An article in Dina Thanthi suggesting Sathya to switch over his instrument.
Here is the audio link of the said concert and request people to listen and decide on the verdict / adv extended by the author of the above articlehttp://www.esnips.com/web/Nungambakkam-Cultural-Academy-Chennai-8th-Dec07
Sathya in News Today 8th December 2007.
Review in The Hindu - Metroplus - Coimbatore Edition on 17th Aug'07
Marked by vivacity and speed
If his skill and ‘gnanam’ earned Sathyanarayana the admiration of the discerning rasikas, his tender age endeared him to everyone. B. Ramadevi
Photo: K. Ananthan.
NIMBLE FINGERS: K.Sathyanarayana.
Master K. Satyanarayana played Carnatic music on the keyboard under the auspices of Naadham at Rathna Regent, Coimbatore, where some of his fans had brought their friends along. The organisation brings to light young talent. Only this time, the ar tiste was young (12 years), but not his talent.
Satyanarayana’s concert was marked by vivacity, speed and vibrant imagination.
He commenced his concert with a varnam in Vasantha and moved on to ‘Vara Vallabha Ramanaa’ (Hamsadhwani-GNB). Apt for a Saturday, he sang the Navagraha kriti, ‘Diwakara Tanujam, Sanaihcharam’ (Dikshitar) and followed it up with ‘Sadhinchane,’ Pancharatna kriti in Arabhi (Tyagaraja).
Elegant presentation
‘Sogasu Jooda Taramaa’ (Kannadagowla) was presented elegantly while ‘Kanda Joodumee’ (Vachaspathi) was taken for detailed presentation with adequate alapana, niraval and swarakalpanas.
With an unassuming smile on his lips, Satyanarayana let his nimble fingers dance on the keyboard pouring out soft, soothing swaras.
‘Muruga Muruga Enraal’ (Saveri) by Periyasami Thooran and ‘Saarasamukhi’(Gowda Malhar) by Muthaiah Bhagavatar were right in place before he entered into a leisurely alapana of Thodi for ‘Shree Krishnam Bhaja Maanasa’ (Dikshitar).
B. Ananthakrishnan on the violin was most supportive and his solos drew wide applause.
After this sumptuous feast followed the thani which was nothing short of an ecstatic dance by Kumbakonam Swaminathan on the mridangam and Harihara Subramaniam on the ghatam.
After the thillana in Desh, Satyanarayana wound up with ‘Ramdhun’ giving his concert a sober, spiritual conclusion.
If his skill and ‘gnanam’ earned him the admiration of the discerning rasikas, his tender age endeared him to everyone.
Marked by vivacity and speed
If his skill and ‘gnanam’ earned Sathyanarayana the admiration of the discerning rasikas, his tender age endeared him to everyone. B. Ramadevi
Photo: K. Ananthan.
NIMBLE FINGERS: K.Sathyanarayana.
Master K. Satyanarayana played Carnatic music on the keyboard under the auspices of Naadham at Rathna Regent, Coimbatore, where some of his fans had brought their friends along. The organisation brings to light young talent. Only this time, the ar tiste was young (12 years), but not his talent.
Satyanarayana’s concert was marked by vivacity, speed and vibrant imagination.
He commenced his concert with a varnam in Vasantha and moved on to ‘Vara Vallabha Ramanaa’ (Hamsadhwani-GNB). Apt for a Saturday, he sang the Navagraha kriti, ‘Diwakara Tanujam, Sanaihcharam’ (Dikshitar) and followed it up with ‘Sadhinchane,’ Pancharatna kriti in Arabhi (Tyagaraja).
Elegant presentation
‘Sogasu Jooda Taramaa’ (Kannadagowla) was presented elegantly while ‘Kanda Joodumee’ (Vachaspathi) was taken for detailed presentation with adequate alapana, niraval and swarakalpanas.
With an unassuming smile on his lips, Satyanarayana let his nimble fingers dance on the keyboard pouring out soft, soothing swaras.
‘Muruga Muruga Enraal’ (Saveri) by Periyasami Thooran and ‘Saarasamukhi’(Gowda Malhar) by Muthaiah Bhagavatar were right in place before he entered into a leisurely alapana of Thodi for ‘Shree Krishnam Bhaja Maanasa’ (Dikshitar).
B. Ananthakrishnan on the violin was most supportive and his solos drew wide applause.
After this sumptuous feast followed the thani which was nothing short of an ecstatic dance by Kumbakonam Swaminathan on the mridangam and Harihara Subramaniam on the ghatam.
After the thillana in Desh, Satyanarayana wound up with ‘Ramdhun’ giving his concert a sober, spiritual conclusion.
If his skill and ‘gnanam’ earned him the admiration of the discerning rasikas, his tender age endeared him to everyone.
