Sunday, November 10, 2019
2:00 pm - 5:00 pm
Shirdi Sai Parivar
1221 California Circle, Milpitas CA 95035

Event Highlight

Check Our Photo Album


Adithya Narayanan (student of Smt. Kasthuri Shivakumar)

Amirtha Srinivasan (student of Sri.Shreyas Narayanun)

Ananya Devanath (student of Sri Paduka Academy)

Gohitha Narayana Venkluri Veena solo (student of Smt. Anuradha Sundar)

Pranav V Ganesan (student of Smt. Nandini Ramamurthi)

Sahana Kumar (student of Smt. Geetha Ravi)

Sahas Ramesh Violin solo (student of Sri.Vittal Ramamurthy)

Shriya Ganesh (student of Sri Paduka Academy)

Sudiksha Vaidyanathan Veena solo (student of Sri.Srikanth Chary)

Vibha Raghvendran (student of Sri. Shivakumar Bhat)

String accompanists:

Anagha Balaji (veena) (student of Sri. Srikanth Chary)

Deeksha venkateswaran (violin) (student of Smt HM Smitha)

Pramati Barath (violin) (student of Sri Delhi P Sunderrajan)

Shravya Srinath (violin)(student of Smt Sandhya Srinath)

Tejas Bharadwaj (violin) (student of Sri B V Raghavendra Rao)

Thejeswini Sai (violin) (student of Sri Saravanapriyan Sriraman)

Urmika Balaji (violin) (student of Vid A Kanyakumari)

Mrudangam accompanists:
Ambika Ramadurai (student of Sri Srinath Bala)

Anirudh Rao (student of Sri Srinath Bala)

Maanav Balan (student of Sri Ramesh Srinivasan)

Pranav Tirumalai(student of Sri Tiruchur Narendran)

Rajeev Devanath (student of Sri Ramesh Srinivasan)

Sachin Venkat (student of Sri K V Gopalakrishnan)

Santhosh Ravindrabharathy(student of Sri Ravindrabharathy Sridharan)

Sathvik Prasanna (student of Sri Umaiyalpuram Mali)

Vaibhav Prakash (student of Sri Gopi Lakshminarayanan)

Varchas Bharadwaj(student of Sri Trivandrum Balaji)

Dear members,

Our sincere thanks to each of you who made time to attend our first November event yesterday (there’s another one later this month) in support of our performers.

We introduced Pranav on the vocals, Anagha on the veena and Pramati on the violin and the rest of the performers treated our super friendly audience with their wonderful performances. My hearty congratulations to each of our 27 performers who worked hard to present their best! We will hear from the Reflections team on the details of each of the performances shortly.

So many teachers were in the audience yesterday and we are very grateful to them for making time to attend CCC events month after month. It’s extra special when we have visiting vidwans in the audience and our children had the added blessings of Mrudangist Vid. Chennai Thyagarajan who came straight from the airport to CCC and stayed through the entire event.

Hearty thanks to our CCC core team for accepting the challenge for a marathon run of 3 events in 6 weeks and delivered flawlessly in the first event. Like Vid. Thyagarajan said, many subtle elements all have to come together to give the best experience for the performers & the audience and I can’t do it without our core team! THANK YOU team! We will share the photos and the video excerpts from the event as soon as they become available.

BTW, I am looking to add one or two more resources to the core team and I'd like to hear from you if have time to do volunteer desk work. I'd prefer someone who is not employed, is available to discuss during the day and have good communication skills, and please forewarned that it's a time commitment without pay and privileges :) 

Please save November 24th Sunday from 4-7 pm for our (extra) special event at the Warm Springs Community Center. Attendance at this event will also be counted so if you’ve been lacking, here’s an opportunity to catch up on it by attending the remaining two events this year.




  • Carnatic Chamber Concerts – 10th November 2019 CCC Event
    Authored By: Anirudh Ramadurai, Mahathi Shankarram, Prahlad Saravanapriyan, Pranav Satyadeep, Shreya Virunchipuram, and Urmika Balaji

    The afternoon event began with a vocal performance by Sahana Kumar, accompanied by Shravya Srinath on Violin and Anirudh Rao on Mridangam. The team started with the popular varnam, “Karunimpa Idi,” in Sahana Ragam, set to Ratta Kalai Adhi thalam, composed by Tiruvotriyur Thiyagaiyer. This Varnam is a staple concert-starter, for both seasoned artists and students alike, a surefire way to start any concert strong. Sahana effortlessly sang the first half of the varnam both in first-kalam as well as mel-kalam, and each Chittaiswaram and mukthayi swaram was rendered with confidence and precision. Next, the team presented the krithi, “Shobilllu Saptaswara,” in ragam Jaganmohini, set to Rupaka thalam, composed by Tyagaraja. Each sangathi was beautifully executed in Sahana’s sweet voice and brought out the various aspects of the ragam out cleanly. The team (once again) carried out the Chittaiswaram with attention to detail. Overall, the entire slot was a great and robust start to the afternoon program.

