K. Satyanarayanan's lively raga delineations proved his proficiency in the department of laya.
article courtesty: TheHindu - B. RAMADEVI Coimbatore edition
DEDICATED: Master K. Satyanarayanan. Photo: S. Siva Saravanan.
While parents of 11-year-olds are struggling with their wards to get their homework done, the proud father of K. Satyanarayanan was sitting behind his talented son and guiding him during the 30th Navaratri celebrations at Sri Kamakshi Amman Temple, Coimbatore. The child prodigy was performing on the keyboard like an experienced musician with his innocent young face belying his skill. Trained by A. Kanyakumari and U. Srinivas, Satyanarayanan was able to bring forth gamakas happily in an instrument known to be purely western and incapable of producing one of the most important aspects of Carnatic music.
Sincere practice
With a little bit of carelessness, the music could have gone awry, as there was no provision for measurement in the instrument that he used for gamakas; but with his dedication and sincere practice the youngster only claimed admiration. The concert began with the majestic Mallari in Gambhira Nattai followed by the varnam in Sahana, `Karunimpa' and `Sri Gananatham' in Kanakangi. His raga delineations were lively and different and he has gained good mastery over the laya.
`Thaye Tripura Sundari' (Sudha Saveri), `Meenakshi Me Mudham Dehi' (Purvikalyani), `Krishna Nee Begane Baro' (Yamunakalyani), `Devi Neeye Thunai' (Keeravani), `Marukelara' (Jayanthasri) and `Tahamburi Meetidhava' (Sindhu bhairavi) and `Kamakshi, Amba' in Bhairavi, were some of the lively songs that he presented. He rendered `Palinchu Kamakshi' in Madhyamavati by Syama Sastri, beautifying it with a lively alapana and engaging swaraprastharas.
He concluded his concert with `Maithreem Bhajatha,' the song composed by Kanchi Paramacharya appealing to people to cultivate friendship and a tillana in Jonpuri by Lalgudi G. Jayaraman. Satyanarayanan has acquired all the skills that can be attained with involvement and practice, but will be at ease with the `sowkya bhava' as he grows older. B. Anantha Krishnan's imaginative and crisp alpanas and swaraprastaras were enjoyable.
Thillaisthanam R. Suryanarayanan on the mridangam and Harihara Subramanian on the ghatam were supportive.
