2026 Oct 12 VijayShiva MadanMohan S Kavichelvan SumukhKaranth KanchiMuttMalleshwaram

Vocal: Vid. VijayShiva 

Violin: Vid. MadanMohan 

Mridanga: Vid. S Kavichelvan 

Khanjira : Vid. SumukhKaranth 

Venue: Kanchi Mutt Malleshwaram / Navaratri Celebrations.

01 karikaLabha mukham sAvEri rUpaka M.dhIkshitar

02 rAma nannu brOvara harikAmbOdhi rUpaka Tyagaraja (Nereval at meppula kai, S)

03 himAdri sutE pAhimAm kalyANi rUpaka syAmA sAstri (A, Nereval at shyAmakRSNa sOdari)

04 chinna nADenA chEyi kalAniDhi Adhi tyAgarAja

05 kamalAmbikE ASrita kalpa tODi rUpaka m.dhIkshitar (A, Swaras at kamalAmbikE)

06 arivAr yAr unnai arivAr mukhAri aruNAcala kavi

07 kAmAkshi varalakshmi bilahari m.dIkshithar (A, Nereval at KAmakae, S, T)

08 mAtADa bAradEno mA ramaNanE kamAs m.cApu narahari dAsa

09 viruttum in punnAgavarALi

10 shivagangA nagara punnAgvarALi pApanAsam sivan

11 nAma japan kyOn chOD diyA bhajan madhuvanti

12 tiruppugazh madhyamAvati aruNagirinAthar

13 nI nAma rUpamulaku mangaLa sourAshtra Adi tyAgarAja

Vijay Siva | Madan Mohan  | S Kavichelvan | Sumukh Karanth

Kanchi Mutt, Malleshwaram | 12 October 2026

A Journey Through the Grandeur of the Carnatic Tradition

There is something immensely satisfying about a Carnatic concert that places the compositions of the great vaggeyakaras at the centre of its musical universe and allows their individual personalities to emerge through raga, sahitya and manodharma. Vijay Siva's concert at Kanchi Mutt, Malleshwaram,  presented a programme of considerable traditional depth, with a particularly attractive balance between substantial classical exposition, less frequently heard compositions and an extended devotional conclusion.

The repertoire was rich in the works of Tyagaraja, Muthuswami Dikshitar and Syama Sastri, while Arunachala Kavi, Narahari Dasa, Papanasam Sivan and Arunagirinathar broadened the musical landscape. The concert's architecture was equally appealing: an auspicious opening in Saveri, a succession of weighty kritis, a substantial Todi presentation, a Bilahari main item with neraval, swaras and tani, followed by a padam-like expressive turn, a Punnagavarali viruttam and composition, a Hindi bhajan, Tiruppugazh and mangalam.

It was a programme that offered the serious rasika plenty to savour.

An auspicious beginning in Saveri

The concert opened with Muthuswami Dikshitar's “Karikalabha Mukham” in Saveri, set to Rupaka tala. Saveri is a raga of considerable antiquity and gravitas, one that carries the weight of the classical tradition without needing any theatrical embellishment. Its distinctive phrases and characteristic gamakas reward a musician who understands the importance of proportion and repose.

A Dikshitar composition in Saveri makes for a particularly dignified beginning. The opening item established a traditional musical atmosphere and provided a firm foundation for what followed. It was an invitation to settle into the concert and listen attentively rather than an attempt to impress through sheer speed or exuberance.

Tyagaraja's “Rama Nannu Brovara” in Harikambhoji, set to Rupaka tala, followed, with neraval at “Meppula Kai” and swaras. The transition from Saveri to Harikambhoji brought a welcome change of melodic colour. Harikambhoji is expansive, warm and wonderfully versatile, capable of accommodating both lyrical tenderness and energetic improvisation.

The inclusion of neraval and swaras gave the composition an opportunity to extend beyond its fixed melodic framework. Neraval, when approached with sensitivity to the sahitya, is among the most rewarding aspects of Carnatic music: the same words become the foundation for a continually evolving musical conversation. The subsequent swaras add another dimension, bringing melodic imagination and rhythmic precision together.

