Sanjay Subrahmanyan at Chowdiah Hall, Bangalore
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Sanjay Subrahmayan- Vocal
S Varadarajan-Violin
K Arun Prakash- Mridangam
B Rajashekar-Morsing
This is my first review-post on rasikas.org, and I'm slightly nervous about doing this, but the concert was such a mind-blowing one that I decided I must write about it. So here goes..
This concert was a part of Ganjam's 'Flights of Fantasy' series at the Chowdiah Hall.
1)Marachithivo(Varnam)-Begada-Ata Talam-Patnam Subrahamanyam Iyer(?)
2)Neeke Teliyakapote-Ananda Bhairavi-Adi-Thyagaraja(S)
3)Sugunamule-Chakaravakam-Rupakam-Thyagaraja(R,N,S)
4)Chethasribalakrishnam-Dwijawanthi-Dikshitar-Rupakam
5)Kapali-Mohanam-Adi-Papanasam Sivan(R,S, Tani avartanam)
6)Sarasa saamadaana-Kapi Narayani-Adi-Thyagaraja
7)RTP-Bhairavi-Mishra Jathi Ata Talam( Maalai pozhudu poche...)
8)Maathada baareno-Khamach-Mishra Chapu-(?)
9)Nijagaadasa(Ashtapadi)-Sindhu Bhairavi-Adi-Jayadeva
10)Aarumo-Maand-Adi-(?)
11)Neenamarupamulaku(Mangalam)-Sourashtram-Adi-Thyagarajar
The concert began with a Varnam in Begada not usually heard. Sanjay was in wonderful form, and his voice traversed the three octaves effortlessly.
The Chakaravakam alaapanai was marked by its signature sangathis and many brisk-paced brigas.
The Mohanam alaapanai was simply brilliant, brimming with majestic slow-paced sangatis as well as Sanjay's trademark flashes of brigas. The Kriti Kapali was sung in an energetic way and topped with swarams at the pallavi line. Arun Prakash and Rajashekar played a beautiful tani.
Bhairavi again was simply superb. In fact, the highlights of the concert were the alapanais-all three beautifully structured and sung. Varadarajan acoompanied Sanjay very supportively, and his solos were very good too.
In all, the concert was wonderful-energetic, yet melodious, showcasing Sanjay's fertile imagination to the fullest!
Looking forward to many more such concerts...(and to writing many more reviews:D)
S Varadarajan-Violin
K Arun Prakash- Mridangam
B Rajashekar-Morsing
This is my first review-post on rasikas.org, and I'm slightly nervous about doing this, but the concert was such a mind-blowing one that I decided I must write about it. So here goes..
This concert was a part of Ganjam's 'Flights of Fantasy' series at the Chowdiah Hall.
1)Marachithivo(Varnam)-Begada-Ata Talam-Patnam Subrahamanyam Iyer(?)
2)Neeke Teliyakapote-Ananda Bhairavi-Adi-Thyagaraja(S)
3)Sugunamule-Chakaravakam-Rupakam-Thyagaraja(R,N,S)
4)Chethasribalakrishnam-Dwijawanthi-Dikshitar-Rupakam
5)Kapali-Mohanam-Adi-Papanasam Sivan(R,S, Tani avartanam)
6)Sarasa saamadaana-Kapi Narayani-Adi-Thyagaraja
7)RTP-Bhairavi-Mishra Jathi Ata Talam( Maalai pozhudu poche...)
8)Maathada baareno-Khamach-Mishra Chapu-(?)
9)Nijagaadasa(Ashtapadi)-Sindhu Bhairavi-Adi-Jayadeva
10)Aarumo-Maand-Adi-(?)
11)Neenamarupamulaku(Mangalam)-Sourashtram-Adi-Thyagarajar
The concert began with a Varnam in Begada not usually heard. Sanjay was in wonderful form, and his voice traversed the three octaves effortlessly.
The Chakaravakam alaapanai was marked by its signature sangathis and many brisk-paced brigas.
