In alignment with the ‘tamizhum nAnum’ (‘tamizh and me') theme, all kritis were selected and curated from a variety of pre-trinity, post-trinity, modern-era, and contemporary tamizh composers.
Song List:
1. sivalOka nAthanaik kanDU - mAyAmALavagowLai - roopakam - GKB; S@ pallavi line
2. kalaimagaLE ennaik kAttharuLvAi – saraswati – Adi – MMD (MM DandabhaaNi DEsikar)
3. eppaDi manam tuNindadO - husEni – misra chApu - arunAchala kavi ; R sketch
4. sAmi mayUra giri vaDivEla – khamAs – Adi - kavi kunjara bhArati; Elaborate R; Elaborate N @ S @ pallavi line
5. ennEramum oru kAlait tUkki’ – tOdi – Adi – MMP (mArimuttA piLLai); R sketch
6. Arukkum adangAda neeli ponanbalatthAdum kALi – bEgadA – Adi - HMB
7. RTP in AbhEri - 2-kaLai Adi – “ambA manam kanindhu kadaikkaNpAr || tiruvaruL tharum jagadambA”; thani (solo)
8. rAmanai bhajittAl nOivinai tIrum – mAND – Adi - pApanAsam sivan
9. pAyum oLi nee enakku – khamAs - Adi - subramanya bhArati ; prefaced by a viruttham
10. ADum chidambaramO – behAg - Adi - GKB; prefaced by a viruttham
11. tunbam nErgaiyil – dEsh – Adi - bhArathidAsan
12. viRperu vizhavum – sindubhairavi – Adi - thirumangai AzhvAr
13. vAzhiya sendamizh vAzhga naTramizhar – madhyamAvati – Adi - subramanya bhArati
The ‘men in white’ launched off with a sedate ‘sivalOka nAthanaik-kanDU’ (சிவலோக நாதனைக் கண்டு) in mAyAmALavagowLai. The words (sahitya-bhAvA) and the kalpanaswarams (raga-bhAvA) set a very meditative mood. Sanjay’s brisk long ending korvai, Varadrajan’s nice return, Venkatesh’s equally long theermANam, all gave the concert a riveting start (கச்சேரி சுறுசுறுப்பாகக் களை கட்டியது!).
Next was a prayerful ‘kalaimagaLE ennaik kAttharuLvAi’ (கலைமகளே என்னை காத்தருள்வாய்). Desikar’s apt choice of saraswati ragam to sing the praise of saraswati was noteworthy (kalaimagaL = கலைமகள் = goddess Saraswati!).
Then followed a rendition of Sita’s emotive pleas to Rama to not leave her and go the to the forest alone – ‘eppaDi manam tuNindadO’ (எப்படி மனம் துணிந்ததோ). Sanjay brought out Sita’s pathos thru beautiful poetry (sahitya-bhAvA) and mesmerizing melody (raga-bhAvA). For those not familiar with this composer – though a great tamizh scholar himself, arunAchala kavi felt that the great kambar’s epic Ramayanam was at the highest levels of sophisticated literary style of tamizh poetry, and was going over the heads of ordinary folks, and wrote and popularized Ramayanam in an easy-to-consume style of poetry, largely employing a layperson’s colloquial parlances.
Time for an energy boost, and the men in white chose a brisk “sAmi mayUra giri vaDivEla” (சாமீ மயூர கிரி வடிவேலா). Sanjay rendered a rakthi laden and energetic AlApanA and Varadarajan provided an equally chaste and spirited return. Both drew a big applause from the appreciative audience. A romantic mood was set (shringAra rasA)! Sanjay started with a brief viruttham on Lord MurugA – “mAlOn maruganai” before launching the kriti. Sanjay aptly and playfully stressed on the charaNam phrase – “azhagar senDamizhkkaruL puri” , especially ‘aruL puri sAmi, tamizhkkaruL puri sAmi’
. The niraval and swaram at the pallavi line were elaborate and enthralling. Venkatesh used the scope of the tisra gati to embellish the song with fast and furious sollukatttus. The entire rendition was just fireworks and double- espresso shots!A raga sketch of tOdi was followed by ‘ ennEramum oru kAlait tUkki’ (என்னேரமும் ஒரு காலைத் தூக்கி). Sanjay sang a mellowed tOdi, even terrifying words like ‘உக்கிர சாமுண்டி’ were sung with finesse and softness! Sidebar for those not familiar with the tamizh composer mArimuttA piLLai - he belongs to a group called ‘seergazhi moovar’ aka ‘seergazhi trinity’ , along with arunAchala kavi, and mutthu thANDavar.
