The concert was held by PSN Disciples Trust ,sanjay was accompanied by S.VaradarAjan - violin , mannArgudi easwaran - mridangam and tv vAsan - ghatam
1. Sami ni rammanave (varnam) - kEdAram - Tiruvettiyur Tyagayya
2. maravaku daya (S) - mOhanam - garbapurivAsar
3. kApathuvE unadhu bhAram (R)- Anandabhairavi - Tanjore Sivanandam ??
4. enDukku nirdhaya(R N S ) - harikAmbOdhi - T
5. jaya jaya padmanAbha - maniraNgu - ST
6A. eNNalu oorakE(R S T) - subhapantuvarAli - T
6B. tani
7. shree mAdhavA vasudevA - bEhAg - pApanAsam Sivan
8A. viruththam "poothavaLE bhuvanum padinAngum" - nAttaikurinji +
"karuvatra nAl mudhaLAL" - poorvikalyAni + "kulam tharum selvam" - AbhEri
8B. paluku teniyala - AbhEri - AC
9. thillAnA - sindhubhairavi - MDR
10. pavamAna
The concert had definitely an excellent start with sanjay in full form with an excellent kedAram . The next mOhanam was rare and was rendered very good , the swaras matched up well , certainly he could have gone more there. The rAga alApanai of Anandabhairavi was delivered with a right dose of joyful alankAram of Anandabhairavi , a rare krithi followed which did have atleast 2 rounds of cittaswaras, At certain points in the rendition of this krithi , i did notice that few sangathis and swaras had a little avoidable jerks.
A grand rAga alApanai followed in harikAmbOdhi , certainly I got it right and had no second opinion that it was khamAs here. The krithi rendition was very good with lovely fast paced swaras . The neraval in harikAmbOdhi needs a seperate review. The manirangu was not gripping, certainly this was the only average no in the concert.
The days best was an absolutely briliant alApanai of subhapantuvarAli , he certainly delivered it top class . The rendition of the eNNalu certainly did not have the same quality of the alApanai , sanjay made up well with a very aesthetic swaras , building each swara step by step , certainly brought all the charm of this "emotion filled ecstasy" that subhapantuvarAli intrinsically always possesses.
The behAg was very good , the viruththam was a fine exhibition of his breath control ,two rAgas (nAttaikurinji and poorvikalyAni) in viruththam were excellent with AbhEri (may be bhimplAs ???) was excellent to outstanding. The paluku teniyala in AbhEri was very good. The last thillAna in sindhubhairavi was just good , I could spot some imitation of MDR there.
The accompanists were all very good , particularly liked the play of shri easwaran , however the tani was just plain.
Neraval in hariKAmbOdhi
The frame of reference of a neraval in a krithi is usually a single phrase that can be looped to bring the rAga swaroopam of that krithi ,certainly the continuity of the line is important to bring the charm or rather the abstractness of the neraval . I have heard few musicians where two lines are indeed taken to bring neraval in the same krithi ,where usually neraval is sung as keezh kAlam and mel kAlam , I have heard one contemporary musician doing a quick round of neraval in its parent rAgas along with few quick rounds of rAgamAliga in other rAgas, the neraval always sung in the same line.
But what sanjay did was he took atleast 5 lines of sangathis , where he took a line for few minutes ending up as neraval for just one or two minutes with varadarAjan giving a return ,then moving along as a charanam with few phrases in this harikAmbOdhi and then trying neraval at another line. Overall the neraval by itself was only half complete . Certainly this was not innovation but more bordering as "in NO way tion".
Overall an excellent concert.
Sanjay Subrahmanyan@rAgasudhA hall on Feb 24th,2008
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grsastrigal
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I was there only for 15 minutes. (I could not forgive myself for this !) When he was in the middle of harikambodhi taking the neraval on charanam. I liked that verymuch because I did not hear Harikambodhi and also this kriti. recently. EnDukku is specialised by SSI in the same way, and the way Sanjay performed, I thought it is a tribute to SSI. To add my case, there is a photo of SSI garlanded and kept to the left end.
Moreover, there was a video footage I saw here,where SSI sings this and MS nodding her head to his Neraval. Wonderful (infinite) footage which I can never forget. When I heard this Sanjay I thought of the same.
I don't know what connection SSI has got in PSN disciple's programme. Jaya jaya also of ST. This again added my thought of pro-SSI kritis.
"I like Sanjay's throwing a wry smile after completing excellant neraval or breath-taking swaram" commended a middle-aged "Mami" outside. Still Sanjay is in the bracket of "Valentine". Hope his wife does not read this !!!
Moreover, there was a video footage I saw here,where SSI sings this and MS nodding her head to his Neraval. Wonderful (infinite) footage which I can never forget. When I heard this Sanjay I thought of the same.
I don't know what connection SSI has got in PSN disciple's programme. Jaya jaya also of ST. This again added my thought of pro-SSI kritis.
"I like Sanjay's throwing a wry smile after completing excellant neraval or breath-taking swaram" commended a middle-aged "Mami" outside. Still Sanjay is in the bracket of "Valentine". Hope his wife does not read this !!!
