Sathya was there in Hyderabad to perform at "Sivam" on the 4th April'08 where in he was met by Sri Srinivasan, Chief Reporter Indian Express, Hyderabd. His impression on Sathya can be seen in The Indian Express, Hyderabad issue dated 5th April 2008 in the above photos.
Here is the link for the review article in "The Hindu" Friday in Bangalore edition on the 29th Feb'08 on the Ganabharathi - Mysore connert performed on the 10th Feb'08.
http://www.hinduonnet.com/fr/2008/02/29/stories/2008022950990300.htm
Article on the 18th Feb’08 in Star of Mysore emagazine http://starofmysore.com/main.asp?type=specialnewsCHILD PRODIGY PERFORMS IN CITY
Let me introduce K. Satyanarayana, son of Krishna Babu, aged 12 years, studying in seventh standard. Yes, but what is so special about him? The speciality is that he plays Karnatak music on the foreign cousin of harmonium – Key Board. Any student of music knows how difficult it is to produce Gamakas in a harmonium.The electronic Key Board has solved this difficulty by introducing a special lever, operating of which will produce both the upper and lower Gamakas. It takes years of practice to generate perfect music even with all the modern facilities available in this instrument. But not this boy. He can play the instrument deftly and if you listen to the recording, one gets a feeling of a matured artiste performing.
A great New Year gift in DinaMalar [3rdJan'08] for Sathya's efforts.
This child prodigy performed at Veene Seshanna Bhavana last week on the last day of Purandhara Tyagaraja Aradhana of Gana Bharati. The Mano Dharma he displayed was of high standard. The boy announced at the beginning of the concert that he would play compositions of both Saints alternatively. He began with Gajavadana Beduve (Hamsadhwani-Adi-Purandhara Dasa) and Guruleka (Gowri Manohari-Khanda Chapu-Tyagaraja).
In both the initial renderings, he displayed maturity by playing some simple Swaras and a simple Muktayas. A fine prelude of Alapane in Bhairavi lead to Odi Barayya (Purandhara Dasa — Adi) in Madhyama Kaala, which could have been more melodious, if it were to be in Vilamba Kaala. Tyagaraja’s Ninuvina Namadendu (Navarasa Kannada) has full scope to display virtuosity and command over the instrument, which he successfully made the most of it. He chose Kalyani as the main Raga of the evening. There was a good Alapane, replete with intricate Gamakas.
The composition Birana Brovayide by Tarangampady Panchanada Iyer (a disciple of Shyama Shastry) immortalised by Shemmangudi was pleasing. The Swara Prastara contained a Ragamalike in Rasika Priya, Mohana and Charukeshi. The tailpiece was Tamburi Meetidava (Sindhu Bhairavi-Purandhara Dasa), Vandanamu (Shahana-Tyagaraja), Bhagyada Lakshmi (MadhyamavathiPurandhara Dasa) and a Tamil composition. The lad with the knowledge and incredible Manodharma is an upcoming star in the music horizon. — S.R. Krishnamurthy
