FRIDAY REVIEW

Unique in articulation

THERE IS a fine mix of force and finesse in Sanjay Subramaniam's music. In the alapana after a stunning full-throated sanchara he would thin out his voice and indulge in a long melodic note. With a none too rich saariram, he skilfully adopts the thick and thin articulation technique to achieve suswaras in all the octaves.

This pattern was discernible in his concert at the R. R. Sabha under the auspices of Kartik Fine Arts in association with Sunadham Aradhana function of Sulamangalam Vaidyanatha Bhagavatar. Although he dwelt at greater length in portraying the splendour of Sankarabharanam for Veena Kuppaiyer's ``Bagumeera" with sparkling swaras in the charanam it was in Dhanyasi exposition that the artiste's unique bani was at its best and received encore. Sanjay sang Dikshitar's "Paradevate" with a fair diction and swaras.

With Tyagaraja's ``Murubalka" having become too familiar in the Carnatic music world with Semmangudi Srinivasa Iyer's gramophone record released several decades ago. Sanjay's rendering of this Sriranjani song seemed to be an acid test in a manner of sorts and the singer's neraval and swaras at the last line of the charanam "Dari nerigi santasilli... " bespoke his vidwat, and satisfied the rasikas.

Alapana in Atana for Annasami Sastry's "Paramapavana" with vigorous swaras and Tyagaraja's "Tappagane vachhuna" (Suddha Bangala) were sung with verve. Gopalakrishna Bharati's ``Enneramum" (Devagandhari) had the devotional flavour.

When Sanjay sang Papanasam Sivan's ``Appanavatarita Kathamrutham" (Kharaharapriya), few could identify the kriti rendered with speed. Swati Tirunal's Reena Madanasuta (Behag) followed a ragamalika rendering of Shrutvaguna Bhuvanasundara in Priyadarsini (Sanjay announced this raga) Begada, Ahiri, Manirangu and Behag. Violinist M. R. Gopinath was a faithful ally to the vocalist while Arun Prakash (mridangam) played with his characteristic exuberance and joy especially when the vocalist rendered quick and scintillating swaras.

Noteworthy in Delhi V. Muthukumar's vocal recital for Kartik Fine arts at Bharatiya Vidya Bhavan was his in-depth alapana in Simhendramadhyamam Mega for Mysore Vasudevachar's ``Ninne Nammiti" (Misra chapu). Several rounds of swaras gave further glint. The not-so-frequently-heard Tyagaraja kriti, ``Bhaktuni Charitramu`` in Begada was rendered with a clear diction. A few rounds of neraval and swaras would have been more than appropriate. In this kriti Tyagaraja advises how a true Rama Bhakta should behave.

``Bharadi namisuve" (Mohanakalyani — Purandhara Dasa) ``Nambikettavar" (Hindolam — Papanasam Sivan) ``Arul Seiyya" (Rasikapriya — Koteeswara Iyer) deserve special mention.

S. Vijayaraghavan (violin) and Arjun Bharathi (mridangam) were the accompanists. — KSR

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