Last edited by grsastrigal on 25 Feb 2008, 10:09, edited 1 time in total.
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arasi
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Rajesh,
You bring up an interesting point about neravals. Notice that the subject of neravals was brought up by Ravi in another thread.
This made me go scurrying to the kruti. Surprise! It is not one long CaraNam. The song has 5 caraNams. Each made up of a single line. Now, that changes the whole picture. The newness was in doing neraval for each CaraNAm--not in dividing up the lines of a whole caraNam, cutting up the continuity and the meaning of it!
You bring up an interesting point about neravals. Notice that the subject of neravals was brought up by Ravi in another thread.
This made me go scurrying to the kruti. Surprise! It is not one long CaraNam. The song has 5 caraNams. Each made up of a single line. Now, that changes the whole picture. The newness was in doing neraval for each CaraNAm--not in dividing up the lines of a whole caraNam, cutting up the continuity and the meaning of it!
Last edited by arasi on 25 Feb 2008, 12:20, edited 1 time in total.
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grsastrigal
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Vocalist
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It doesn't change the whole picture. He didn't say the meaning was cut up. His issue was with doing the nereval for multiple lines (or charanams).arasi wrote:Rajesh,
You bring up an interesting point about neravals. Notice that the subject of neravals was brought up by Ravi in another thread.
This made me go scurrying to the kruti. Surprise! It is not one long CaraNam. The song has 5 caraNams. Each made up of a single line. Now, that changes the whole picture. The newness was in doing neraval for each CaraNAm--not in dividing up the lines of a whole caraNam, cutting up the continuity and the meaning of it!
This is what I think he meant: the flowing effect that a nereval would ordinarily have had was lost, as Sanjay (rather than trying to focus on embellishing one line/charanam) was trying to focus on every line/charanam the krithi had to offer! The nereval wouldn't have been as focused (as it would've been had it been 1 line/charanam), and perhaps, it wasn't elaborate enough to cover all the lines. But whatever it was, it made the nereval seem incomplete. I probably would've felt it was incomplete too.
Last edited by Vocalist on 26 Feb 2008, 07:51, edited 1 time in total.
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rajeshnat
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GRSgrsastrigal wrote:Moreover, there was a video footage I saw here,where SSI sings this and MS nodding her head to his Neraval. Wonderful (infinite) footage which I can never forget. When I heard this Sanjay I thought of the same.
Yes I recollect , I only have a small snippet , where Smt MSS hums few lines and then smiles. I am assuming you have the same few minute snippet and you do not have the entire recording , Does anyone know that Sri SSI sang a neraval with multiple lines of charanams in this harikAmbOdhi krithi.
vocalist,
You have summed up well in the above post, that was exactly in line .
Last edited by rajeshnat on 26 Feb 2008, 13:45, edited 1 time in total.
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arasi
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Rajesh,
I was not there.
The way I see it is that when each line is complete and stands on its own, it perhaps yields itself to this novel approach. How effective it was, I don't know. It is akin to breaking up a line into two to sing svarAs individually for them. Two of the lines in this song are questions which if the experiment worked, would have made the exercise interesting.How many caraNams did he take up, I wonder. It is an accepted practice now to start a song from anupallavi. Some musician at some point must have thought of it, seeing its dramatic impact.
Are we reacting to lyrics even more than we consciously think about them? We don't bat an eye when in RTPs rAgAmAlikai svarAs are sung in reverse order.We even find it impressive. To me, and I care about lyrics, the Suk ku mi lagu tip pili kind (Sukku+miLagu+tippili) of breaking up words thus ruining the meaning, and stresses in the wrong places are more of a a problem...
I was not there.
The way I see it is that when each line is complete and stands on its own, it perhaps yields itself to this novel approach. How effective it was, I don't know. It is akin to breaking up a line into two to sing svarAs individually for them. Two of the lines in this song are questions which if the experiment worked, would have made the exercise interesting.How many caraNams did he take up, I wonder. It is an accepted practice now to start a song from anupallavi. Some musician at some point must have thought of it, seeing its dramatic impact.
Are we reacting to lyrics even more than we consciously think about them? We don't bat an eye when in RTPs rAgAmAlikai svarAs are sung in reverse order.We even find it impressive. To me, and I care about lyrics, the Suk ku mi lagu tip pili kind (Sukku+miLagu+tippili) of breaking up words thus ruining the meaning, and stresses in the wrong places are more of a a problem...
Last edited by arasi on 27 Feb 2008, 18:11, edited 1 time in total.
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arasi
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Vocalist,
Thanks for pointing out that I had left out the word svarAs (now corrected). You are the vocalist and would know better. You can transpose the statement and call ME ignorant. I don't mind.The point I am driving at is that when music is deep-rooted in tradition, it can also seek new expressions WITHIN the framework of tradition, to renew itself. It has happened all along-whether it happens to be abbreviating cucEri time, starting a song with the anu pallavi or reversing the order of svarAs while singing a rAgamAlikA pallavi. There are notable performers who are happy with singing nearly the same songs and happy are the rasikAs in listening to them. Nothing wrong with that. My point is that we also need other performers who like to be creatively adventurous within the tradition.They may not succeed in all their attempts, but will still pursue new ideas, I hope.
