instead of first. Ironically, I heard," ambA nannu brO" by Gurucharan. This kriti was somewhere in mEl stayE kriti. Today, another Todi with sort of "rollar coaster" ride..
He had to cut short of Arabhi because of time. But it was very good. Maduvanthi, in Hindustani style” was too good.
I agree for MA standard, he should have been bit below. But what can one do in a two hours 30 minutes concert, latangi, Todi, Arabhi-Crowd did not even move till mangalam.
All plastic chairs in between the rows in VIP area shows the love the crowd has in sanjay’s music.
Coming to the concert-
No double tambura, no double “radal”, no half a dozen disciples, no laptop, tablet, books, no half a dozen flasks with different color hot drinks, no dozen chains hanging in the neck- Sanjay.
Mellifluous voice, the amount of “uzhaippu” with his limitations in his voice, nAdaswara/somu pudis-Sanjay.
At 9 AM, when I went to Music Academy to buy ticket, the dais was full and they have LCD tickets (mini hall) that to only 5 tickets. Priced same as dais, I purchased two for my family members.
This must be the 12th kutcheri of his last 15 days tryst. The previous day, his valaji RTP and “hindi” pallavi in KGS was greeted “sitting” as well as “standing” applause. (I heard). Probably, number of concerts must have made him to limit his "efforts". He still has two more, one in Tamil Isai sangam and another in Parthasarathy Sabha.
Endu dAginadO- Talking to very close committee members of MA, ardent devotee of ThyagarAja, he emphasised the 3rd saraNam of this kriti (where the mudra was there) could have been taken instead of first. Ironically, I heard," ambA nannu brO" by Gurucharan. This kriti was somewhere in mEl stayE kriti. Today, another Todi with sort of "rollar coaster" ride..
He had to cut short of Arabhi because of time. But it was very good. Maduvanthi, in Hindustani style” was too good.
I agree for MA standard, he should have been bit below. But what can one do in a two hours 30 minutes concert, latangi, Todi, Arabhi-Crowd did not even move till mangalam.
All plastic chairs in between the rows in VIP area shows the love the crowd has in sanjay’s music.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
1. The MASTER moves people to tears thro' his soulful singing ... please listen to the Viruttams, enjoy the experience and find out for yourself.KNV1955 wrote:When we have studied well we say "Padicchu Kizhichachu". Sanjay after the concert must be saying "Padi Kizhichutten". (Literally he tears the ragas with his hands). This is the only way Sanjay can sing. Without a voice what can he do. If he chooses to be ordinary no one will attend his concerts. I was happy he chose Arabhi for RTP & not Dwijavanti or Brindavana Saranga. A thought which crossed my mind in this concert. I can understand why Iyengarval is worshipped by every musician. Iyengarval is the Bradman of CM. He had a rich voice. But it was not blemishless. Yet he never resorted to creating any effect be it singing Ragam or Kirtana. Had the knack of giving the essence. Every other musician resorts to some kind of dramatisation or the other to earn an applause. But for Iyengarval we will be listening to only noisy dramatised Carnatic Music.
2. A particular concert may or may not be upto the mark - for each rasika the yardstick is different.
3. The MASTER does not have to resort to any dramatisation and to say he does not have a voice is totally unacceptable statement. In CM it is not the sweetness of voice but the creativity and experience that is most cherished. I do not want to name the singers with the so-called sugary voice and we all know what they do !!!!
4. The MASTER has indeed captured the imagination of more than a generation - both young and old - and please ask for opinions and observations from rasikas who have listened to the doyens of yore on how he stands !
5. And finally one Bradman is not cricket and similarly one person is not CM !
6. If you cannot enjoy the MASTER's music I am fine with that !
NOT EVERYBODY ENJOYS A RAHUL DRAVID or a SACHIN TENDULKAR or a VVS !!!!! and they dont lose anything if someone wishes to live in the past and does not want to watch them bat !!!!
