A breezy ‘Eevasudha’ in Sahana when I got in. Followed by ‘Kanukonu Sowkhyamu’ in Nayaki.
Sanjay giving a glimpse of his breath control in the Nayaki sangatis. Soft playing by Patri and Karthik in tune with the mood of the song.
A Sedate ‘Kaalaith thookki nindraadum dheivamE’ in Yadukula Kambhoji.
Kalayani alapana exploring the depth, width and height (?!) of the raga with a host of Sanjay patented sangatis. ‘Needu Charana Pankaja mula' by Pallavi Gopala Iyer being the kriti.
Neraval in the line ‘O Jagatjanani’. Veritable treat it was in the swara segment - speed, bhavam, virtuosity, voice modulation and the Sanjay special swaras delivered with his mouth half-open and closed (?
) delighting the audience.A riotous thani followed. Virtually a “Rudra Thaandav” by Patri and Karthik. Wish I had an iota of Laya Gnaanam to have appreciated the nuances therein.
Koteeswara Iyer kriti ‘Yedhayya Gathi’ in Chalanatta.
As though all the above were only a teaser, the real excitement began thereon – a blissful Revati alapana. An even better Tanam.
And what a return from Varadarajan. Guess by now playing for Sanjay must have become an integral part of his life – superb anticipation and extraordinary support all through. Didn’t matter that the string created some issue and he had to fix it in between!
‘Chaarukesa Jataadhara Sambo Chandrasekara Hethvambo’ being the pallvi. Ragamalika swaras in Nalinakanti, Bahudari and Hindolam. Each bettering the previous in listening pleasure!
Wrapped up with the Hindloam kriti ‘Maaramanan’. The sloka ‘Srutva Gunan Bhuvana Sundara’ in Mohanam – Rukmini’s email to Krishna addressing him as the world’s most handsome man!
Ramalinga Adigal’s ‘Petra thaai thanai’ followed by ‘Aaraar Aasaippadaar’ in Nadanamkriya.
பெற்ற தாய் தனை மக மறந்தாலும் பிள்ளையைப் பெரும் தாய் மறந்தாலும்
உற்ற தேகத்தை உயிர் மறந்தாலும் உயிரை மேவிய உடல் மறந்தாலும்
கற்ற நெஞ்சகம் கலை மறந்தாலும் கண்கள் நின்றிமைப்பது மறந்தாலும்
நற்றவத்தவர் உள்ளிருந்தோங்கும் நமச்சிவாயத்தை நான் மறவேனே
Prompting one to add ‘இந்த சஞ்சய் கச்சேரியை நான் மறவேனே’ to the above