By the way, I was not there-ewhich means I can't say if that particular new attempt was a success or otherwise!
Thanks for pointing out that I had left out the word svarAs (now corrected). You are the vocalist and would know better. You can transpose the statement and call ME ignorant. I don't mind.The point I am driving at is that when music is deep-rooted in tradition, it can also seek new expressions WITHIN the framework of tradition, to renew itself. It has happened all along-whether it happens to be abbreviating cucEri time, starting a song with the anu pallavi or reversing the order of svarAs while singing a rAgamAlikA pallavi. There are notable performers who are happy with singing nearly the same songs and happy are the rasikAs in listening to them. Nothing wrong with that. My point is that we also need other performers who like to be creatively adventurous within the tradition.They may not succeed in all their attempts, but will still pursue new ideas, I hope.
By the way, I was not there-ewhich means I can't say if that particular new attempt was a success or otherwise!
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vinayo
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arasi,
the choice for the neraval has been an interesting topic. For example, in the Sankarabaranam krithi sarOja daLa nEtri himagiri putri , MSS would choose kOri vachchina vAri kella in one concert and sAma gAna vinOdini in another, thereby showing that both the choices are equally good. I was fortunate to have heard Sanjay's concert held by the PSN desciple foundation. Sanjay gave the impression that every charanam of the harikambodhi krithi is eminently suited for neraval! It may be noted that he ended every neraval with the pallavi lines thereby maintaining the continuity. It may also be interesting to note that ultimately the kalpana swaras were sung for the pallavi line.
the choice for the neraval has been an interesting topic. For example, in the Sankarabaranam krithi sarOja daLa nEtri himagiri putri , MSS would choose kOri vachchina vAri kella in one concert and sAma gAna vinOdini in another, thereby showing that both the choices are equally good. I was fortunate to have heard Sanjay's concert held by the PSN desciple foundation. Sanjay gave the impression that every charanam of the harikambodhi krithi is eminently suited for neraval! It may be noted that he ended every neraval with the pallavi lines thereby maintaining the continuity. It may also be interesting to note that ultimately the kalpana swaras were sung for the pallavi line.
Last edited by vinayo on 28 Feb 2008, 13:13, edited 1 time in total.
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rajaglan
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Hi all,
Looks like, Sanjay and Neraval topic right!
I was listening to 'Thiruvadi charanam' - kamboji song from his CD , at Gokhale hall , a 2002 and the neraval at
aDuttu vanda ennai taLLalAgAdu ara-harAvenru shonnAlum pOdAdO.
The slow speed niraval sounds so divine , from his metallic voice (2 min from 8min in to the song). Especially the extension of the 'ara-hara' word.
The song is not the main song, and no raga alapana, no swaram. Just the song and neraval, it is an ultimate pleasure listening to it, something so simple
sounds so great. Just thought I will share my experience.
Looks like, Sanjay and Neraval topic right!
I was listening to 'Thiruvadi charanam' - kamboji song from his CD , at Gokhale hall , a 2002 and the neraval at
aDuttu vanda ennai taLLalAgAdu ara-harAvenru shonnAlum pOdAdO.
The slow speed niraval sounds so divine , from his metallic voice (2 min from 8min in to the song). Especially the extension of the 'ara-hara' word.
The song is not the main song, and no raga alapana, no swaram. Just the song and neraval, it is an ultimate pleasure listening to it, something so simple
sounds so great. Just thought I will share my experience.
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ram
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- Joined: 02 Feb 2010, 22:48
arasi madam,
You are spot on. What Sanjay did in the concert appealed so much (at least to me) considering the meaning of the charanams and the fact that the charanams themselves (all one liners) were five in number. Sanjay has sung this song the same way in the past too.
IIRC, Sanjay sang neraval for charanams 2 to 5, with elaborate sangathis for charanam 1. He then sang kalpana swarams at the pallavi line in the end.
You are spot on. What Sanjay did in the concert appealed so much (at least to me) considering the meaning of the charanams and the fact that the charanams themselves (all one liners) were five in number. Sanjay has sung this song the same way in the past too.
IIRC, Sanjay sang neraval for charanams 2 to 5, with elaborate sangathis for charanam 1. He then sang kalpana swarams at the pallavi line in the end.
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arasi
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- Joined: 22 Jun 2006, 09:30
Ram,
Just as I 'guessed'. Vinayo and you have elaborated on it and I can safely assume now that it was an effective way in which Sanjay brought out the bhAvA. Musically too, he saw the scope he had to explore the single line caraNams. To me, it shows a fresh approach well within the musical and lyrical context...
Just as I 'guessed'. Vinayo and you have elaborated on it and I can safely assume now that it was an effective way in which Sanjay brought out the bhAvA. Musically too, he saw the scope he had to explore the single line caraNams. To me, it shows a fresh approach well within the musical and lyrical context...
Last edited by arasi on 28 Feb 2008, 10:32, edited 1 time in total.