Beyond virtuosity: Lydian Nadhaswaram enters the world of symphonic composition

At 20, Lydian Nadhaswaram is attempting something decades building towards. The Chennai musician first captured global attention after winning The World’s Best at 13, dazzling audiences with feats that ranged from playing two pianos simultaneously to mastering multiple instruments. Since then, he has worked on ambitious projects such as Thirukkural 1330, performed on international stages, and built a reputation that extends far beyond the label of child prodigy.

A symphony hidden in a folder finds its voice

Now, he is taking perhaps his boldest step yet, moving from virtuoso performer to symphonic composer. In three days, he sketched the framework of New Beginnings: Symphony No.1—a four-movement symphony recorded with the London Symphony Orchestra, conducted by Matt Dunkley, and set for release on this World Music Day. The work makes him the youngest Indian and Asian composer to record an original symphony.

The title sounds personal. Lydian insists it isn’t. To him, New Beginnings is less a self-portrait than a mirror held up to a universal experience. He also refuses to claim ownership of it. “This is the people’s symphony,” he says. “It’s not my symphony.”

That humility runs through much of our conversation. He speaks with equal enthusiasm about percussionists sprinting across a recording studio, Lewis Hamilton’s comeback season, Michael Jackson’s jackets, Ilaiyaraaja’s discipline, and the importance of staying a lifelong student.

Ahead of the audio release of New Beginnings, Lydian talks about composing, what he’d tell his younger self, and how a dream that lived for years in a folder finally found its voice. Excerpts:

The title suggests a fresh chapter. What exactly does this “new beginning” represent in your life and career?

New Beginnings represents hope. Every human being reaches a point in life where they have to start again —after failure, happiness, loss, uncertainty, or even a sunset. I wanted to create a musical journey that reflects that feeling.

This symphony is not about one specific event in my life. It’s a collective of experiences and about the universal experience of moving forward.

New Beginnings is your first original symphony. Why did now feel like the right time to write one?

What’s funny is that if you looked through my computer, you’d find project files from 2020, 2021, 2022 and every year after that named Symphony No.1. Every year, I would think, “This is the year I’m finally going to start it.”

And also, now felt like the right time because the symphony scene in Chennai and India is at an all-time high. More importantly, I felt ready creatively.

The surprising part is that the actual composition happened very quickly. In just three days, I completed the entire structure of the symphony on the piano. I finalised the melodies, a little bit of arrangements, tempo changes, and the overall shape of the piece. After that, I returned to working on Thirukkural 1330 and didn’t touch the symphony for quite some time.

Once that project was complete, I came back to New Beginnings and started the orchestration, arrangement, and programming process. That’s where the real work began, translating those initial ideas into something that could be performed by a full orchestra.

How would you describe the musical language of the symphony?

At its core, it is a classical symphony. In some sections, there are three-way counterpoints, where three melodies are happening simultaneously. There are moments influenced by jazz and moments that carry an Indian sensibility in the phrasing and voicings.

Can you walk us through the four movements of New Beginnings?

Each movement represents a different emotion. The first movement is Awakening. It’s energetic and ambitious, it feels like you are stepping into the unknown with excitement and courage.

The second movement is called Reflection. It’s more reflective and lyrical, allowing listeners to pause and reconnect. It’s a slow movement, and it’s the longest of all four.

The third one is Quest. It explores contrast and transformation; it’s like a journey.

The fourth movement is called Ascension. It gives you feelings of triumph and celebration. And I love listeners creating their own interpretations and stories when they listen to it.

If there is one movement that best represents who you are as a musician today, which one would it be?

That’s a very difficult question because I can see myself in all four movements. But I think many people would be surprised by the second movement, Reflection.

For years, people associated me with speed. Reflection is the opposite of that. It’s calm, patient and introspective. It shows another side of me as a composer and musician, and I think people who hear it will understand me a little differently.

What was the most surprising part of the compositional process for you?

