Sanjay Subrahmanyan picked some uncommon compositions for his annual Tamizhum Naanum live performance
True to the excitement main as much as Sanjay Subrahmanyan’s Tamizhum Naanum live performance, digital listeners thronged to savour the third version of his fashionable format — a full live performance in Tamil. He has advocated bringing the language to the forefront of Carnatic live shows and it was a message effectively delivered. The spotlight of the live performance was considered one of two tukkada segments, partitioned by a Ragam Tanam Pallavi. Within the developed scheme of digital life, there was additionally a ‘strategic time-out’ for the sponsors to make an look!
The live performance dropped at mild some hardly ever heard however sterling items by T.M. Thiagarajan, Papanasam Sivan and Arunachala Kavi. TMT’s Kalyana Vasantham varnam on Lord Ganesha affords apt phrases for the raga. ‘Kalaimagale’ by M.M. Dandapani Desikar in Saraswathi had just a few sangathis and leaned in the direction of a devotional kind. That may truly be mentioned of many Tamil kritis, which has been supplied as a defence within the final century for not together with them as a part of a live performance’s foremost phase. Their musical rigour in opposition to the monumental Trinity compositions was (and is) in query. A couple of singers like Sanjay are difficult that premise.
Koteeswara Iyer’s Gayakapriya kriti, ‘Naadanilai’ is a masterly composition in a raga with a number of tough boundaries. Sanjay’s rendition echoed that creativity effectively. He sang a lovely Bahudari alapana and adopted it up with Arunachala Kavi’s ‘Ramasamiyin dhoothan naanada’, singing it with gusto moderately than tranquility. .
A Hindustani RTP
Sanjay’s selection of Patdeep, a Hindustani raga, for the RTP was fascinating. The audava-sampoorna raga follows the Gowri Manohari scale with rishabham and daivatham lacking in arohanam and is a well-liked selection for movie songs. Whereas Sanjay’s tanam evoked pleasing moments, Varadarajan’s alapana sketched the fantastic thing about the raga succinctly. The kanta ekam pallavi, spanning all speeds, set on Subramania Bharati’s far-sighted phrases on ladies’s empowerment, was sung in quintessential Sanjay fashion, with verve and assuredness. The singer meshed effectively together with his long-term accompanists, and so they delivered some pleasant punches. Varadarajan and Neyveli Venkatesh are masters in intelligent however subdued assist. Sanjay’s voice was energetic and malleable, traversing the peaks and troughs fluently.
The second phase featured a kriti ‘Narayana’ in Komalangi (Raghava Ramanuja Dasan), a brief viruttam that introduced again shades of Ok.B. Sundarambal’s Saveri in an epochal movie track, a Kapi kriti of Ramalinga Adigal (‘Orumaiyudan’), and yet one more uncommon gem from Papanasam Sivan in Khamas (‘Thiruvalar Mylaiyin’). The repertoire was intensive.
Sanjay supplied a sensible formulation for making a brief live performance depend. How does one distribute the time in a 90-minute outing and but present the illusion of a full fare? That includes extra songs is one software. The opposite is conserving manodharma on an excellent keel and controlling the overruns with self-discipline. This formulation has a flipside too. It looks like a well-planned album moderately than a free-flowing kutcheri. His stature permits Sanjay the latitude for this trade-off. Many imagine that within the Carnatic context, the language is an extra ornamentation to the music moderately than the opposite method round. If the purpose of Sanjay’s campaign is to assign a pivotal spot for Tamil compositions in live shows, extra kritis with enviable musical gloss must be unearthed.