Initial training from his Father late Sri.T.V. Rangarajan
Advanced training under the Maestro Dr.Yella Venkateswara Rao, adopting ‘Gurukula System’ of learning for ten years.
Diploma in Mridangam of Andhra Pradesh Government, Board of Examinations.
‘A grade’ Artist in Mridangam and ‘B high’ graded in Mrosing, AIR Chennai.
Proficiancy in plating other percussion instruments Ghatam, Kanjira and Morsing
Expert in the rare art of Konnakkol. (Vocalization for solo and rhythmic accompaniment)
“The Mridanga accompanist T.R.Sundaresan was very cooperative through out and his performances were excellent. In Reinbeck, Germany. He gave a sampling of Konnakol and morsing, and he was impressive in both.
“I must particularly commend the Morsing player who uttered the Jathis impeccably and with punch” – Subbudu – Indian Express 27th Dec 1990
He demonstrated Konnakol at lec-dem in Berlin and Koln. The audience also thoroughly enjoyed his percussion Tani Avartanam - Sruthi 30th March 1992
The Soukhayam and Sunatham in T.R.Sundaresan’s Mridangam is something rare come by. He relished every stroke giving it a melodic lift and rhythmic flourish. His Thani Avartanam in RTP was a refined essay in percussion artistry – Indian Express 22nd May 1992
T.R. Sundaresan’s rhythmic support on the Mridangam with soft and sweet percussion Strokes deserved praise – The Hindu 28th Aug 1992.
“…thereby he, T. R. Sunderesan provided ample rhythmic support to enhance the melodic line …..whether by way of outlining the underlining rhythmic pattern or by inverting it and turning it upside down.” – ‘Eindhoven Dagblad’ – Eindhoven 17th May 1995
T. R. Sundaresan amazed the audience eloquently in a gleeful garb just reminiscent of that of the illustrious exponent in ‘Vikatam’, late Thiruvisainallur Ramaswamy – The Hindu 17th Jan 1997.
T. R. Sundaresan extended adequate mridangam support and his Tani Avarthanam was lively, including a few tough passages in Khanda Nadai – The Hindu 13th Nov 1998.
T. R. Sundaresan’s soft expressions on the mridangam helped the recital move with reassurance on a smooth rhythmic course. – The Hindu 24th Sep 1999.
T. R. Sundaresan’s soft taps on the mridangam enhanced the aesthetic aspect of the exercise. His tani in Madhyamavathi enlivened the laya patterns – The Hindu, 12th May 2000.
T. R. Sundaresan gave able mridangam support and played a competent tani avarthanam for pallavi for a difficult eduppu, including many laya patterns. After playing the first and second kalams (three beats and six beats each finger), there were a few passages involving nine beats each finger - can be called tisram in tisra nadai - and the concluding spell was in third kalam involving 12 beats each finger culminating in a beautiful muthaippu. - S. R. GIRIDHAR (The Hindu)
T.R. Sundaresan's tani as usual precise as well as pleasant. He matched the Kanta nadai combinations that TNS’s (T.N. Seshagopalan) sang earlier with his own “abiprayams”. - V.Sankaranarayanan (Rasikas.org)
Vocals: Dr M. Balamuralikrishna & Pandit Ajoy Chakrabarty, Violin: Kotandapani Sivaraman, Mridangam: T R Sundaresan, Tabla: Samar Saha, Harmonium: Brajeswar Mukherjee. T R Sundaresan’s tani avartanam was precise and excellent. He played some very complicated patterns in sankeerna, tisra and chatusra nadais with great ease. He is one of those artistes who has the nadam in his hands and fingers. The korvai he played was so complicated that it’s best left to him to explain what he played! – V. Sankaranarayanan (Rasikas.org)
The Mridangam accompaniment by Mr.T.R.sundaresan was very cooperative through out and his performance was excellent. In Reinbeck he gave a sample of Morsing and Konnakkol, and he was impressive in both.
- Dr.Pia Srinivasan, (Musicologist Germany)
This was moving and spiritual experience that deeply inspired me. The perpose of T.R.sundaresan endeavor gradually downed upon me as I sat and watched him play with unwavering freshness and impeccable musicianship, song after song for 42 hours….he made each moment of those 42 hours come alive with vibrant music. This Musical Marathon is a celebration of life it self.
- Prof. Kelly Tang, PhD (Singapore)
Comments by Music Experts:
The 42 Hours of continues Mridangam Playing, "Mridanga Mahayagnam" Started with the 'Ghanapathi Homam' at 3.30am, at Singapore Indian fine Arts society, SIFAS. the Concerts strated at 5.00am, Sunday,1st May, 2005.
"Important to mention here, when the 'Yagnam' started at 5am with 'Srighananaatha' on the third time repeatation of the song one can hear a cracking noice from audience, which is a noice of a plastic chair broken when a person is about to sit on it. That was the simbol of 'Lord Ghanesh' presence Himself to remove any obstacles of the event. Thus the whole event went without any hindrance".
The second day of 'Mridanga Mahayagnam' ends at 11.06pm. Monday 2nd May, 2005 with the Saint Tahyagaraja's pancharathnam and Mangalam
Special Mridangam ensemble (Mridanga Tarangam) the Mridangams tuned to a particular scale (Ragam) melody based on an intricate "Pallavi" theme. It is played by several artistes with an extensive intricate Tani Avartanam.
He was the leading composer of Orchestra called "Giri Samkeertana Sangamam". a theam based on the celebration of Human Life.