The most surprising thing is that the fourth movement came almost instantly. The movement is about nine minutes and 30 seconds long, and it took me roughly nine minutes and 30 seconds to compose it.

Was there a rehearsal moment that you’ll never forget?

The percussionists amazed me. I had written some very complicated passages involving the marimba, xylophone, glockenspiel, tambourine, cymbals, bass drum and snare, with some of them playing in unison. There were only three percussionists handling all of it.

The most challenging part came in the fourth movement, which builds towards a grand, epic ending. They were constantly running between instruments, wearing only socks on a slippery floor. At the same time, they had to carry their sheet music, make sure they didn’t create any noise while moving, avoid even the sound of paper rustling during the recording, and still play the right notes at the right moment.

Their dedication, precision and energy inspired me tremendously.

What would you tell your younger self now?

There are good days and great days ahead; it’s going to be a very wholesome journey over the years. Everything you go through will be a learning experience.

So I would say: don’t rush. You’re headed in the right direction, so there’s no need to force things or try to fix everything immediately, because that can sometimes make things go wrong instead of right. Just stay calm. Learn more first. You need to always be a learner.

It’s like the idea that the compass came before the clock—what mattered first was knowing the direction, not how long it would take to get there.

You’ve often spoken about learning from Ilaiyaraaja. What’s the most valuable lesson you’ve absorbed from him?

Discipline. For over four decades, he has shown up at the studio every day at 7 in the morning and worked on music, regardless of circumstances. Whether it’s rain, floods, celebrations or anything else, music comes first. The only time he’s away from the studio is when he’s on his tours That discipline is what inspires me the most.

Is there a genre you’d still love to explore?

I’d love to explore rap. I really look up to Hanumankind. But my all-time favourite rapper is The Notorious B.I.G. He has a certain swag and rhythmic flow in his rap that I really enjoy. Take Hypnotize, for example, that’s one of my favourite tracks.

Is film music still part of your long-term mission?

Yeah. It’s not that I don’t want to do films, but I don’t have that inclination right now. At this point in my life and career, I’m not actively pursuing it.

But at some stage, I’ll eventually come back to film music and explore that space as well.

Outside of music, what are you currently obsessed with?

When it comes to sports, it’s Formula 1. That’s my go-to sport. I’m also a movie lover; I watch films and series, though not very often. I don’t really play video games at all, but my interest in films and storytelling is always there.

I was so happy with Lewis Hamilton’s comeback, I was over the moon. I was telling my dad that I was going to be very happy that night.

I also really admire his fashion sense. For me, it started with Michael Jackson, the way every jacket or costume he wore became an identity. I feel the same about Hamilton. Every time he steps into the paddock, every outfit he wears becomes iconic.

What’s next after this symphony for you?

I have a rough plan all the way till 2032. I’m working on a jazz album, a rap album and some Indian fusion projects. Announcements will come very soon.

When audiences hear New Beginnings, what do you hope they take away from it?

I want people to see it as their own symphony.

Many people dream of composing symphonies but never get the opportunity to record with an orchestra or bring their music to life. I was fortunate to have parents, mentors, well-wishers and collaborators who supported me.

This symphony belongs to everyone who dreams of creating music. It’s not just my symphony—it’s the people’s symphony.

Short bytes

One composer you’d love to have dinner with?

Hans Zimmer.

One dream collaboration?

I would have loved to collaborate with Zakir Hussain sir and the original Shakti band—TH Vikku Vinayakram, L Shankar, John McLaughlin and Shankar Mahadevan uncle.

One piece of music you wish you had written?

Thriller by Michael Jackson.

Practice session or live performance?

Practice.

If you could keep only one piano forever?

A Steinway.

A city or destination that inspires your creativity?

Honestly, home. Everything I’ve done in my musical life has come from home, from this room.

Rs 500 onwards. On June 21 at 4 pm. At Music Academy, TTK Road.

Email: shivani@newindianexpress.com
X: @ShivaniIllakiya

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