Press Reviews
Founder's Interview in The Hindu Friday Review Delhi Edition (09/05/2008) - Click Here
 
 
26th Kerala science Congress, Pookade, Wayanad
Naadhabrahmam Sangeet Mandali Performed a scintillating music ensemble that enthralled the delegates during the Cultural Programme organized in connection with the 26 th Kerala Science Congress held at the Kerala Veterinary and animal science University Head Quarters at Pookode Wayanad. that Event was held on 30 th January 2014
The Music ensemble was performed by Mannargudi Shri N.Subramanian(Mridangam), G.R.S.Murty (veena), Rajaram(Flute), S.P Ananthapadmanabha (Violin), C.S, Venkataramanan (kanjira), and Pazhani Arumugam(Marsing).
Shri B.Ashok, vice Chancellor - KVASU,addressed the gathering and presented mementos to the artistes in the presence of Shri V.N Rajasekharan Pillai, Executive Vice-President - KSCSTE and  DR.Sujit Kumar (Architect).
 
 
 
Mannargudi N. Subramanian provided an energetic percussive padding. G. SWAMINATHAN
Kovai S. Chandran (violin) and Mannargudi N. Subramanian (mridangam) put their experience and artistry to good use, encouraging the young vocalist in her efforts. Maharajapuram Viswanatha Iyer Trust, T. Nagar, Chennai (Ph: 2433 6504) is celebrating its 22nd anniversary and presenting its memorial award to Guruvayur Dorai on November 24, 5 p.m., at Srinivasa Sastri Hall, Luz, Chennai. The award comprises Rs. 10,000 in cash, a gold medal, a citation and a shawl. Senior musicians Madurai Balasubramaniam (vocalist) and Govindarajan (ghatam vidwan) will be honoured with a cash award of Rs. 2,000. The „Youth Awards for Excellence‟ will be presented to Saketaraman, Pudukkottai Ambikaprasad, Mannargudi Subramanian and Sree Sundarkumar
http://www.hinduonnet.com/thehindu/fr/2007/03/30/stories/2007033002180500.htm
 
LALITHAA KRISHNAN
R.K.Padmanabha’s concert had a pleasing line-up with kritis of Muthuswami Dikshitar taking predominance.
With a distinctive approach - expansive alapanas that sprang from leisurely exploration through vistara and unique touches imparted to Dasarapadagalu with particular emphasis on the compositions of Vadiraja, the popularisation of which the artist has taken up as his life’s mission - R.K. Padmanabha’s recital
The Surutti edifice was built with madhyamakala passages. Akara as the predominant form of expression lent impetus to lengthy interlinked chains of prayogas encircling the panchama. These were punctuated by concise observations and supple jarus that lent contrast.
The violinist, M.A. Sundareswaran chose to open his alapana innings with a phrase echoing the commencing line of „Sri Venkatagirisam,thus ensuring a definitive statement of Surutti and second-guessing the main artist, whose choice of kriti indeed turned out to be this Muthuswami Dikshitar masterpiece. The kalapramana adopted was particularly effective - a wonderfully relaxed pace carried forward into the niraval at „Alamelu Manga Sametham where kizhkala niraval perceptively made the most of karvai opportunities that soothed
The prolonged melkala niraval and the rousing melkala kalpanaswaras sustained pace and interest without resorting to overtly spectacular special effects.
The vocalists penchant for weighty kritis again manifested in his choice of Muthuswami Dikshitars „Ranganayakam’ (Nayaki), the flowing rendition firmly anchored by Mannargudi N. Subramanian’s precise time-keeping on the mridangam. The vocalist displayed outstanding resonance in the mandrasthayi elaboration of Varali raga.
A continual rain of untiring medium-fast passages issued from the panchama and the tara sthayi shadja, slowing to a drizzle in the concluding phase.
Another Muthuswami Dikshitar kriti „Seshachala Nayakam took centrestage, with niraval at „Aravindapatra Nayanam.‟
The kuraippu centred at the shadja took on the eduppu of „Aravinda,‟ which was also the idam for the thani.
Spontaneous repartees
M.A.Sundareswaran, very much in sync with the vocalist, came up with spontaneous repartees in Surutti and Varali.
A visibly enthused Mannargudi N. Subramanian’s mridangam and H. Sivaramakrishnan’s ghatam combined to produce a fine tani avartanam marked by clarity of sollus.
A Vadiraja composition in Yamuna Kalyani and a tillana in Sindhu Bhairavi preceded by a pleasing line-up of ragas in the sloka „Sri Ramam- Sindhu Bhairavi, Kaapi, Ranjani, Sahana, Hindolam, Shanmukhapriya, Begada and Hamsanandi - tapped into melodic wellsprings.
Earlier items included „Subramanyena(Suddha Dhanyasi, Muthuswami Dikshitar) and „Narayana Enniro (Hamsadhwani)
 
  
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