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
Mahavishnu (by addrssing you I have addressed everyone). First let me confess that I have heard only one concert of Ariyakudi live. A Radio Sangeeth Sammelan concert at Balar Arangam (Childrens theatre) accompanied by TN Krishnan & Palghat Raghu. I was barely 9 years or so. But I have heard a no of recordings. Initially his off key singing particularly in top octave was unbearable to me.It took some years for me to appreciate Iyengar music & oflate I am enjoying his music more than even KVN!!. If you can ignore the wobblimng in his voice it simply a fantastic voice. I have been fed with only Ariyakudi/ KVN/MDR/ Ramnad Krishnan/ Brinda & Muktha/DKP/DKJ/MS/TNK/VVS/MSG/MC/Raghu/Sivaraman/Narendran music. Infact I can't even identify Ragas & Songs outside the repertoire of these artists. Looking at the names you can see all of them are very serious performers on the stage. I can't sit through a concert where the artist resorts to agressive singing; off key singing ;laboured rhytham; breathless singing (really not breathless you can hear the kind of sound which Nadaswara vidwans produce when they are short of breath); using all kinds of sounds other than akaram like ha ri/thoo thoo/ low low etc ( Don't quote MM Iyer. I am told he did that only because he had very poor health & struggled to sing. His sruti suddham is unmatched) Ariyakudi called using anything other akaram as Dosham!!. I don't like the Nadhaswara bani. When human voice can produce such wonderful gamakkam why try to imitate Nadaswaram technique. In short my taste is highly conditioned. Sanjay is undoubtly gifted. But it is fact that he has no voice as he himself has said on no of occasions. Despite all the limitations he tries to give his best once he is on the stage. That is what I like about him.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
KNV sir, thank you for your sincere reply. I am very pleased to see the earnestness in explaining your position and engage in a civil discussion on this. Thanks for relaying your own history with Ariyakkudi's music. It makes your position and tastes clear.
I have just run out of patience with the old argument against Sanjay and several others: "Enna sar, voicey illai".
But, Loko binna ruchi as they say.
As much as I enjoy the music of all the individuals you have mentioned, there is an entire other tradition that came from the music of GNB, MLV, Kalyanaraman, BMK, TNS that has inspired and led to some contemporary musicians. While this might seem aggressive to some, it is some of the most brilliant music that has ever been produced. And many of the accompanists that you have mentioned have been actively involved in the creation of this identity as well. Not all of this strictly followed the Nadaswara bani. The sheer genius of people like Lalgudi, Mali-Ramani also needs to be mentioned here, although their unique styles are very different from each other the list above. And among the mridangists, there is the pazhani school with its tavil inspired tradition that is absent from your list, but a huge favourite of mine. Semmangudi, who had the longest concert career of anyone in the 20th century had the same voice issues that you mentioned, but it would be tragic to dismiss his genius for those "trivial" reasons.
Coming back to Sanjay, I think his music cannot just be defined by shortcomings of voice. There is a real passion that he communicates and there are many in the generation that got into music because of him (as the people you mentioned were on their way out).
Btw, your father was learning music with PMI in my grandfather's (Kalpathi Ramanathan) house in Palghat/Kalpathi the late 30s/early 40s. I am told that he sang several hours of varnams every day so all the mridangam students practiced to his singing. So we have a distant connection somewhere
Ramesh Balasubramaniam
Toronto ON.
I have just run out of patience with the old argument against Sanjay and several others: "Enna sar, voicey illai".
But, Loko binna ruchi as they say.
As much as I enjoy the music of all the individuals you have mentioned, there is an entire other tradition that came from the music of GNB, MLV, Kalyanaraman, BMK, TNS that has inspired and led to some contemporary musicians. While this might seem aggressive to some, it is some of the most brilliant music that has ever been produced. And many of the accompanists that you have mentioned have been actively involved in the creation of this identity as well. Not all of this strictly followed the Nadaswara bani. The sheer genius of people like Lalgudi, Mali-Ramani also needs to be mentioned here, although their unique styles are very different from each other the list above. And among the mridangists, there is the pazhani school with its tavil inspired tradition that is absent from your list, but a huge favourite of mine. Semmangudi, who had the longest concert career of anyone in the 20th century had the same voice issues that you mentioned, but it would be tragic to dismiss his genius for those "trivial" reasons.
Coming back to Sanjay, I think his music cannot just be defined by shortcomings of voice. There is a real passion that he communicates and there are many in the generation that got into music because of him (as the people you mentioned were on their way out).
Btw, your father was learning music with PMI in my grandfather's (Kalpathi Ramanathan) house in Palghat/Kalpathi the late 30s/early 40s. I am told that he sang several hours of varnams every day so all the mridangam students practiced to his singing. So we have a distant connection somewhere

Ramesh Balasubramaniam
Toronto ON.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
Sanjay's voice is not really helping him much..to be honest.. It is not suitable for brigas and many a time it comes out flat. At the same time, I believe that carnatic music has a huge "intellect" quotient and voice shortcomings can be forgiven for vidwat. Given his passion for learning and presenting new kritis and risk-taking attitude, I overlook his voice. But at some point, I feel that he should think about making a few changes to his style..
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
The Arabhi Tanam by Sanjay was exceptional I thought... The neraval in the thodi krithi was extremely emotive too...
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
The half hour todi alapana, the meditative kriti rendition and the mood altering chittaswaram made this concert memorable.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
+1mahavishnu wrote:I am tired of this pseudo-nostalgia for Iyengarval's music.