    Following Sahana Kumar was Vibha Raghvendran’s 10 min recital. On the violin was Deeksha Venkateswaran, and on the mridangam was Sathvik Prasanna. Vibha started with a beautiful alapana of Nalinakanthi, the janyam of the ragam Sarasangi, the 27th melakarta. Deeksha responded well in her alapana with many effective pauses. Vibha then sang the all-time favorite song “Manavyalakim” in Deshadi thalam, composed by Saint Shri Thyagaraja. Her rendition included swarams at the Pallavi and concluded with a korvai. Sathvik did a great job supporting Vibha and Deeksha in this performance.

    The next slot was a veena solo by Gohitha Venkluri and Sachin Venkat on the mridangam. Gohitha began with a brisk and detailed alapana highlighting the key phrases of Madhyamavathi. He then proceeded to play the song “Aadadhu Asangaathu,” a composition of Sri Oothukaadu Venkata Subbaiyer set to Adi Thalam. His precise delivery of the kriti was closely followed by Sachin on the mridangam. His swarams, set to the anupallavi line, “ADalai kaNNA,” consisted of several unique patterns, in both chatusram and mel-kala tisram. Gohitha rendered these complex swarams with ease and confidence along with Sachin’s close support. His concluding swaram, consisting of several phrases and patterns, was then followed by a simple korvai to the edam. Lastly, Sachin presented a short but appealing mohra-korvai.

    Following Gohitha, the next slot was a solo by Shriya Ganesh, with Pramati Barath on the violin, and Ambika Ramadurai on the mridangam. Shriya began with a brief alapana in Sankarabaranam, followed by the slokam, “Sarva Mangala Mangalye.” Pramati presented a similar alapana, while also including several rare and unique phrases in Sankarabharanam. Following this, Shriya presented “sarOja daLa nEtri,” a composition of Sri Syama Sastri set to Adi Thalam. Shriya rendered several complex sangathis with control and ease and was jointly supported by Pramati and Ambika. While also maintaining kalapramanam, Ambika added several unique rhythmic touches to the performance.

    Following Shriya was a vocal performance by first-time performer Pranav Ganesan, accompanied on the veena by Anagha Balaji and Maanav Balan on the mridangam. Pranav presented a musical rendition of Saint Tyagaraja’s krithi ‘Makelara,’ in ragam Ravichandrika (a janyam of the 29th melakarta Dheerashankarabharanam), and set to Adi Talam. Pranav’s rich voice brought out this krithi’s sangathis very beautifully. Anagha’s meticulous accompaniment on the veena, paired with Maanav’s energetic support on the mridangam, totally enhanced this delightful performance.

    Following Pranav was a vocal slot by Amirtha Srinivasan, accompanied by Vaibhav Prakash on Mridangam and Thejeswini Sai on Violin. Amirtha began with a characteristic alapana in Ragam Vasantha, a popular janyam of the 17th Melakartha, Suryakantham. Her sketch was followed by a short but equally creative outline played by Thejeswini. Amirtha then sang the krithi, Seethamma Maayamma, composed by Tyagaraja, set to Rupaka Thalam. Vaibhav’s keen mridangam playing was very involved throughout the performance, featuring the lilting gait of the song. The Pallavi line (starting on samam) was chosen for kalpanaswarams. Amirtha and Thejeswini’s creative exchanges consisted of both sarvalaghu swarams and kanakkus that engaged the listeners. She finished with a long sarvalaghu swaram. The whole team demonstrated a pleasant stage presence that was well appreciated by all the listeners.

