Prof.A.Sundharesan

Carnatic Musicians
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S.Balasubramanian.
Posts: 41
Joined: 06 Aug 2007, 15:12

Post by S.Balasubramanian. »

Look for details about this great musician in General Discussions.Here are my submissions:-
*kept learning new kritis.
*Taught different set of kritis to students so that each one has a different repertoire.
* Raga should be invoked as venerable Devatha-He insisted.
*Taught at Music Academy for many years.According to Late Sri.K.S.Mahadevan ,Music critic "best described as one of the greastest initiatives in the educational enterprise".

S.Balasubramanian.
Posts: 41
Joined: 06 Aug 2007, 15:12

Post by S.Balasubramanian. »

For those interested in his exclusive rendering of Shama Sastri Kritis(Vocal support Gayatri enkatraghavan),VV Ravi,Tiruvarur Bhakthavatsalam, they may tune to World Space now.

balusatya
Posts: 320
Joined: 13 Dec 2007, 17:17

Post by balusatya »

Friday Review Chennai and Tamil Nadu

Penchant for rare kritis G. SWAMINATHAN

To A. Sundaresan by students and admirers.
Photo: S.R. Raghunathan


ODE TO THEIR GURU: (from left to right) Gayathri Venkatraghavan, Vasumathi Desikan and Savitha Sriram.


When an expert musician is also a dedicated guru, understandably the honour and dignity go up. Vidwan A. Sundaresan was one such musician. A renowned educator, he was remembered by his students and friends at a two-day programme at Raga Sudha hall. S undaresan was known for his meticulous style, his relentless quest to bring out little known compositions to connoisseurs of music, and training talent.

The programme started with the group singing by Sundaresan’s disciples Gayathri Venkatraghavan, Vasumathi Desikan and Savitha Sriram. An expertly composed Kannada varnam by Sundaresan was followed by a few rare compositions of the Trinity.

The leisurely Devagandhari kriti ‘Sri Raghuvara Karuna’ of Tyagaraja, a splendid Jagan Mohini through Syama Sastri’s ‘Dayajuda Samayamidhe,’ a slow and steady ‘Kothanda Rama’ in Kokilaravam, the heavily bejewelled ‘Tyagaraja Maha Dwajarohana’ in Sri both by Dikshitar and the light and lovely ‘Laalilalayya’ in Kedaragowla of Tyagaraja stood testimony to the musical wisdom imparted by guru Sundaresan to his sishyas in all earnestness.

Re-living memories

There were two speakers who shared their experiences. ‘Asthika Samajam’ Narasimhan likened Sundaresan to a honey-bee which buzzes around tirelessly to collect honey.

Sundaresan was always on the look out for unknown or lesser known compositions of the great Trinity and bring them out burnished with his expertise. He also mentioned Sundaresan was a great tutor and an uncompromising vidwan.

Mannargudi Eswaran turned emotional many times during his nostalgic trip. He recalled his five decades of close association with the vidwan and his profound knowledge in music and rhythm. He marvelled at the way Sundaresan used to set his pallavis with intricacy of rhythm throwing challenges to the mridangam vidwan.

Sundaresan always enjoyed the company of his peers in music and he used to express unbiased appreciation of their talent, Eswaran said.

Dynamic presentation

A concert by Sundaresan’s another disciple, Shankari Sathish, followed. Shankari exhibited a full throated articulation backed by the good training by the late musical genius. Her dynamic presentation opened with the Bahudari varnam of her guru, and included ‘Pavanathmaja’ in Chala Natta, a raga expose of Mandari to suit ‘Endukitu Chapalamu’ by Patnam Subramanya Iyer complete with niraval and swaras.

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