I am even more tired of the pseudo-nostalgia for Bradman's cricket especially when it is based on second or third hand narratives.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
It was painful to see Sanjay's Margazhi Utsavam performance on Jaya TV.
There were so many sruthi lapses. I used to be a die hard Sanjay fan.
We carnatic music rasikas tend to be forgiving of shruthi lapses and poor voice training in favor of "vidwat". Why is it that we do not see the same attitude amongst Hindusthani music rasikas or western classical music buffs?
What is so special about the carnatic music idiom that we are willing to overlook one of the most basic requirements of good music?

We carnatic music rasikas tend to be forgiving of shruthi lapses and poor voice training in favor of "vidwat". Why is it that we do not see the same attitude amongst Hindusthani music rasikas or western classical music buffs?
What is so special about the carnatic music idiom that we are willing to overlook one of the most basic requirements of good music?
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
May be it was your TV
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
I stand by what I said - It appears you are unable to hear those lapses. Perhaps it was your ears?sureshvv wrote:May be it was your TV
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
Haven't seen/heard the MM Utsavam concert yet. Have to wait until segments surface on Youtube.
Back to the MA concert...
A solid one--and it happened to cater to many segments of rasikAs .Sanjay's not singing a TyAgarAja song was once was a no-no to many, and in this concert, endu dAginADO was something worth listening to.
The Arabhi RTP sparkled (in spite of its being shorter than his usual RTPs).
A voice is a voice (thanks to the Almighty,there are different kinds of singing voices--though, among young singers, there is a tendencyin some to ape the popular most (commercially) voices.
What IS a sweet voice? I would think, the one which can 'emote' the essence of a rAga and the lyrics.
Sureshvv, I agree with you about the tODi kruti. It was meditative and meaningful.
Just wondered about the times when reviews weren't there for thousands to read within hours after a performance.
This is the way it went wherever some rasikAs met:
He sings through his nose (the pitAmaha)
He just takes off, breezes through the concert, paying scant attention to Sruti (the originator of CM's crisp concert format)
She has a man's voice (the one whose voice was soaked in bhAvam, who gave life to MD's and Bharathi's compositions).
He imbibes--period (his vENu stood for inspired music).
Then of course, our tastes differ. Also, a sweet voice in a man is not sweet in the same way as in a woman (DKP does not count). Even with a woman, if a sweet voice which does not possess bhAva, soon it can be cloying.
Sanjay's range is limited, but his voice has its own charm. It can bring out the beauty of a rAga and the lyrics more effectively than the voices which can go up and down, reaching every note with ease. Sanjay scores with the depth (both in voice and vidvat) and bhAva.
mAmava jagadISvara when I first heard it, did not sound like sarasvathi manOhari to me. Hearing it again, I know now. It then struck me: how much we are conditioned by a very popular kruti, thinking that it's the norm! I do like the song now, and appreciate the different contours of the rAga in it. The mind set was more so in me because my uncle is most remembered for that song!
Sanjay is singing many traditional mains and RTPs this year which should delight many. I'm waiting for an RTP of an exotic kind from him now!
As for mannu pugazh-I love that rAga mAlikA of pAsurams, but look forward to listening to a different one soon
Back to the MA concert...
A solid one--and it happened to cater to many segments of rasikAs .Sanjay's not singing a TyAgarAja song was once was a no-no to many, and in this concert, endu dAginADO was something worth listening to.
The Arabhi RTP sparkled (in spite of its being shorter than his usual RTPs).
A voice is a voice (thanks to the Almighty,there are different kinds of singing voices--though, among young singers, there is a tendencyin some to ape the popular most (commercially) voices.
What IS a sweet voice? I would think, the one which can 'emote' the essence of a rAga and the lyrics.
Sureshvv, I agree with you about the tODi kruti. It was meditative and meaningful.
Just wondered about the times when reviews weren't there for thousands to read within hours after a performance.
This is the way it went wherever some rasikAs met:
He sings through his nose (the pitAmaha)
He just takes off, breezes through the concert, paying scant attention to Sruti (the originator of CM's crisp concert format)
She has a man's voice (the one whose voice was soaked in bhAvam, who gave life to MD's and Bharathi's compositions).
He imbibes--period (his vENu stood for inspired music).
Then of course, our tastes differ. Also, a sweet voice in a man is not sweet in the same way as in a woman (DKP does not count). Even with a woman, if a sweet voice which does not possess bhAva, soon it can be cloying.
Sanjay's range is limited, but his voice has its own charm. It can bring out the beauty of a rAga and the lyrics more effectively than the voices which can go up and down, reaching every note with ease. Sanjay scores with the depth (both in voice and vidvat) and bhAva.
mAmava jagadISvara when I first heard it, did not sound like sarasvathi manOhari to me. Hearing it again, I know now. It then struck me: how much we are conditioned by a very popular kruti, thinking that it's the norm! I do like the song now, and appreciate the different contours of the rAga in it. The mind set was more so in me because my uncle is most remembered for that song!