Sanjay next presented a brief viruttham – ‘mootthavaLE’ (மூத்தவளே), before presenting “Arukkum adangAda neeli ponanbalatthAdum kALi” (ஆருக்கும் அடங்காத நீலி பொன்னம்பலத் தாடும் காளி) in a rakti-poorva bEgadA.
RTP time ! Aka, time for another fast-tempo, dancing-on-the-seats item! Sanjay explored AbhEri nicely and brought out the majestic nature of this ragam. History says this was one of the ragas used before war and during war, to elevate the spirits of the troop and keep it high – and Sanjay did exactly that! His signature holding a long note for over 15 seconds drew an applause from the audience! The signature gusto continued to the tAnam. Varadarajan provided excellent support during the ragam and tAnam, and his returns equally mesmerized the audience. His hallmark of repeating, embellishing, counter-balancing the vocalist’s phrases were very apt and well-received by the audience. The pallavi line was “ambA manam kanindhu kadaikkaNpAr || tiruvaruL tharum jagadambA” (அம்பா மனம் கனிந்து கடைக்கண் பார் || திருவருள் தரும் ஜகதம்பா). Sanjay ended the RTP with a nice of round of ragamAlikA swarams in subapantuvarALi, nAttaikurinji, bahudAri, and rEvati. Venkatesh played a gripping thani (solo). He thrilled the audience by playing just on the thoppi for many minutes (many avarthanams), showing crisp sound variations of vallinam (hard) strokes, mellinam (soft) strokes, and extensive gumkis!
Next was a delightful rAmanai bhajitthAl (ராமனை பஜித்தால்) in mAND, followed by a viruttham ‘theerthak karaiyinilE’ (தீர்த்த கரையினிலே) leading to ‘pAyum oLi nee enakku’ (பாயும் ஒளி நீ எனக்கு). Sanjay repeatedly sang the word ‘kaNNamma’ with a rainbow of emotions and dimensions, just as the composer would have intended while affectionately addressing the love of his life - sometime as a child, sometime as a soulmate, etc.
Sanjay followed with another ragamalika viruttham as a prelude to his bEhAg staple ‘ADum chidambaramO’ (ஆடும் சிதம்பரமோ). The viruttham was rendered in delectable mOhanam, savEri, kApi, and finally behAg as a transition to the main song. This song selection on lord SivA in chidambaram re-confirms Sanjay’s love for this kshetram. His other kshetrams of love being tiruvallikkENi and mylapore
.Subsequently, Sanjay sent the audience into raptures by jumping to his trademark thukkada ‘tunbam nErgaiyil’ (துன்பம் நேர்கையில்) which he includes fairly regularly in his post-pallavi sessions (by popular demand!). I have listened to him singing this song live over 30 times and countless times recorded, but Sanjay makes it feel fresh every time
. Once again for the benefit of anyone not familiar with the composer - Kanaka Subburathinam is a 20th-century tamizh poet well-known in his own right. But, to cement his deep love and reverence for the mahAkavi subramanya bhArati, Subburathinam goes by the pseudonym bhArathidAsan.Sanjay concluded with ‘viRperu vizhavum’ (விற்பெரு விழவும்) in Sindubharavi and a mangaLam - ‘vAzhiya sendamizh vAzhga naTramizhar’ (வாழிய செந்தமிழ்! வாழ்க நற்றமிழர்! வாழிய பாரத மணித்திரு நாடு) praising the tamizh language, tamizh citizens, and the entire Bharath.
Overall, Sanjay once again confirmed that music transcends boundaries of culture, language and religion. Especially when Sanjay’s magic is involved!
more than once in Boston, and your kindness in leading us to the best seats in the hall?