It was a strong early choice, establishing that the concert would offer more than a procession of compositions.

Syama Sastri and the emotional depth of Kalyani

The next major item was “Himadri Sute Pahimam” in Kalyani, Syama Sastri's composition set to Rupaka tala, presented with alapana and neraval at “Shyamakrishna Sodari.”

Kalyani is a raga that needs little introduction, yet it is never exhausted. Its vast melodic possibilities have made it one of the central pillars of the Carnatic concert repertoire. The challenge is not merely to traverse its scale but to reveal its personality through the careful shaping of phrases, the balance of expansive movement and repose, and the expressive treatment of its characteristic prayogas.

Syama Sastri brings a distinctive sensibility to Kalyani. His compositions often possess an emotional intensity that is inseparable from their rhythmic architecture and devotional appeal. “Himadri Sute Pahimam” is particularly suited to a presentation that values both raga bhava and sahitya.

The chosen neraval passage, “Shyamakrishna Sodari,” is especially meaningful in the context of the composition. Neraval is not simply a vehicle for elaboration; it is an opportunity to bring the emotional substance of a line into sharper focus while exploring its musical possibilities. A well-chosen passage allows the listener to appreciate how melody and meaning can reinforce one another.

The movement from Harikambhoji into Kalyani also gave the opening section a satisfying sense of expansion. The concert was gradually broadening its horizons, moving from the classical dignity of Saveri to the warmth of Harikambhoji and then to the grandeur of Kalyani.

A change of pace with Tyagaraja

Tyagaraja's “Chinna Nadena Cheyi” in Kalanidhi, set to Adi tala, provided an interesting change of direction.

The inclusion of a composition such as this adds individuality to a programme. Concerts built exclusively around the most familiar kritis can become predictable, however beautifully performed. Less frequently encountered selections encourage the listener to engage with the breadth of the composer's musical world.

Placed after the substantial Kalyani presentation, this composition also served a useful structural purpose. It offered a change of pace before the concert entered one of its important classical stretches.

Todi: the gravitas of “Kamalambike Ashrita Kalpalatike”

The next major landmark was Muthuswami Dikshitar's “Kamalambike Ashrita Kalpalatike” in Todi, set to Rupaka tala, with alapana and swaras at “Kamalambike.”

Todi is one of the ultimate tests of a Carnatic musician's understanding of raga bhava. Its majesty lies not in a succession of impressive phrases but in the nuanced treatment of its gamakas, the weight given to individual notes and the ability to sustain a coherent emotional narrative over an extended melodic canvas.

Dikshitar's composition brings an additional dimension to the experience. His music invites the listener to appreciate the meeting of melodic architecture, Sanskrit sahitya and devotional contemplation. The grandeur of Todi and the compositional world of Dikshitar make for a particularly rewarding combination.

The alapana offered the natural opportunity to establish the raga's identity independently of the composition. The swaras at “Kamalambike” then brought the exploration back into the structured world of the kriti.

There is a special pleasure in hearing Todi placed within a programme that also includes Kalyani and Saveri. All three are major ragas, but their emotional identities are markedly different. Saveri carries an austere traditional dignity; Kalyani offers luminosity and breadth; Todi brings an intensity that can be simultaneously majestic, introspective and deeply moving.

The sequence demonstrated the richness available within the mainstream Carnatic repertoire when the ragas are allowed to retain their individual character.

Arunachala Kavi and the contemplative Mukhari

“Arivar Yaar Unnai Arivar” in Mukhari, by Arunachala Kavi, followed.

This was a particularly attractive programming choice after Todi. Mukhari possesses an unmistakable emotional depth. Its plaintive character can evoke yearning and introspection, but it is never merely mournful. In the hands of a musician who respects its melodic grammar, Mukhari can become profoundly expressive.

Arunachala Kavi's compositions bring the world of Tamil devotional literature into the concert hall, expanding the linguistic and cultural dimensions of the programme. This is one of the great strengths of the Carnatic tradition: its repertoire encompasses Sanskrit, Telugu, Tamil and Kannada, each contributing its own poetic sensibility.

The appearance of Mukhari also helped the programme move gradually away from the weight of the major raga presentations towards the more inward emotional world of the later items.

