How Sandeep Narayan’s concert transcended sonic and lyrical boundaries

Sandeep Narayan, S. Krishna, Akshay Yesodharan, and Lalit Talluri performing at Spaces in Chennai

Can Carnatic music evolve while preserving its essence? ‘Spirits of Margazhi’ answered with a resounding ‘yes’ at its first live concert at Spaces in Besant Nagar recently. Founded by Priya Murali, the ensemble bridges the old and the new, inviting listeners into a world where tradition is not rigid but fluid. The concert chose to move in the unhurried grace of chouka kalam, letting every note unfurl in fullness. Tyagaraja’s timeless compositions found kinship with the dohas of Kabir, the bhakti-laden verses of Tulsidas, the comforting rhythm of Arunagirinathar’s Tirupuggazh and the compositions of Muralidhara Swamigal. The ensemble with Sandeep Narayan’s Carnatic-rooted vocals and Lalit Talluri’s flute met Akshay Yesodharan’s acoustic guitar and S. Krishna’s ghatam.

The evening opened with a fitting invocation, ‘Nada tanumanisham’ in Chittaranjani, a composition by Tyagaraja that extols the essence of sound. The piece began with a brief alapana on the flute, setting the tone for what would be a meditative yet explorative journey.

This was followed by ‘Deera sameere yamuna teere’ in Pahadi raga. In this Ashtapadi, Jayadeva weaves a lyrical portrait of Radha and Krishna’s llove, imbued with deep devotion. The flute’s opening set a serene, almost ethereal mood, transporting the rasikas to Vrindavan.

An experimental concert in many ways, the next piece, ‘Sri hariye endhan guru aavar’, unfolded in Hindolam. Composed by Muralidhara Swamigal, the madhurageetham’s was replete with bhakti bhava. The acoustic guitar subtly enriched the composition, while the flute wove seamlessly through the phrases. The ghatam provided a steady, grounding presence, its rhythmic patterns blending effortlessly.

The concert featured an unusual repertoire of songs

The fourth piece was the Kabir bhajan , Naiharwa humka na bhave, set in Misra Chapu tala. A song of longing and surrender, it speaks of the deep yearning for the divine and the reverence for the guru who illuminates the path. The melody, rich yet unembellished, carried the raw intensity of devotion.

Next came a Madhurageetham in Darbari Kanada, ‘Yugala Narthanam’, which depicted the celestial dance of Krishna and Radha in unison. The lyrics painted the scene with precision, using words such as amogham, athishayam, adbhutham, and anandam .

This was followed by a thani avarthanam featuring the ghatam. His rhythmic exploration brought an engaging percussive interlude to the evening’s flow.

The Tulsidas bhajan ‘Gopala gokula vallabhi’ in raga Vallabhi carried a quiet grace. The next piece brought a shift in pace. The Tiruppugazh ‘Nada vindu kaladhi opened with a lively introduction on the guitar. A stark contrast to the evening’s predominantly slow-tempo selections, this composition was marked by brisk phrasing and dynamic interplay between instruments and infused the performance with an uplifting energy.

A child’s request brought a charming twist to the evening. The ensemble presented Tyagaraja’s ‘Nannu vedachi’ in Reetigowlai.

The concert neared its end with ‘Ondrendriru brahmam’, a Madhurageetham in Sindhu Bhairavi. The final piece was the much-loved ‘Ramanai bhajithal’ by Papanasam Sivan in Maand followed by the ensemble’s Hare Rama Hare Krishna chant. The entire audience joined in, reiterating music’s ability to bring people together in shared reverence.