The audience that day went home musically satiated after Sanjay’s concert.
The houseful crowd at Sanjay Subramanyam’s concert returned home fully satisfied with his involved singing – right from the initial ata tala varnam ‘Chalamuseya’ in Pantuvarali to the last item, ‘Idutano Tillaisthalam’ in Sindhubhairavi.
‘Tatvamariya Tharama’ in Ritigowla had swaras at ‘Ganapathe’, which is quite uncommon. After ‘Lokavanachathura’ in Begada came the Dhanyasi essay that delved into the depths of the raga. Avaneswaram Vinu proved an effective foil to the main artist with his efforts on the violin. The chosen piece was a rare Tyagaraja kriti, ‘Enthubayaradaya’, for which niraval and swaras were taken for the pallavi.
A magnificent Khambodi followed. It sounded almost like listening to the nagaswaram in a human voice! The nuances were so much like mangala vadhyam. Vinu’s memory was so sharp that he could replay almost every sangati and swara that Sanjay came up with. The Tamil song ‘Ayyane Aatkol Meyyane’ was the jewel in this raga.
The kalpanaswaras for ‘Pattamkatta’ in the Hindolam song ‘Ramanukku Mannan’ evoked a happy mood, eliciting a smile on the face of the listeners. The application of the prayogas was quite unusual in places in the alapana of Hamirkalyani prefixing ‘Maanamuletha.’ Vinu proved a good match.
The mridangam artist Neyveli Venkatesh was enthusiastic as always. The thani by him and Coimbatore Mohanram on the ghatam, which came up at this point, was lively.
A brief but vibrant Kuntalavarali was a prelude to ‘Bhogeendra Sayinam’. The Mukhari RTP was the main item and the raga was explored in depth by Sanjay followed by a scintillating tanam along with Ganaraga panchagam of Nattai, Gowla, Arabhi, Varali and Sri. The pallavi, ‘Sivakamasundari Vandarul Tandarul,’ was set to misra chapu tala. In the swara segment, there was a ragamalika of Yadukulakhambodi, Kiravani and Subhapantuvarali; the last raga was sung with Hindustani flavour sending the audience into raptures. The pallavi seamlessly moved into the well known Papanasam Sivan kriti ‘Sivakamsundari.’ The post-RTP section had ‘Dikkutheriyada Kaattil,’ ‘Emantune Muthubalamani’ and a ragamalika viruttam, ‘Maanaada’ with Hamsanandi, Bagesri, Mohanam, Natakurinji and Sindhubhairavi.