Trichy Sankaran displays the fine art of accompaniment at Sandeep Narayan’s concert

Even before the first note was sung, the atmosphere at the packed Bharatiya Vidya Bhavan felt momentous. It was a concert organised by MadRasana at the behest of veteran mridangist Trichy Sankaran, featuring vocalist Sandeep Narayan along with V.V.S. Murari on the violin and K.V. Gopalakrishnan on the kanjira. It was no surprise to see the octogenarian maestro himself seated behind the mridangam, setting the stage for an evening charged with anticipation.

Sandeep seized the moment by making an astute kriti choice: Tyagaraja’s ‘Nada tanum anisam sankaram’ — a tribute to both the Lord and the maestro. His solemn rendition of the Tyagaraja kriti, in Chittaranjani, set the tone for the recital that was markedly restrained, yet resonant. 

Jaganmohini raga was outlined next and, sure enough, ‘Sobillu saptaswara’ ensued. Sandeep capped the song with a nuanced swarakalpana at the pallavi opening. While the forays were pleasing throughout the expansive segment, those in the upper registers were particularly bright. Murari’s violin responses matched the vocalist’s singing both in style and substance. 

Even as one wondered whether the evening’s theme was a tribute to music itself, the mind skimmed through the likes of ‘Nadopasana’, ‘Mokshamu galada’, ‘Swararaga sudharasa’ as possible kritis to follow. That cue was set aside with Sandeep embarking on Husseni alapana. The raga is at once folkish and classical, delicate yet weighty. This duality was captured in the initial and final phrases, and the melody blossomed through a series of tender swirls and languid exploration in between. 

Sandeep Narayan accompanied by Trichy Sankaran on the mridangam, V.V.S. Murari on the violin and K.V. Gopalakrishnan on the kanjira.
| Photo Credit:
RAGHUNATHAN SR

Then came a shift in the mood. Sandeep stated that Sankaran’s migration to Toronto five decades ago had deprived Chennai rasikas of his presence throughout the year; performing here only during the Season. Drawing a parallel from Arunachala Kavi’s ‘Ramanatakam’, he presented ‘Eppadi manam tunindado swami’ — the moment where Sita bemoans Rama’s departure to the forests without her, asking, ‘how did your mind become so daring, Lord?’ The comparison sent ripples through the audience. Sandeep’s rendition in the right tempo underscored the melancholy. 

Swati Tirunal’s ‘Bhogindra sayinam’, in Kuntalavarali set to Khanda Chapu, followed with a sprightly swarakalpana passage, providing an ideal contrast. 

Thodi served as the centrepiece, with the raga unfurled in three well-proportioned phases. Sandeep’s elaborate phrases in madhya sthayi were sublime while the brisk sancharas reached the exploration to a crescendo. In the final segment, he seamlessly incorporated a grahabhedam (ri) to derive Mohanakalyani before closing out Thodi. Murari’s solo was fluent and well-structured across the phases. Papanasam Sivan’s ‘Karthikeya gangeya’ is a classic, both lyrically and melodically. Sandeep’s niraval and swara passages at the charanam opening, ‘Maal maruga’, were engaging, with the ensemble providing fine synergy.

A word about the master percussionist. With over six decades of concert experience, Sankaran demonstrated that playing for a kriti is never mere accompaniment, but a refined musical dialogue that elevates the entire performance. It is a style that blends imagination with sensitivity to enhance the vocalist’s artistry. Sankaran’s elaborate tani avartanam in two-kalai Adi tala was woven around intriguing patterns and subtle variations. The master’s deft touch and deceptive speed were on full display, and he was admirably complemented by Gopalakrishnan, whose kanjira playing lent vibrant support all through the concert. 

‘Kanden kamazh tharu konrai’, a verse from Thirumoolar’s ‘Thirumandiram’, was sung as a virutham in Behag, leading into Gopalakrishna Bharathi’s ‘Irakkam varamal ponadhenna’. A shloka, ‘Venkatadri samam sthanam’ in Sindhubhairavi, followed by Purandaradasar’s ‘Venkatachala nilayam’ concluded the recital.