There are moments in classical music when melody transcends the boundaries of sound and becomes an experience in itself. Such was the evening at the 48th Chandigarh Sangeet Sameelan, which witnessed an enthralling, exquisite and evocative concert by vocalist Ramakrishnan Murthy, with percussion support from L Ramakrishnan on the violin, drawing applause from the rasikas.Murthy began his recital with a celebrated composition by Muthuswami Dikshitar in raga Begada, where he showcased his vocal flexibility and deep expressive ability. Through the rendition, he paid tribute to one of the youngest members of the Trinity of Carnatic music, alongside Tyagaraja and Syama Sastri.His next presentation was a composition by Maharaja Swathi Thirunal, who ascended the throne at the age of 16 and was a prolific composer of Carnatic music. Murthy rendered the composition in raga Purvikalyani, bringing out its rich melodic character with finesse and sensitivity.He then moved on to raga Jujavanti, a raga associated with the Hindustani classical tradition and known for its roots in North Indian music. The shift in musical idiom added a distinct colour to the recital, depicting Murthy’s versatility and ability to traverse different classical traditions with ease.Keeravani, a prominent raga in South Indian Carnatic music, shares the same tonal structure as the Western harmonic minor scale. The main raga and longest presentation of the evening by Ramakrishnan Murthy was an expansive exploration of Keeravani, in which he brought out its depth, complexity and emotional richness. His nuanced rendition held the listeners spellbound and drew prolonged applause from the rasikas, making it one of the most memorable segments of the recital.Towards the end of the concert, Murthy presented Raag Bihag and Sindhubhairavi, bringing the recital to a graceful close. He also rendered a Javali, a genre typically associated with romantic themes and expressions, adding a lighter and more intimate dimension to the evening.For the first time, Indian National Theatre hosted the Carnatic vocal in the Chandigarh Sangeet Sammelan, Ramakrishnan Murthy tells The Tribune, “This is the first time I have performed in Chandigarh. Although Hindustani and Carnatic music share certain parallels, it is important to preserve the distinct identity of both traditions. For instance, ragas such as Hamsadhwani and Charukeshi originated in Carnatic classical music and were later adopted into the Hindustani tradition. While introducing Carnatic music to audience in the North is a positive step, we must ensure that its classical roots and unique identity are preserved. It is this distinctiveness that makes each tradition special.”The evening concert left the audience enthralled, with many appreciating the opportunity to experience the richness of Carnatic classical music in Chandigarh. For several listeners, it was a chance to discover a musical tradition that, while sharing certain similarities with Hindustani classical music, retains its own distinct character. Gen V P Malik, former Chief of Army Staff, who attended a Carnatic music concert in Chandigarh for the first time, welcomed the opportunity for North Indian audience to experience and embrace the musical tradition. He said that while Hindustani and Carnatic classical music share certain similarities, each has its own distinctive character. “It is good that North Indian audience are being introduced to Carnatic music and getting an opportunity to appreciate it. The compositions and ragas were truly unique, I hope we will get more to cherish and this was my first exposure to the Carnatic music,” he said.The enthusiasm was equally evident among other members of the audience. Sulakshna, a visitor at the concert, was thrilled by the performance, describing the entire evening as a wonderful experience. “We really enjoyed the concert and were quite thrilled by the performance,” she said.A L Davessar, retired professor at Panjab University, Chandigarh, appreciated the way Ramakrishnan Murthy presented the compositions and explored their relationship with Hindustani ragas. “The way he brought the compositions together and blended them with Hindustani ragas to engage the audience was wonderful,” he remarked.