Sanjay is singing many traditional mains and RTPs this year which should delight many. I'm waiting for an RTP of an exotic kind from him now!
As for mannu pugazh-I love that rAga mAlikA of pAsurams, but look forward to listening to a different one soon

Last edited by arasi on 28 Dec 2012, 10:55, edited 1 time in total.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
When this concert of Sanjay is on youtube, may be you can come back and give us the specific time on the recordingnadhasudha wrote:
I stand by what I said - It appears you are unable to hear those lapses. Perhaps it was your ears?
where these "sruti lapses" occur so we can understand your definition of these. Too often these type of comments are of the random drive-by variety.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
Arasi Says "What IS a sweet voice? I would think, the one which can 'emote' the essence of a rAga and the lyrics".
I fully agree. But did Sanjay give essence of the raga that day? To me no. Lot of acrobatics;effects is what he offered to my ears. Capturing the essence was the greatness of Ariyakudi.
He sang Pasuram beautifully.
I fully agree. But did Sanjay give essence of the raga that day? To me no. Lot of acrobatics;effects is what he offered to my ears. Capturing the essence was the greatness of Ariyakudi.
Only in upper Octave. But the gamakka suddam (muthu muthu pol irukkum) remains unmatched till date.Again quoting Arasi
"He just takes off, breezes through the concert, paying scant attention to Sruti (the originator of CM's crisp concert format)".
For a change he satisfied Conservatives (Madi Sanchis) like me.Quoting Arasi "I'm waiting for an RTP of an exotic kind from him now!"
He sang Pasuram beautifully.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
This is simply not true.KNV1955 wrote:using all kinds of sounds other than akaram like ha ri/thoo thoo/ low low etc ( Don't quote MM Iyer. I am told he did that only because he had very poor health & struggled to sing. His sruti suddham is unmatched)
MMI's use of other vowel sounds ("ai", "ui" etc) was definitely not due to "ill-health". From all evidence, it was a lifelong habit. I have a 1936 recording of kamboji RTP (MMI was 24 years old) where in the alapana he uses these exact same sounds. Vowel substitution is a well-known technique in the west to achieve correct pitch some individuals, especially consonant alignment with another tone. The harmonic content of the sound produced changes with the type of vowel sound used. MMI was probably doing it instinctively because he cared so dearly about the correctness of shruti.
If anybody is "ashamed" that MMI used these sounds, then we should say so openly and boldy. We can't make excuses for him such as "poor health", etc...People who love his music aren't bothered a bit about these sounds.
Perhaps MMI committed "dosham" by using non-akaara sounds. Each person had his own "doshams". Perhaps ARI committed dosham by going off shruti. We can enjoy them all.
Sorry for the digression.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
Uday may be you are right. I haven't attended a single concert of MMI. I think he died before I was born. But I have heard a few of his recordings. His impeccable Sruthi & Sthana Suddam made all the difference. Plus he didn't resort to aggressive singing. It was sensitive music. On Vowel substitution technique I will share some secrets in a separate thread. I can even demonstrate the trick which I did to my family members after Sanjay concert
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
MMI died on June 8th 1968.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
I just wish to state that understanding GENIUSES like MMI, GNB & MALI is not EASY; Its much easier to say something IRRELEVENT as the persons do not know how to counter the acceptance & recognition of the audience: Audiences have the same GOD given listening skills but Generally considered ignorant of the nuances labeled so because its another easy way to put down SUCCESS. MOST SUCH FOLK TALES are propagated out of either envy or the fond hope they will take root....KNV1955 wrote:using all kinds of sounds other than akaram like ha ri/thoo thoo/ low low etc ( Don't quote MM Iyer. I am told he did that only because he had very poor health & struggled to sing. His sruti suddham is unmatched)
Uday_Shankar wrote:
This is simply not true.
MMI's use of other vowel sounds ("ai", "ui" etc) was definitely not due to "ill-health". From all evidence, it was a lifelong habit. I have a 1936 recording of kamboji RTP (MMI was 24 years old) where in the alapana he uses these exact same sounds. Vowel substitution is a well-known technique in the west to achieve correct pitch some individuals, especially consonant alignment with another tone. The harmonic content of the sound produced changes with the type of vowel sound used. MMI was probably doing it instinctively because he cared so dearly about the correctness of shruti.
If anybody is "ashamed" that MMI used these sounds, then we should say so openly and boldy. We can't make excuses for him such as "poor health", etc...People who love his music aren't bothered a bit about these sounds.
