Carnatic musician Sandeep Narayan does not visit Hyderabad regularly to perform. At least, not as frequently as rasikas would like this brilliant artist to.
So, when he does, it is not surprising that he is met with a houseful audience and that too gathered much before concert-commencement time. Sandeep was in town recently for a performance organised by South Indian Cultural Association (SICA). It was held to commemorate the memory of Dr Radha Chakravarthy and V S Meenakshi.
Sandeep made up splendidly for his infrequent appearances in the city! Rasikas were treated to a spellbinding concert by Sandeep featuring highly accomplished co-artistes alongside: KV Prasad on the mridangam, HN Bhaskar on violin, and Dr S Karthick aka Ghatam Karthick on the ghatam. All performers showcased fine aesthetics and perfect grammar.
Every composition was rendered by Sandeep with aplomb. Rich in bhaava and melody, these renditions exuded all the soukhyam that Carnatic music is known for. His raga essays were sweet and detailed revealing all nuances of the melody and his creative and exhilarating swarakalpanas all showcased his mastery in manodharma.
He commenced the performance with Santhanagopalakrishnam Upaasmahe, a composition of Mutthuswamy Dilshitar in Khamas ragam. Papanasam Sivan’s composition in Saranga ragam, Jnana Sabhaiyil Tillai followed.
Sandeep chose Thyagaraja’s popular Manasuloni Marmamunu Telusuko for a detailed exposition. The neraval at Kanikarambutho were simply scintillating and drew spontaneous applause. For those connoisseurs who were intrigued at the swaras heard in the alapana itself as the krithi is generally rendered in Hindola ragam, he later clarified that he had chosen to render it in Varamu ragam instead of the usual Hindolam, promising a rendition in the latter scale at a future concert. Here, as it was throughout the concert, Bhaskar’s violin was soothing and richly sonorous.
With the Sri Rama Navami fervour still pervading the air, it was not surprising that Sandeep chose to render Rama Kadhasudha, a Thyagaraja composition in Madhyamavathi ragam. Soaked in bhakti bhaava, sweet and mellifluous, it moved listeners.
The thani avarathanam segment has gained the notoriety of being a tea-break with much of the audience trooping out at this point. Not here, however. The audience sat entranced as percussionists Ghatam Karthick and KV Prasad showcased their artistry and dazzled with their complex rhythmic patterns. Their chemistry with each other and Sandeep delighted the audience.
Among the tailpieces were the popular Purandaradasa krithi Venkatachalanilayam in Sindhubhairavi ragam. It was prefaced with an excerpt from a popular shlokam in praise of Lord Shri Venkateswara, namely Venkatadri Samam Sthaanam. Another composition by Puranadaradasa, Chandrachooda Shivashankara Parvathi in Darbari Kanada was also included. Bhadrachala Ramadasu’s Paahi Paahi Maam in Yamanakalyani ragam and Narayana Theertha’s tharangam Govardhana Giridhari in Darbari Kanada ragam were other offerings from Sandeep at the concert.
The well-known Swathi Thirunal composition Saramaina Maatalentho Chaalu Chaalura which one hears in Behag ragam and at other times in Neelambari ragam was rendered by Sandeep with all the unhurried grace of a gentle pace. Of course, many vocalists of a previous generation have sung it at a more leisurely pace. Incidentally, this Swathi Thirunal piece is also a popular javali in the repertoire of classical dance performances, both Bharatanatyam and Kuchipudi. The artistes were felicitated by chief guest Aruna Bahuguna (former IPS, and a DGP) and the SICA team while art-patron Mahidhara Seeta Rama Sarma praised the artistes in his short and impressive review of the concert. The last piece was a very brisk Marathi devotional song Kanada Raja Pandharicha in raga Malkauns with lyrics written by G D Madgulkar. It rose to a crescendo at the chant of Vitthala, Vitthala in which several audience-members joined in at the invitation of Sandeep. The concert which began with an ode to Krishna concluded with another one in praise of the same cowherd, flute-loving God. The standing ovation at the end was a befitting tribute to the artistry of Sandeep and the co-artistes.
