
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.
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