Perhaps MMI committed "dosham" by using non-akaara sounds. Each person had his own "doshams". Perhaps ARI committed dosham by going off shruti. We can enjoy them all.
Sorry for the digression.
As an example let me give a concrete example: I spent once 3 years trying to get to equation 36 from 35in a paper of the legendary Nobel Laureate S.Chandrasekhar & it took him 30 SECONDS to explain & straighten me out. Similarly I have heard MMI DIRECTLY EXPLAIN why he used NON-AKARA sounds: I am not patient enough to write explanations as for many its much easier to SOUND KNOWLEDGEABLE by repeating wrong but easier to understand explanations. Its sad even a descendent of a famous musican known for his adherence to SRUTI repeats such nonsense......If I sound harsh I mean to; If any one is interested please try to locate a lecture by TVG in which he has explained this in great length.Don't ask me for a copy......I am glad that KNOWLEDGEABLE persons like Uday Shankar have the patience to counter the wrong information......VKV
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
Here you go - http://www.youtube.com/watch?v=6XzSuZqtgdwsureshvv wrote:
I stand by what I said - It appears you are unable to hear those lapses. Perhaps it was your ears?
When this concert of Sanjay is on youtube, may be you can come back and give us the specific time on the recording
where these "sruti lapses" occur so we can understand your definition of these. Too often these type of comments are of the random drive-by variety.
Lapses at 0:42,1:02,2:32,3:38-3:44,4:04 as a sample
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
If you are so picky on the sruti, you may have to resort to Hindustani Music wherein sruti is of primary importance. Seldom does a musician sing off key. There is a lot of importance given to voice culture. No Carnatic Musician gives so much importance to these aspects. Barring a few vocalist such as MMI, MSS, Voleti, SKR, Nedunuri, MDR, Malladis, there is a problem in the sruti element with most of the musicians past and present.nadhasudha wrote:
I stand by what I said - It appears you are unable to hear those lapses. Perhaps it was your ears?
When this concert of Sanjay is on youtube, may be you can come back and give us the specific time on the recording
where these "sruti lapses" occur so we can understand your definition of these. Too often these type of comments are of the random drive-by variety.
Here you go - http://www.youtube.com/watch?v=6XzSuZqtgdw
Lapses at 0:42,1:02,2:32,3:38-3:44,4:04 as a sample
Again one of the reasons for this off sruti singing is due to the number of concerts a musician performs during the dec circus/mela which takes a toll on their throat. If they restrain from performing 14-15 concerts in a span of 20 odd days, perhaps the music quality will improve

Sanjay is a very genuine musician, a simpleton and a great musician with a huge repertoire.
I think this thread has gone in the direction of bashing and challenging each others hearing qualities than the musical quality of the musician who performed. BTW 2.32 was not off key !!
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
What I listen to is nobody's business but mine. And as a rasika I have a right to voice my opinion which I have done in a objective way before the audio quality of my TV was referenced making it personal.kalyani_ragam wrote:
If you are so picky on the sruti, you may have to resort to Hindustani Music wherein sruti is of primary importance. Seldom does a musician sing off key. There is a lot of importance given to voice culture. No Carnatic Musician gives so much importance to these aspects. Barring a few vocalist such as MMI, MSS, Voleti, SKR, Nedunuri, MDR, Malladis, there is a problem in the sruti element with most of the musicians past and present.
I am not contesting this fact. I was just pointing to the poster's query about where I found the shruti lapses in Sanjay's Margazhi utsavam concert.kalyani_ragam wrote: Again one of the reasons for this off sruti singing is due to the number of concerts a musician performs during the dec circus/mela which takes a toll on their throat. If they restrain from performing 14-15 concerts in a span of 20 odd days, perhaps the music quality will improve![]()
Again - I do not contest this. I refer to this in my post above that I was a die hard Sanjay fan. BTW simpleton does not mean a simple person if that is what you meant to convey. Simpleton means a fool. Check the dictionary out here http://www.thefreedictionary.com/simpletonkalyani_ragam wrote: Sanjay is a very genuine musician, a simpleton and a great musician with a huge repertoire.
The OP had asked to see proof and I provided it. I am not sure why it is an issue for you. The phrase where murugesane is rendered is off key and I noted the timing of the start of that word. Now who is being picky and challenging each others hearing qualities?kalyani_ragam wrote: I think this thread has gone in the direction of bashing and challenging each others hearing qualities than the musical quality of the musician who performed. BTW 2.32 was not off key !!]
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
While I like Sanjay's music, and am also a die hard fan of old masters like ARI, GNB, MMI, SSI, to name a few, I find it a bit inappropriate to point to the lapses (be it sruthi or otherwise) of the greats. It is even more dishonorable to discuss about where and how the doyens committed mistakes while reviewing the concert of a present day (successful) artist. We need to bear in mind that directly or indirectly, these masters have greatly influenced present day musicians positively, and Sanjay is most likely to be no exception to it. May be he did not learn from them directly - but probl'y his guru or his great guru did. So they have laid the foundation for the music that we enjoy today.
