Vocal: Vid. SanjaySubrahmanyan
Violin: Vid. SVaradarajan
Mridanga: Vid. Neyveli Venkatesh
Khanjari: Vid. G Guruprasanna
01 ninnE kOri Ahiri k.aTa T.Panchanda Iyer
02 swAminAtha paripAlayA shumAm nATa Adhi m.dhIkshithar(S)
Swara @ swAminAtha
03 inta kanna Ananda mEmi bilahari rUpaka tyAgarAja (A)
04 Kallu sakkare koLLiro nIvellaru kalyAni aTa p.dAsa (A)
05 kaDaikkaN nOkki kAvadadum EnO karuNAkarane tODi Adi Papanasham Shivan
Nereval @ mayilApuri
06 dArini telusukoNTi tripura sundhari shuddha sAvEri Adi thyAgarAja (S T)
Swara @ dArini telusukoNTi
07 chEtah sri bAlakrishnam bhajarE dwijAvanthi rUpaka m.dikshithar
08 rAga tAna pallavi shaNmukhapriya tiSra tripuTa khaNDa naDai
TiSra tripuTa khaNDa naDai
Pallavi line: sharavaNabhava ennum tirumandiram sada japi en nAve Om
RagamAlika in SahanA, chalanATa, bAgEshri..
09 sharavaNa bhava ennum shaNmukhapriya Adhi pApanAsham shivan
10 dhAsara nindisa bEDa rAgEshrI Adi p.dAsa
11 UrilEn kANinillEn .. hamsAnandi..short viruttum
kaNNanai kANbadeppo kArmEgha vannanukken mel rAgamALika Adi Subramania Bharati
rAgamAlika in hamsAnandi. nATTakuranji... AbhEri./bhImpalAs. abhOgi
12 nirupamAna sAmini nA behAg rAmanAthapuram Srinivasa Iyengar
13 nI nAma rUpamulaku mangaLa sourAshtra Adhi thyAgarAja
On a cricket field, the arrival of men in whites usually signifies a lack of fireworks; the thrills are more on the sub-cutaneous level, not visible in all its colourful splendour. That thrill is usually reserved for the game in coloured jersey / pyjamas. But looks can be deceptive! Test cricket has produced enough very visibly thrilling encounters to be termed boring (my favourite batting one in Kapil Dev launching Eddie Hemmings for 4 consecutive sixes to score the 24 needed to avoid the follow-on at Lord's in 1990; the bowling equivalent is that absolutely unplayable first over Michael Holding bowled to Geoff Boycott at the Kensington Oval in the third test of the 1980-81 England tour of the Caribbean). But the man who most exemplifies thrills in test cricket is the man who has rewritten the test opener's manual - Viru Sehwag.
The big cricket fan that Sanjay is, he likened the late Madurai Somu to Sehwag when asked to map musicians to cricketers during an audience question round a few years back at the Jaya TV MMU. (For the record, GNB was mapped to Gavaskar & TNS to SRT; he neatly sidestepped mapping anyone to Dhoni :).
Sanjay is himself a worthy map to Sehwag. His concerts are as thrilling and electrifying as a Sehwag innings on song; where Sanjay goes one up is the consistency with which he delivers the thrill!
Launching into an uncustomary Ahiri (which is usually relegated into the tail ender role), Vid. Sanjay presented a mind blowing varNa in khanDa aTa. I believe it was a conscious decision to stick to first speed all through, to ensure the bhAva of the rAga is sustained to its fullest grandeur.
A breathless break, the nATa krithi started at an apt speed. Though the speeds were miles apart, the team splurged the krithi with all possible swara embellishments, continuing into the thrill that was already generated by Ahiri krithi.
The first of the AlApane of bilahari created goose bumps (2nd one of the season), reminding of the grand presentation from the previous concert here. AlApane was longer than the krithi, just presented to its text book format.
KalyANi ALApane and a purandara dAsa krithi in kannaDa was in a similar fashion. Being a KARNATAKA RAJYOTSAVA month, it was apt that a kannaDa song was presented early in the concert. Being a kannadiga, the composition left wanting for more in terms of the diction of kannaDa words. Few words were dragging in sangati that did not match the permitted boundaries of pronouncing those words.
Once again a breathless break, the team presented kaDaikkaN nOkki with neraval. Till now each composition had only one type of embellishment and not a combination.
dArini teluukonTi, though a junior syllabus composition, was presented with full grandeur. essay of the raga was very melodious. The nereval at pallavi line was presented in clear flow. The elevation of the krithi with kalpanA swara opened up a new face of Vid Sanjay. The range, stability and sharpness of the voice was stretched to showcase his new shot in the arm. It was a welcome change and audience were quick to recognise this improvement and appreciate spontaneously.
Tani flourished from a slow tempo short spells set of 2 avartana into a long spells. The tani too was quite an improvement for the run the mill that you would have got used to from the percussion duo. The korvai played at end was very well framed so as to lead to the start of the portion of the song where tani avartane had begun by the team.
dwijAvanti krithi of m.dIkshitar though was a filler, was presented in an unhurried leisurely pace.
By this time the scheduled 2 hours of the concert was through. It was quite evident that the concert would have a sure shot pallavi, and with the time available ahead, the rasikAs would have expected a pretty detailed one as the tani too was through by then the treat was in the making
A detailed shaNmukhapriya weaved magic presenting Vid Sanjay's improved strong voice both in range and depth. The prayogAs were good and nicely blended with each other.
Pallavi line was from the popular P.shivan song.. presented in tiSra tripuTa khaNDa naDai : sharavaNabhava ennum tirumandiram sada japi ennAve Om. With nereval and tiSra and chaturaSra presentation of pallavi, the rAgamAlika in SahanA, chalanATa and bAgEshri came in like a breeze
Yet another breathless break, Vid. Sanjay elaborated the sharavaNa bhava ennum pallavi line into a complete song.
It was already scheduled 3 hours complete by then. The 15 mins of extra time (in the match) produced some brilliant rAgEshri, a short viruttum and rAgamAlika from Subramania Bharati.
A behag javali preceded the mangalam.
It was indeed a T20 thrill in a test match attire. The Team delivered a 3.5 hrs concert with ease and grace. While it is lingering on here, I hope the season at Chennai to follow will emulate similar thrills for the Chennai audience too.