Sanjay Subramaniam is at a stage in his career when he must focus on the core identity of his music
Musicians go through different stages of growth, maturation and discovery. Sanjay Subrahmanyam has climbed some high peaks of recognition and respect, but he will have to look carefully at the next stage to continue his legacy. Many veterans give up a certain level of adventure and experimentation to focus increasingly on their original identity.
If his concerts at the Sangeet Akademi are the barometer, it is not certain that Sanjay is following in his footsteps. It was not a playlist, as Sanjay sang many famous works and ragas apart from some unusual songs. But it was his singing that is likely to get the attention of listeners and critics. Let’s analyze what they had to offer before debating the ‘how’.
an interesting start
Kalyani and Sudha Dhanyasi were large pieces, which were well composed with Vagadhishwari, Sriranjani and Paraja. Tamil masterpieces and Pallavi did not dwarf other songs. The Vagadhiswari Varnam by Kannada composer CH Bhagavathar made an interesting debut because of its novelty and flavourful charanam, which begins with the upper shadjam and has fine rhythm patterns. Extending the streak of unfamiliarity, the work ‘Innisai Tamiz Amutham Amma’ was sung after a brief melody by Sriranjani. Upper tempo vocals were customary and the concert had not yet fully hit the road.
‘Chintay Mahalinga Murthy’ is a beautiful Paraj Raga masterpiece by Dixit – Sanjay’s slow singing with flat notes was delightful, as the lyrical and musical elements were in full view. His Kalyani Alapana also brought out the finer aspects of Bhava singing from Sanjay’s playbook, playing ‘re’ ‘ga’ and ‘ni’ sancharam and was, in fact, controlled in some ways. Varadarajan kept it more traditional, traveling more in the Upper Swara regions and employing some of the sentimental Yamuna Kalyani staples.
‘Siv Pahim Ambike’ came with its own uniquely pleasing accompaniments and energy. The niravaal in ‘chara charamayi’ was more aesthetic than in alapana, as the meter offered scope for lem and ragam motifs. A volley of Second Speed One Avartan vocals with Kureppu in Pancham sums up the spirit of the song well. Sudha Dhanyasi had some unusual somersaults with some of the brigade like parachute, which did not open, but Sanjay’s good Manodharma principles kept it going.
The singer provided a fleeting glimpse of his tanam skills, followed by the segment Chapu Pallavi, ‘Arul Perugve Saravana Bhava Enru Sonalam Podhume’, where he completed Pallavi without showing too much haste. The two final pieces – the rakthi ragas Maund, Shivranjani, Behag, Sindhubhairavi, ‘Japtapath Japatha’ and ‘Suruti Edukkithani Modi’ show Sanjay’s deep understanding of ragas.
There was an atmosphere of sublime and authenticity in Varadarajan’s game. He did not blindly mirror Sanjay’s ethos, but maintained his originality and beliefs. Neyveli Venkatesh supported competently, especially when allowed for a quick stroke. Guruprasad made a good contribution at Ghatam.
Sanjay’s strengths are a studious knowledge of musical characteristics, a good repertoire, catchy tempo, and captivity with fine imagery. However, it was not clear what aspect of the singing was performed at this concert. In his new avatar, the gallery instincts threaten some of the musical skills that have brought him to this space. For example, some Briga accompaniments lacked clarity and some ultra-fast vocals. As far as pronunciation is concerned, mixing of vowels hinders enjoyment.
In some phrases, Sanjaya seemed to imitate a famous legend from the past, whose signature low octaves and slow tempo were singing. Was this done intentionally? At this stage of his career, to transition to the next level and grow his stock, Sanjay will need more well-meaning critics than hardcore fans.
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