In this regard, as Rasikas we share the responsibility of not being "allowkeegam" in negatively discussing about the greats! We all have a right of opinion - but we can always find a more appropriate place/thread than this one....we do have to understand that current day musicians have the luxury of technology to improve the quality of music (and learning as well)! However, I've heard of the trecherous routes that old masters had to take to learn even a few sangathis, forget songs.....So the least mark of respect, we, as rasikas, can pay to them is by reserving our negative comments on them in a different thread...
In this regard, as Rasikas we share the responsibility of not being "allowkeegam" in negatively discussing about the greats! We all have a right of opinion - but we can always find a more appropriate place/thread than this one....we do have to understand that current day musicians have the luxury of technology to improve the quality of music (and learning as well)! However, I've heard of the trecherous routes that old masters had to take to learn even a few sangathis, forget songs.....So the least mark of respect, we, as rasikas, can pay to them is by reserving our negative comments on them in a different thread...
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
I certainly could not pick any Shruthi lapses at the time points mentioned. May be my computer speaker is faulty or my ears are faulty. I appreciate people with great hearing capacity and I envy that. But the real point is I was too focussed on the beauty of his Kedaram and also the fact that I am hearing the krithi of a new vaggeyakaara.
The MASTER does not depend on a clutch of paper notes, laptops and other gadgets.
He does so much hardwork in memorisng new songs and presents them with all passion. If someone wants not to soak in the beauty of his singing I respect that choice.
Sincerity & Simplicity - thy name Sanjay !
The MASTER does not depend on a clutch of paper notes, laptops and other gadgets.
He does so much hardwork in memorisng new songs and presents them with all passion. If someone wants not to soak in the beauty of his singing I respect that choice.
Sincerity & Simplicity - thy name Sanjay !
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
VKV Sir
I admit that I certainly don't have the knowledge to appreciate the music of MMI (heard only AIR Concerts)/GNB(Just one Academy concert & Radio recording accompanied by Raghu)/MaLI (just one recording of Kambhoji). No where I have made any comments about any of those GENIUSES . The remark about MMI was verbattam reproduction of what my father commented,when someone was talking about MMI,"he said' to comment on his NON-AKAARA singing is incorrect because he struggled to sing due to poor health but to look at the positive aspects of his music like Sruti Suddham & the sensitivity with which he sang". From my own experience, the first lesson he taught me & all his students his "Vai Vittu Padu';(open your mouth & sing) "Aaa padu" ( Sing Aaa);"Srutiya kadilu vanginud padu" (Listen to the sruti & Sing) ;Palichinnu mela "aaa" nu nillu;(Hold your breath & stay in Aaa in higher ranges); Swara Sthana Suddam venum (Must perfect Swara Sthana Suddam); Talata Azhuti Thodayil Podu;(Bang the Talam on your lap) Soft aga podathe; (Don't put talam softly). These things I must have heard him repeat n number of times to everyone. These things have been driven into my head since childhood. I look for such aspects in all Carnatic Musicians. Ariyakudi calling Dhosam is there in one of the interviews. His comments on Ariyakudi Gamakkkam is also there in one of the interviews ( he would say muthu mutha vizhum). I admit that I am not as knowledgeable as elders like you to appreciate the Great Masters. My world was confined my fathers music, MS, DKJ & few others. I wish I had a much broader vision. But I am highly conditioned. And I strongly believe that Carnatic Musicians must focus on Voice Culture. A Sruti aligned voice is a delight to the ears. Loud,aggressive,off key,excessive brigga are not my cup of tea.
I admit that I certainly don't have the knowledge to appreciate the music of MMI (heard only AIR Concerts)/GNB(Just one Academy concert & Radio recording accompanied by Raghu)/MaLI (just one recording of Kambhoji). No where I have made any comments about any of those GENIUSES . The remark about MMI was verbattam reproduction of what my father commented,when someone was talking about MMI,"he said' to comment on his NON-AKAARA singing is incorrect because he struggled to sing due to poor health but to look at the positive aspects of his music like Sruti Suddham & the sensitivity with which he sang". From my own experience, the first lesson he taught me & all his students his "Vai Vittu Padu';(open your mouth & sing) "Aaa padu" ( Sing Aaa);"Srutiya kadilu vanginud padu" (Listen to the sruti & Sing) ;Palichinnu mela "aaa" nu nillu;(Hold your breath & stay in Aaa in higher ranges); Swara Sthana Suddam venum (Must perfect Swara Sthana Suddam); Talata Azhuti Thodayil Podu;(Bang the Talam on your lap) Soft aga podathe; (Don't put talam softly). These things I must have heard him repeat n number of times to everyone. These things have been driven into my head since childhood. I look for such aspects in all Carnatic Musicians. Ariyakudi calling Dhosam is there in one of the interviews. His comments on Ariyakudi Gamakkkam is also there in one of the interviews ( he would say muthu mutha vizhum). I admit that I am not as knowledgeable as elders like you to appreciate the Great Masters. My world was confined my fathers music, MS, DKJ & few others. I wish I had a much broader vision. But I am highly conditioned. And I strongly believe that Carnatic Musicians must focus on Voice Culture. A Sruti aligned voice is a delight to the ears. Loud,aggressive,off key,excessive brigga are not my cup of tea.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
Dear KNV1955,
I totally agree with your freedom to write things........