The Mohanam alaapanai was simply brilliant, brimming with majestic slow-paced sangatis as well as Sanjay's trademark flashes of brigas. The Kriti Kapali was sung in an energetic way and topped with swarams at the pallavi line. Arun Prakash and Rajashekar played a beautiful tani.
Bhairavi again was simply superb. In fact, the highlights of the concert were the alapanais-all three beautifully structured and sung. Varadarajan acoompanied Sanjay very supportively, and his solos were very good too.
In all, the concert was wonderful-energetic, yet melodious, showcasing Sanjay's fertile imagination to the fullest!
Looking forward to many more such concerts...(and to writing many more reviews:D)
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The pallavi line 'mAlaip pozhudu pOchchudE, kaNNALanE, Asaik kaNNALanE!' is not from mAlaippoZhudinilE. Was another line omitted? I guess there is more to it because it stops with addressing the subject and a reference to the time of the day. What was the person trying to convey is not there...
Last edited by arasi on 27 Nov 2006, 09:29, edited 1 time in total.
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Repetition is fine and is sometimes unavoidable (for instance, mAthAda bAradEnO might have been a 'chit request'). We are talking about a vocalist whose repertoire is rich.
However, when it comes to pallavi wherein a line gets repeated a hundred times (?), the content of the lines count. A namAvaLi is fine, since the concentration is on layA at that point which relegates the emoting of the line to the back burner--and invoking gods' names sits well with a pallavi. Yes, 'kaththirikkAi vIsai kAlaNA' kind of line is fine too. However, if a 'vElanE' had been added to kaNNALanE' or, had another line to expand on the state of mind of the subject had been added, it would have made the content richer. Musically, it was fine--as opposed to gOvindanaDi, mukundanaDi--with all the verbal aDis and the mridangist's aDis. Sanjay has rendered bharathi's
'veLLaiththAmaraip pUvil iruppAL, vINai seyyum oliyil iruppAL' in a pallavi and it sounded great. This particular padam kind of line didn't say much to create the mood. layA experts, my apologies...
However, when it comes to pallavi wherein a line gets repeated a hundred times (?), the content of the lines count. A namAvaLi is fine, since the concentration is on layA at that point which relegates the emoting of the line to the back burner--and invoking gods' names sits well with a pallavi. Yes, 'kaththirikkAi vIsai kAlaNA' kind of line is fine too. However, if a 'vElanE' had been added to kaNNALanE' or, had another line to expand on the state of mind of the subject had been added, it would have made the content richer. Musically, it was fine--as opposed to gOvindanaDi, mukundanaDi--with all the verbal aDis and the mridangist's aDis. Sanjay has rendered bharathi's
'veLLaiththAmaraip pUvil iruppAL, vINai seyyum oliyil iruppAL' in a pallavi and it sounded great. This particular padam kind of line didn't say much to create the mood. layA experts, my apologies...
Last edited by arasi on 02 Dec 2006, 19:17, edited 1 time in total.
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LOL!!
I'm intrigued in two aspects of what you say, arasi. First is the laya, which I would've thought you'd avoid (actually, never mind that). And second, if executed properly, that particular "padam-kind-of-line" can make an emotional story as a RTP (not merely sounding melodically great). Considering this and the potential effect it could have, one can't blame the pallavi for not saying 'much to create the mood'. The artist and/or his execution would be at fault. No? Or was there a particular theme for the kutcheri that this pallavi broke from?
I'm intrigued in two aspects of what you say, arasi. First is the laya, which I would've thought you'd avoid (actually, never mind that). And second, if executed properly, that particular "padam-kind-of-line" can make an emotional story as a RTP (not merely sounding melodically great). Considering this and the potential effect it could have, one can't blame the pallavi for not saying 'much to create the mood'. The artist and/or his execution would be at fault. No? Or was there a particular theme for the kutcheri that this pallavi broke from?
Last edited by Vocalist on 02 Dec 2006, 20:53, edited 1 time in total.