    Following Amirtha was an impressive vocal performance by Adithya Narayanan, accompanied on the violin by Tejas Bharadwaj and the mridangam by Varchas Bharadwaj. Adithya began with a melodious alapana in the soothing ragam Dhanyasi. Aditya’s authentic alapana exhibited the key sanchras of this ragam, coupled with several akaaram phrases. After Tejas’s rendition of bhavam laden Dhanyasi ragam, Aditya took up Shyama Shastri’s popular krithi ‘Meenalochna Brova,’ in praise of Goddess Parvathi, set to Mishra Chapu thalam. Aditya brought out the intricate sangathis in this krithi very beautifully. Adithya and Tejas then took up a brief niraval exchange in the charanam line ‘Samaja gamana neevu tamasamu seyaka’ before moving on to kalpanaswarams. The short niraval included both keezh kalam and mel kalam and captured the audience’s attention. Adithya’s kannaku swarams were rhythmically attractive, as well. The team then presented a korraipu on upper Sa followed by an edam-to-edam korvai. The vibrant mora-korvai by Varchas was a grand finale to this beautiful presentation.

    Following Aditya was another veena solo by Sudiksha Vaidyanathan, accompanied by Rajeev Devanath on the mridangam. Sudiksha started her performance with an alapana in the melakarta ragam Karaharapriya, in which she utilized several key sancharams of the ragam. She proceeded to render Saint Tyagaraja’s famous composition in Rupakam thalam, “samAnamevaru.” Sudiksha played a variety of kalpanaswarams at the charanam line “palaku palakulaku tEne” and also played a koraippu and korvai. Rajeev’s dynamic support on the mridangam enhanced the overall performance, and he concluded the slot with a mohra-korvai.

    After Sudiksha Vaidhyanathan’s veena solo was Sahas Ramesh’s 15 min violin solo, the accompaniment category was OTS (the only OTS of the whole event). The OTS accompanist for this slot was Pranav Tirumalai. Sahas commenced with a raga alapana in Saveri, the janyam of the 15th Melakartha Mayamalavagowlai. After his brief alapana, he rendered the famous song “Shankari Shankuru” set to Adhi thalam tisra nadai, composed by Shri Shyama Shastry. He performed niraval in the charanam at “Shyama Krishna Sodhari.” After his neat neraval, he played manodharmam kalpana swarams in kizh and mel kalams and concluded with a fitting korvai. Then, Pranav concluded with a crisp mora and korvai.

    The final slot of the day was a vocal slot by Ananya Devanath, supported by Urmika Balaji on the violin and Santhosh Ravindrabharathy on the mridangam. Ananya started her slot with a traditional ragam alapana in the ragam Thodi. She sang many traditional phrases, which also highlighted the uniqueness of the ragam. Urmika shadowed the ragam carefully and precisely. She followed with her own alapana and included many bhavam-filled phrases that brought out the depth of the ragam and showed the various shades of Thodi. Ananya proceeded with thanam, rendered in a structured manner, including many melodic phrases. Urmika’s thanam followed a similar structure and demonstrated skill and clarity in her playing. The Pallavi the team rendered was composed by Sri. Neyveli Santhanagopalan and set to tune by Sri. Hari Devanath. The Pallavi contained many swaraksharams, and the words were “sannidhi jErinithini nIdaya kOrithini thApa hArini mahA mAnini karimukha janani sarigasada brOvumu” and it was set to 4 kalai Adi Thalam. Ananya’s niraval was detailed and sung in two speeds. Despite the difficulty in the thalam, Urmika responded to the niraval aptly and diligently. Ananya then moved on with gathi vinyasams in kizh kala chatusram, chatusra-tisram, madhyamakala chatusram, thisram, and mel kaala chatusram. Santhosh followed closely and further enhanced the rhythmic aspects well. The swarams were rendered in two speeds and in two eduppus, “sannidhi” and “janani.” The ragam selection of the swarams were specially chosen to fit the violinist and the mridangist, Urmika and Desh. The swarams were mostly of the sarvalaghu style and included some abhiprayams. Urmika’s responses to this were befitting and ideal to the swarams sung by Ananya. Santhosh attently highlighted the kanakku and detail of the swarams as well. They proceeded with a kuraippu at “sa” and a korvai. This was followed by a brief but intricate thani by Santhosh. The concluding piece was a mangalam on Lord Muruga “Ariru thadanthol vazhga” by Sri Arunagirinathar.

    • Thank you for the encouraging review of our performance. I had an enriching experience practicing with my team for the performance and thoroughly enjoyed performing with them as well. I look forward to my performance again next year and hope to make a lot more progress by then. Thank you Padma Aunty and Mohan uncle for this wonderful platform and the opportunity given to me.
      Sahana Kumar

  • Write a Reply or Comment

    Your email address will not be published. Required fields are marked *