About Contact Submit Article or Event

Saturday, December 24, 2011

Vibrant musical treat at Nadasurabhi

Music lovers of Bangalore were treated to a rich carnatic music concert on the 18th of December at the Indian Heritage Academy Hall. Young Sandeep was full of energy transmitting it to the audience in an uninhibited free flowing style. Following the style of his guru Sri.Sanjay Subrahmanyan, not only in his music but also in facial and body gestures, Sandeep presented a very satisfactory performance. The hall was packed in spite of the slightly chilly weather but it was well worth it for the rasikas who were present.

Sandeep Narayan along with his accompanists

Starting with the Ritigaula Ata Thala vernam, Vanajaksha in two kaalams, the artist went on to Maakelara Vicharamu in Ravichandrika with an elaborate swaraprasthara.This set the pace for the entire concert. The next item was the special Kalyani number which has a sharp high pitched start, Amma Raavamma. Manodharma for this piece was displayed by a neraval at Taamasa dala Netri- Thyagaraju ni mithri. There were also a few brief rounds of swaram.

A detailed raga alapana of Kaanada followed by the tamil composition of Papanasam Sivan, Kantimati Annai nee gathi was presented. Swaram was at the pallavi line. A swathi tirunal kriti, Paalaya sadaa in Nalinakanthi came next. The main item of the day was Bhairavi with the majestic Koluvai. Kalpana swaram were at Manasu ranjillu. It was definitely an impressive presentation. After tani avarthanan, the tail pieces consisted of the Bharathiyar romantic piece Ninnaiye Rathi Endru Ninaikkirenadi Kannamma in Bagesri. An electrifying Baaro Krishnayya with myriad sangathis was indeed a masterpiece. GNB's Radha Sametha Krishna and a thillana in Sindhubhairavi completed the proceedings.

The easy unassuming friendly interaction of Sandeep Narayan with everyone, quite befitting a modern young man left the audience extremely pleased and impressed.

Accompanying artists were Sri.B.K.Raghu on violin. His individual presentations of the ragas, especially Kaanada, were extremely melodious. He has over the years concentrated on the bowing technique. There is never a scratching sound from the bow. Also his following of the main artist was flawless. Sri.N.Vasudev on mridangam and Sri. Gururaj on morsing, two senior artists, gave an understanding support to the artist.