How Sandeep Narayan’s concert crossed the sonic and lyrical boundaries

Sandeep Narayan, S. Krishna, Akshay Yasadharan, and Lalit Talluri are demonstrating in the spaces in Chennai

Can Karnataka music develop by preserving its essence? ‘Spirits of Marji’ recently responded with a brilliant ‘yes’ in its first live concert in the vacant space in Besant Nagar. Established by Priya Murali, the contingent of artists pulls old and new, inviting the audience into a world where the tradition is not harsh, but is liquid. The concert chose to go to Chauka Kalam’s untoward grace, leaving each note in perfection. Tyagaraja got a relationship with timeless works Doc Kabir, Bhakti-Laden verses of Tulsidas, the comfort of the Tirupugaz of Arungirinathhar and the compositions of Muralidhara Swamigal. Sandeep Narayan’s Karnataka-Jaddi Swara and Lalit Talluri’s flute met Akshay Yasadharan’s acoustic guitar and S. Krishna’s Ghatam.

The evening opened with a fitting call, ‘Nada Tanumanisham’ in Chittaranjani, a composition of Tyagaraja that increases the essence of sound. This piece began with a brief alapna on the flute, which sets tone for the vulD A meditation should be a searching journey yet.

This was followed by ‘Dera Sere Yamuna Tere’ in Pahdi raga. In this Ashtapadi, Jaydev created a lyrical picture of Radha and Krishna’s Lolov, which is imbuated with deep devotion. The inauguration of the flute set a serene, almost ether mood, which took the rasikas to Vrindavan.

In many ways, an experimental concert, the next piece, came out in ‘Sri Hari anden Guru Hour’, Hindolam. The devotion to Madhurgatham, composed by Muralidhara Swamigal, was full of devotion. The acoustic guitar subtlely enriched the composition, while the flute acted originally through phrases. Ghatam provided a stable, grounding appearance, its rhythmic pattern spontaneously.

There was an unusual performance of songs in the concert

The fourth piece was Kabir Bhajan, Naiharwa Hamka Na BhaveSet in Mishra Chapu Taal. A song of craving and surrender, it talks about deep yearning for the divine and reverence for the guru that illuminates the path. The raga, the rich yet unqualified, carried forward the raw intensity of devotion.

This was followed by a Madhurgatham in Darbari Kanada, ‘Yugala Nararathanam’, in which the celestial dance of Krishna and Radha was painted together. The songs painted the scene accurately, such as using words Amogham, Athisayam, Adabhutham and Anandam ,

After this, Ghatam was characterized by a Thani Avtaranam. His rhythmic exploration made a difference of attractive confrontation for the evening flow.

Tulsidas Bhajan ‘Gopala Gokula Vallabhi’ performed a calm grace in Raga Vallabhi. The next piece brought a change in speed. Tirupapugaz ‘Nada Vindu Kaladhi opened the guitar with a lively introduction. In the evening, mainly unlike slow tempo grains, this composition was marked by sharp phrases and dynamic interaction between the equipment and infected with an uplift energy.

A child’s request brought an attractive turn in the evening. A contingent of artists presented to Tyagaraja ,Nannu Vedchi in retigovalai ‘.

A Madhurgatham in Indus Bhairavi was near his end with the concert with ‘Ondrandriru Brahma’. The last piece was ‘Ramanai Bhajithal’, who was very loving by Papanasam Shivan in Maula, after which Hare Rama of Pahnava was chanting Hare Krishna. The entire audience joined, repeating the ability to share music’s ability.