The hallmark of any memorable Carnatic music concert is its lingering essence—it is not confined by the oeuvre of songs played, the ambiance created, or the range of ragas explored, but rather how it compels you to perceive a raga in a novel perspective. The architecture of a raga embodies a profound paradox: it is a meticulously crafted entity borne of abstraction, a transient wave in the surrounding ether that takes its own shape before it fades away. Yet, a concert is far more than a collection of ragas; it is an organic, self-evolving tapestry of experiences that artists delicately unfold before an audience. The true measure then lies in the resonance and longevity of this musical encounter.
In line with this ethos, the concert of Sanjay Subrahmanyan at the Music Academy on December 27 transcended the confinements of the stage, promising to reverberate within the souls of the listeners well after the final notes had faded. Particularly noteworthy was the majestic rendition of the ragam tanam pallavi set in the intricate Manirangu—a raga that often deceives the ear with its resemblance to the much-frequented Madhyamavathi and Sree—and the elusive Vanaspati, a Vivadi raga seldom experienced in contemporary performances. The intricacies of a intimately portrayed Sahana and a Khamas raga that seemed to pirouette in the auditory space—thanks to the strategic choice of compositions and their execution—bestowed the evening with a luster of their own. However, it was in the Vanaspati and Manirangu that the concert discovered its sturdy skeletal frame, deriving its strength and vigor.
The raga Manirangu poses a challenge even to adept listeners and performers alike, given its proximity to more familiar ragas. Deciphering it requires an astute ear and an even more astute presentation. As Leonard Bernstein, the iconic American conductor, would articulate to young learners, the true essence of music is not found solely in the notes themselves but in the intangible spaces that lie between them.
Sanjay Subrahmanyan’s presentation on this December evening was a masterclass in such musical storytelling. His control over the gamakas—artfully applied and retracted where necessary—combined with his unique voice modulations and aesthetic sensibility rendered the raga an arresting presence, a living, breathing entity.
Complimenting this soundscape was violinist S Varadarajan, whose interpretations can be seen as an extension of Sanjay’s own vocal approach when both share the performance podium. His rendition mirrored Sanjay’s precision and artistry. An addition of a Jog followed by a Patdeep in the ragamalika segment brought an additional flourish to the concert, while a clever reference to a well-known Malayalam film song during the Jog piece offered a delightful moment of recognition and applause from the audience. The emotionally charged transition into the Bageshri raga with ‘Gopala bhakthim dehi’, a bhajan by Swati Tirunal, tuned by Chalakkudi Narayanaswamy, highlighted Sanjay’s proficiency in conjuring the raga’s soulful depths.
Sanjay further explored the mystique of ‘Vanadurge Vanaspati’, a Harikesanallur composition rarely heard, with the vivadi scale of the Vanaspati raga accentuated through his elaborate alapana. Sanjay’s creation of chittaswaras for the composition offered clarity among the tapestry of sound that the raga weaved, imbuing the performance with a sense of revelation and ephemeral beauty, more pronounced than known recordings of this piece.
The concert spanned other ragas including Sankarabharanam, Gowla, Kapi, and Gopikathilakam. An exceptional rendition of ‘Sami mayura giri vadivela’ by Mazhavai Chidambara Bharati made for an evocative portrayal of the divine dance of the peacock bearing Muruga. The rhythm section, led by Neyveli B. Venkatesh on mridangam and B. Rajasekhar on morsing, was adroit yet vibrant, elevating the concert into a consummate ensemble performance.
Sanjay Subrahmanyan’s music on this poignant winter’s evening was robust without bravado, emotionally stirring without succumbing to sentimental excess. It was an invitation to the audience to witness and partake in an imaginative sonic odyssey—one that they would undoubtedly carry with them well beyond the walls of the Music Academy.