I knew your father very well since 1960 & he had stayed in my apartment in NYC when he came to Weslyan for almost 3 months etc & I used to go to Weslyan U to hear his legendary Curry Concert & bring him & Palght Raghu (later V.V.S.) to my nyc apartment (100 miles each way)also every week end. When my wife came to USA after my wedding he was the one who prepared a special welcome dinner personally with MULAGOOTAL etc. He voluntarily gave a memorable music concert with PR in the wedding reception held in Washington for me.I was not willing (discussing things)to get involved till your identity became public.
As I consider him one of the GREAT POINEERS OF TWENTIETH CENTURY CARNATIC MUSIC I am very sensitive to anything that will even REMOTELY reflect on his legacy in any fashion however remote. So in my opinion it is NOT A GOOD IDEA to state things that are not positive esp reg Carnatic musicians in forums like these (involving him) because of your special relationship with him. I was going to write this separately but am forced to write this here. PL do not misunderstand what I have written. I APOLOGISE unconditionally for anything I have written that might have hurt you. With my best wishes & regards, VKV
I totally agree with your freedom to write things........
I knew your father very well since 1960 & he had stayed in my apartment in NYC when he came to Weslyan for almost 3 months etc & I used to go to Weslyan U to hear his legendary Curry Concert & bring him & Palght Raghu (later V.V.S.) to my nyc apartment (100 miles each way)also every week end. When my wife came to USA after my wedding he was the one who prepared a special welcome dinner personally with MULAGOOTAL etc. He voluntarily gave a memorable music concert with PR in the wedding reception held in Washington for me.I was not willing (discussing things)to get involved till your identity became public.
As I consider him one of the GREAT POINEERS OF TWENTIETH CENTURY CARNATIC MUSIC I am very sensitive to anything that will even REMOTELY reflect on his legacy in any fashion however remote. So in my opinion it is NOT A GOOD IDEA to state things that are not positive esp reg Carnatic musicians in forums like these (involving him) because of your special relationship with him. I was going to write this separately but am forced to write this here. PL do not misunderstand what I have written. I APOLOGISE unconditionally for anything I have written that might have hurt you. With my best wishes & regards, VKV
Last edited by cacm on 30 Dec 2012, 06:17, edited 2 times in total.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
Thank you for playing along. As someone who has been guilty of criticizing musicians for sruti lapses, I am afraid I am unable to detect what you are talking about. It seems to me that you have picked arbitrary moments and even some of the more pleasing sangatis (maNNe at 3:38).nadhasudha wrote:
Here you go - http://www.youtube.com/watch?v=6XzSuZqtgdw
Lapses at 0:42,1:02,2:32,3:38-3:44,4:04 as a sample
Now I could give you some moments where I felt that the sruti was not delivered with the full force (I would not term these lapses) but since you have not picked any of these, I have to conclude that I was being too nit-picky.
Must be my ears as you pointed out before. Glad I am blessed with them.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
Think I understand the sentiment behind your post, but let me assure you that the greatness of old masters (or even currently performing musicians) is not going to be diminished by some arbitrary comments here. More often they reveal the personal taste/bias of the person behind the post. So I urge you and others not to get defensive if anyone makes a presumed slur on your favorite old master or current musician. You can voice your opinion but the person who is the object of criticism needs no defense.sangeetham wrote:While I like Sanjay's music, and am also a die hard fan of old masters like ARI, GNB, MMI, SSI, to name a few, I find it a bit inappropriate to point to the lapses (be it sruthi or otherwise) of the greats. It is even more dishonorable to discuss about where and how the doyens committed mistakes while reviewing the concert of a present day (successful) artist.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
FYI, "OP" is usually reserved for the person who originated the thread (in this case maduraiveeran). Also your "proof" doesn't washnadhasudha wrote:
The OP had asked to see proof and I provided it.