Bilahari takes centre stage

The principal item was Muthuswami Dikshitar's “Kamakshi Varalakshmi” in Bilahari, with alapana, neraval at “Kamakshi”, swaras and tani.

If Todi provided a major point of classical depth, Bilahari supplied the concert's principal elaborative centre. The distinction matters: the documented neraval, swara presentation and tani make this the most clearly identified main-item structure in the supplied programme.

Bilahari is a raga of exceptional vitality. It can sound buoyant and radiant, yet it also has the depth to sustain substantial improvisation. Its characteristic phrases lend themselves to imaginative exploration, while its inherent brightness makes it an excellent choice for a main item.

Dikshitar's “Kamakshi Varalakshmi” adds compositional substance to that melodic canvas. The alapana establishes the raga's personality; the kriti brings the listener into Dikshitar's musical and devotional world; the neraval and swaras then allow the performance to expand organically.

The choice of “Kamakshi” for neraval is particularly appropriate in a composition addressed to the Divine Mother (who is also the arAdhya devate of Kanchi Mutt). A single word can become the centre of an extensive musical exploration, provided that the relationship between the sahitya, melodic line and rhythmic framework remains intact.

The swaras provide a contrasting kind of excitement. Where neraval develops a compositional phrase through melodic variation, swara passages reveal the musician's ability to navigate the raga's grammar while maintaining rhythmic clarity. The interplay between these dimensions is a defining pleasure of the Carnatic concert.

The tani avartanam, featuring the percussion ensemble, completed the principal classical section. With Madan Mohan on Villin,  S Kavichelvan and Sumukh Karanth contributing to the concert's accompanying framework, the percussion segment offered an opportunity for rhythmic expression to come into its own. The tani is most satisfying when it feels like a natural extension of the concert rather than an interruption, and its placement here gave the main item a well-defined culmination.

Khamas and the transition towards bhava

Following the tani, “Matada Baradeno Ma Ramanane” in Khamas, set to Misra Chapu and attributed to Narahari Dasa, offered a change of mood.

Khamas is one of those ragas that combines elegance with a certain conversational intimacy. Its melodic personality is immediately attractive, and its presence after Bilahari brought a lighter texture to the programme.

The choice of Narahari Dasa also continued the concert's welcome representation of devotional compositions beyond the three principal Carnatic composers. This transition was important to the overall structure: the evening had reached its classical high point, and the programme could now gradually turn towards a more contemplative conclusion.

Punnagavarali: a viruttam and “Sivaganga Nagara”

The next sequence was particularly evocative: a viruttam in Punnagavarali + rAgamalike before returning to punnagavarali, followed by “Sivaganga Nagara” in Punnagavarali, a composition of Papanasam Sivan.

The pairing of a viruttam with a composition in the same raga is a rewarding programming device. A viruttam offers freedom from a fixed tala structure, allowing the text to unfold through changes in melodic colour, pace and emotional intensity. When the subsequent composition continues in the same raga, the listener can experience the transition from free-form expression to the formal architecture of a kriti or song.

Punnagavarali is especially suited to this treatment. Its distinctive, introspective character can create an atmosphere of stillness and concentration. After the rhythmic energy of the Bilahari main item and the lighter Khamas composition, this sequence would naturally invite a different kind of listening.

Papanasam Sivan's presence also brings the concert back to the Tamil devotional tradition, creating continuity with Arunachala Kavi's earlier contribution. The programme was now drawing together different strands of South Indian devotional literature while retaining its classical identity.

A Hindi bhajan and the devotional close

The Hindi bhajan “Naam Japan Kyon Chhod Diya” in Madhuvanti introduced another melodic and linguistic colour.

Madhuvanti has a lyrical appeal that makes it particularly effective in lighter and devotional settings. Its appearance towards the end of the concert offered a change of atmosphere after the introspective Punnagavarali sequence. The inclusion of a Hindi bhajan also broadened the programme's devotional reach beyond the South Indian compositional tradition.

The concert then moved to Arunagirinathar's Tiruppugazh in Madhyamavati. Tiruppugazh occupies a distinctive place in Tamil devotional music, with its poetry and rhythmic structures offering a different expressive world from the conventional kriti format.

