SANJAY SUBRAMANIAN – CONCERT REVIEW

By Ram S. Sriram


On October 23, 2004, under the auspicious of the Carnatic Music Association of Georgia (CAMAGA), Sri Sanjay Subramanian gave a vocal concert performance at the Hindu Temple of Atlanta. He was accompanied on the violin by Sri Nagai Murali and on the Mridangam by Sri Mannargudi Easwaran.

The concert had to be started an hour later because the artists’ flight from Rochester was arrived later than expected. Sanjay Subramanian began his concert with the Nera Nammi Varnam in Kanada Ragam. He followed this by the rarely heard kriti of Sri Thyagaraja Swamy, Sanatana Paramapavana in Phalamanjari.

This was the Navarathri week and it is appropriate that we pay honor to Goddesses Durga, Lakshmi and Saraswati – the three manifestations of Shakti or Cosmic energy. Sanjay reminded the audience of this great festival period by singing compositions that were in honor of the Mother Goddesses. He started with Mamava Sada Varade (Swathi Thirunal) in Nattakurunji. After praising Mahishasura Mardhini, he moved to the Thodi kriti, Rave Himagiri Kumari by Shyama Sastri and Kamala Padamalar Kamakshi in Harikambhoji by Papanasam Sivan.

Both the Thodi and Harikambhoji raga alapanas were excellent. One of the greatest asset of Sanjay is his adherence to classical carnatic music traditions. Although an artist from the younger generation, Sanjay has preserves the rich traditions of Carnatic Music and his raga alapanas and swara neravals always remind us of the great vocal giants of yester years. Sanjay never resorts to gimmickry to attract the audience but maintains the purity of the raga structure and its mood and essence.

And, the praise of Mother continued. Sanjay followed the Harikambhoji with Dikshitar’s Hindolam kriti, Neerajakshi Kamakshi and then a brilliantly delivered Sahana raga alapana. The Sri Kamalambikeyam in Thisra Triputa was one masterful exhibition of Thala and swara control.

Nagai Murali has not visited Atlanta for over a decade and for the audience, listening to his violin was a refreshing experience. His rendering of the Harikambhoji raga and Sahana were excellent. I was amazed by the soft touch of his bowing. Every swara was perfect and when combined with his soft bowing, it led to a wonderful melodic experience.

Mannargudi Easwaran showed that he is not only an accomplished mridangist but that he is also an accomplished musician who understands the nuances of each kriti. He embellished the songs at every turn and when he plays, not a sollu is out of place. His thani in Thisra Triputa was excellent. The korvai developments were complex but yet even a novice can relate to the rhythmic experience. One of the pleasing things about his playing is that he enjoys what he is listening to and is accompanying. That makes for a great blend of the artist and the listener at the same time. Sri Easwaran’s accompaniment aptly reflected these qualities.

After the Sahana kriti and the thani avartanam by Sri Easwaran, Sanjay started on an elaborate RTP in Simmendra Madhyamam. Once again, both Sanjay and Nagai Murali did absolute justification to the raga. The RTP was followed by several Tamil compositions that thrilled the audience. Summa Varuguma Sugam (Is it easy to get happiness?) by Ghanam Krishna Iyer, supposedly composed and sung by Sri Krishna Iyer in the presence of Sir Thomas Munro, former Viceroy of India is a rare kriti that made the audience nod in agreement to its meaning. The concert concluded after a three-and-a-half-hour performance that thrilled the audience every minute.