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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
[quote="nadhasudha"][/quote]
Goodluck with your pursuit!!!!
Goodluck with your pursuit!!!!
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
Just because you criticize musicians for sruthi lapses does not mean that you are able to detect one when shown.sureshvv wrote:
Thank you for playing along. As someone who has been guilty of criticizing musicians for sruti lapses, I am afraid I am unable to detect what you are talking about. It seems to me that you have picked arbitrary moments and even some of the more pleasing sangatis (maNNe at 3:38).
Now I could give you some moments where I felt that the sruti was not delivered with the full force (I would not term these lapses) but since you have not picked any of these, I have to conclude that I was being too nit-picky.
Must be my ears as you pointed out before. Glad I am blessed with them.
I only meant to give a sample not an exhaustive list.
We now have an acronym hitherto undefined SNDWFF - Sruthi Not Delivered With Full Force - but it is not termed a lapse. Perhaps you can point these out in the you tube recording so we can see what you mean by SNDWFF.
Last edited by nadhasudha on 30 Dec 2012, 10:23, edited 2 times in total.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
That is your opinion while fact indicates otherwise.sureshvv wrote: Also your "proof" doesn't wash
Last edited by nadhasudha on 30 Dec 2012, 09:11, edited 2 times in total.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
How difficult it is to stay on topic for you guys! So you are now picking on my screen name?kalyani_ragam wrote:
Goodluck with your pursuit!!!!
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
First of all i dont see any need to mention any Legend's name for comparison here. This thread, what i presume, is about a particular performance of a particular singer. A mere mention of their names has a huge probability of diverting topic.
And in the academy performance, his Lathangi alapana had many sruthi lapses. Thodi was really good and arabhi was decent.
But i donno why some has to mention certain names claiming even they had sruthi lapses. A fault is a fault, no matter who does it. But it maynot be the only thing. Every performance has its own positives and negatives. And this one had its highs as well.
To mention either the positive or negative in a performance is one's choice and we have to respect that and not simply say even MMI did that, ARI had this problem, etc which is irrelevant to this thread.
Anyways just my thought -
Justifying Sanjay's mimicry as something that MMI did is not right IMO. To be honest, until 2005-2006 Sanjay's music was unique and original and God knows what got to him he started mimicking Legends, as mentioned above, briga, non-akaarams, etc. But thats his choice, coz its his performance. On the other hand, it is also true that they obviously fail him than take him further to reach the Legend's place. It doesnt sound great to hear fake-brigas or MMI-like sangathis, which he invariably never gets. IMHO, its better he sticks to his strength rather than trying to imitate, which he fails.
And in the academy performance, his Lathangi alapana had many sruthi lapses. Thodi was really good and arabhi was decent.
But i donno why some has to mention certain names claiming even they had sruthi lapses. A fault is a fault, no matter who does it. But it maynot be the only thing. Every performance has its own positives and negatives. And this one had its highs as well.
To mention either the positive or negative in a performance is one's choice and we have to respect that and not simply say even MMI did that, ARI had this problem, etc which is irrelevant to this thread.
Anyways just my thought -
Justifying Sanjay's mimicry as something that MMI did is not right IMO. To be honest, until 2005-2006 Sanjay's music was unique and original and God knows what got to him he started mimicking Legends, as mentioned above, briga, non-akaarams, etc. But thats his choice, coz its his performance. On the other hand, it is also true that they obviously fail him than take him further to reach the Legend's place. It doesnt sound great to hear fake-brigas or MMI-like sangathis, which he invariably never gets. IMHO, its better he sticks to his strength rather than trying to imitate, which he fails.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
"Sruti lapse" should be used only in the case of apashruti where a patently wrong note is delivered & not used wily-nily to describe perceived generic vocalization shortcomings (PGVS if you will).nadhasudha wrote: Just because you criticize musicians for sruthi lapses does not mean that you are able to detect one point these out in .
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
Have you thought about the possibility that he is just doing his thing and it is you who is drawing unwarranted comparisons to the "legends"? Have you tried to lose the legend baggage briefly & soak in what is being presented?sairaam wrote: Sanjay's music was unique and original and God knows what got to him he started mimicking Legends, as mentioned above, briga, non-akaarams, etc..
In my mind his mimicry is not of the legends but the myriad natural/unnatural sounds all around us. And this kind of mimicry is part of a slightly longer tradition.
Last edited by sureshvv on 30 Dec 2012, 22:57, edited 2 times in total.
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Re: Sanjay Subrahmanyan(m), MA, 26-12-2012
You seem to fond of using the same blunt weapon. Do you recognize the lapses in the recording posted by nadasudha? Do your numbers coincide with his?sairaam wrote: And in the academy performance, his Lathangi alapana had many sruthi lapses.