Madhyamavati, with its natural sense of repose and completion, was a fitting choice for this late stage of the programme. Its appearance before the mangalam also created a sense of musical settling after the contrasting colours of the earlier items.

The final composition was Tyagaraja's “Nee Nama Rupamulaku” in Saurashtram, set to Adi tala. A traditional mangalam is more than a customary closing gesture. It brings the concert to a point of resolution, gathering the evening's various musical and devotional threads into a final offering.

Saurashtram is closely associated with the mangalam tradition, and Tyagaraja's composition provides an appropriate conclusion to a programme so strongly rooted in the classical repertoire.

A programme that trusted the strength of tradition

What stands out in this concert is the way the repertoire balances compositional depth, raga exploration and devotional variety.

The opening Saveri establishes the traditional atmosphere. Harikambhoji and Kalyani introduce opportunities for melodic elaboration; Kalanidhi adds an element of repertoire discovery; Todi provides considerable classical weight; Mukhari brings emotional introspection; and Bilahari supplies the principal main-item structure, complete with neraval, swaras and tani.

The latter portion changes its expressive vocabulary without losing continuity. Khamas offers a lighter shade, Punnagavarali creates an inward devotional space, Madhuvanti introduces the Hindi bhajan tradition, and Madhyamavati and Saurashtram bring the evening towards completion.

The programme also deserves appreciation for its breadth of composers. Dikshitar, Tyagaraja and Syama Sastri form the classical backbone, but Arunachala Kavi, Narahari Dasa, Papanasam Sivan and Arunagirinathar contribute distinct literary and devotional perspectives.

This is precisely the sort of repertoire that rewards a listener who enjoys exploring the many layers of Carnatic music: raga lakshana, compositional architecture, sahitya, neraval, swaras and rhythmic interplay.

The accompanying musicians are an essential part of this experience. A concert containing substantial alapana and swara passages, a main-item tani, and several contrasting compositions requires sensitivity to both melodic and rhythmic changes. The ensemble's role is not merely to support the principal artist but to help the music retain its coherence as the mood changes.

The most satisfying aspect of the programme is its gradual movement from classical grandeur towards devotional contemplation. It does not depend on a single dramatic finale. Instead, it allows the emotional atmosphere to evolve, from the stately Saveri opening through the expansive Todi and Bilahari sections, into the expressive Punnagavarali sequence and the devotional closing pieces.

The final “Nee Nama Rupamulaku” brought this journey to a natural conclusion with a shanti shlOka.

Ultimately, this was a programme that placed its faith in the enduring strength of the Carnatic tradition. Its rewards lay in the diversity of its ragas, the stature of its composers, the contrast between structured improvisation and free-form expression, and the movement from classical elaboration towards bhakti.

Vijay Siva's concert at Kanchi Mutt, Malleshwaram, offered a thoughtfully constructed musical journey—one rich in traditional repertoire, substantial in its central classical presentations and deeply devotional in its closing sequence.

For an ardent rasika, the lasting impression is of an evening in which the music's many dimensions—melody, poetry, rhythm and devotion—were brought together under one coherent musical vision.

2026 Sept 11 HerambaHemanta ArjunKumar GuruprasannaG BharadwajSathavalli at SVT Malleshwaram

Flute: Vid. Herambha Vid. Hemantha 

Mridanga: Vid. ArjunKumar 

Khanjira: Vid GuruprasannaG 

Morsing: Vid. BharadwajSathavalli

Song List:

01 valachi navarAgamAlika Adi paTNam subramaNya Iyer (O)

02 mAmava sadA janani kAnaDA rUpaka swAtitirunAL (O)

03 mAmava mAdhava nIlAmbari Adi nArAyaNa thIrtha

04 nagumOmu ganalEni abhEri Adhi tyAgarAja (A, N, S, T)

05 enna tavam saidanai kApi Adi pApanAsam sivan

06 Medley (Rahda sameta, Payoji Ram Ratan, Hari Sundara Nanda, AChyutam Keshavam, Om Jai Jagadisha Hare)

07 bArO krishNayya mAND Adhi kanaka dhAsa (A)

08 nI nAma rUpamulaku mangaLa sourAshtra Adi tyAgarAja

 

A Flute Evening at Sri Venugopala Krishnaswamy Temple

There is something particularly appropriate about listening to a flute concert in the precincts of a Krishna temple. The instrument itself seems to carry an association with the divine, and when the repertoire moves between compositions of devotion, melody and bhakti, the setting becomes part of the listening experience. Sri Venugopala Krishnaswamy Temple in Malleshwaram hosted a flute concert by Herambha Hemantha, accompanied by Arjun Kumar on mridangam, Guruprasanna G on kanjira and Bharadwaj Sathavalli on morsing.

The concert had an interesting repertoire, beginning with Patnam Subramania Aiyar's “Valaci Vacci”, the Navaragamalika varNa in Adi tala. It was a fitting opening—bright, energetic and capable of immediately establishing the melodic personality of the flute. 

From there, the concert moved into Swati Tirunal's “Maamava Sada Janani” in Kaanada, set to Roopaka tala. Kaanada brought a different shade to the proceedings, and the movement from the opening ragamalika into this composition gave the concert an early contrast in melodic colour.

The next selection, “Madhava Mamava” in Nilambari, composed by Narayana Teertha, introduced yet another dimension. Nilambari has an unmistakable capacity for repose, and the choice of this composition in a flute concert allows the instrument's sustained and lingering tonal quality to come naturally to the fore. The repertoire was already beginning to reveal a thoughtful balance between compositions that invite rhythmic movement and those that allow melody to breathe.

This was followed by one of Tyagaraja's most familiar and deeply appealing compositions, “Nagumomu” in Abheri. Familiarity with a kriti such as this can sometimes work against it, because the listener comes with very definite expectations. On the flute duet, however, the composition has its own possibilities: the lyric is no longer articulated through words, and the melodic contours have to carry the emotional content. That makes the treatment of such a composition especially dependent on phrasing and expression.

The concert then moved to Papanasam Sivan's “Enna Tavam Seithanai” in Kapi, a composition that sits naturally within a devotional atmosphere. Kapi, with its expansive emotional vocabulary, is particularly well suited to the flute. Following Abheri, it also maintained the concert's predominantly lyrical character without making the sequence feel monotonous.

An interesting feature of the programme was the inclusion of “Radha Sametha Krishna”, attributed here to G. N. Balasubramaniam, followed by Meera's “Ram Ratan Dhan Payo.” These choices moved the concert further into the devotional space, while also widening its musical canvas beyond the strictly classical concert format. The latter part of the programme consequently felt less like a conventional succession of kritis and more like a gradual unfolding of devotional music.

The devotional sequence continued with “Hari Sundara,” “Achyutam Keshavam” and “Om Jai Jagadisha Hare.” These pieces brought an accessible and familiar dimension to the concert. After the more formally structured Carnatic repertoire, such songs can create a different kind of connection with the audience, where recognition itself becomes part of the musical experience.

Kanakadasa's “Baro Krishnayya” in Mand brought the programme back to a composition strongly associated with Kannada devotional tradition. Placed in a temple setting in Malleshwaram, the choice seemed particularly apt. 

The final item in the logged repertoire was Tyagaraja's “Nee Nama Rupamulaku” in Saurashtram, in Adi tala—an appropriate conclusion to a programme that had travelled through several shades of melody and devotion.

What stands out from the repertoire is its variety without excessive dependence on the standard concert template. Rather than building the evening entirely around a large central ragam-tanam-pallavi, the programme appears to have chosen a more song-centred route, allowing the flute to inhabit several contrasting melodic worlds: Kaanada, Nilambari, Abheri, Kapi and Mand, alongside the ragamalika opening and the devotional selections.

The percussion team of Arjun Kumar, Guruprasanna G and Bharadwaj Sathavalli also gave the concert a distinctive rhythmic complement, with mridangam, kanjira and morsing forming the accompanying ensemble. The combination is capable of producing considerable textural variety while retaining the flute as the central melodic voice.

Ultimately, the appeal of an evening such as this lies not merely in ticking off a list of kritis, but in the way the repertoire creates an atmosphere. A temple, a flute, compositions invoking Krishna, Rama and the divine mother, and a concluding devotional offering together make for a concert experience that is as much about rasa and bhakti as it is about musical structure.

The choice of Sri Venugopala Krishnaswamy Temple as the venue therefore feels almost inseparable from the programme itself. The flute began with the energy of a ragamalika and travelled through the many colours of Carnatic melody before arriving at familiar devotional territory. It was, in that sense, less a concert built around a single grand musical statement and more an evening of melodic and devotional vignettes, each adding another shade to the overall experience.

A concert that leaves the listener with melodies lingering in the mind—and perhaps, in the surroundings of a Krishna temple, a little more bhakti in the heart—has accomplished something worthwhile.

2026 Aug 30 BaluRaghuram AparnaRaghuram BPraveen OmkarRao MANMF MESK

Violin: Vid. BaluRaghuram 

Violin: Vid. AparnaRaghuram 

Mridanga: Vid. BPraveen 

Ghata: Vid. OmkarRao 

Organiser / Venue : MANMF MESK

01 vanajAksha bEhAg Adi TRSubramaniam

02 brova bhAramA bahudArI dEshAdI tyAgarAjA (A, S)

03 ambA kAmAkshi bhairavi swarajathi miSra cApu shyAma shAstri (O)

04 raghunAyaka nI pAdhayUga Hamsadwani deshAdi tyAgarAja (A, S)

05 sogasugA mrudanga tALamu shrIranjani rUpakA tyAgarAja (A, S)

06 niravadhi sukhada nirmala rUpa nirjita muni shApa ravicandrikA Adi tyAgarAja

07 shrI kAntImatim hEmavati (simhavaram) Adi m.dhIkshitar (A, N, S, T)

08 sangamam kIravANi Adi USrinivasURajesh

09 tillAna karNaranjani Adi GaneshKumaresh

10 nI nAma rUpamulaku mangaLa sourAshtra Adi tyAgarAja

**Balu Raghuram & Aparna Raghuram at MANMF MESK – 30 August 2026**

Violin: Balu Raghuram & Aparna Raghuram  

Mridangam: B. Praveen  

Ghatam: Omkar Rao  

A polished violin duet that showcased clean coordination, shared imagination and a well-curated selection of kritis. The siblings maintained excellent sruti alignment and balanced the roles of lead and support fluidly throughout the evening.

The concert opened with T.R. Subramaniam’s Vanajākṣa in Behag (Adi). The piece was rendered with a bright, flowing gait; the characteristic phrases of Behag were brought out clearly in both the kriti and the brief improvisatory passages that followed.

Tyagaraja’s Brōva bhāramā in Bahudāri (Dēśādi) received a short but effective alapana. The raga’s gentle contours were sketched with care before the kriti. Swarakalpana was crisp and well-synchronised between the two violins, with neat korvais.

The centrepiece of the early half was Syama Sastri’s Ambā Kāmākṣi swarajati in Bhairavi (Miśra Cāpu). Taken with the traditional weight and dignity, the composition allowed the duo to display both melodic depth and rhythmic precision. The successive caranams were handled with clarity; the swara passages that followed were measured and tasteful.

Hamsadhvani returned with Tyagaraja’s Raghunāyaka nī pādha yuga (Dēśādi). A brief alapana highlighted the raga’s sparkling nature. Swara exchanges were lively and imaginative, the two violins engaging in quick, well-matched phrases.

Śrīranjani followed with Sogasugā mṛdanga tāḷamu (Rūpaka, Tyagaraja). The alapana was compact yet evocative; the kriti’s rhythmic play was brought out effectively, and the short swara section retained the raga’s characteristic charm.

Ravicandrikā’s Niravadhi sukhada (Adi, Tyagaraja) provided a bright interlude before the main suite.

The major item of the evening was Dikshitar’s Śrī Kāntīmatim in Hēmavati (Simhavaram, Adi). The alapana was expansive and carefully structured—phrases unfolded with good sense of proportion, the two violins alternating and blending seamlessly. Neraval at the traditional place was detailed and bhava-oriented. The ensuing swarakalpana was vigorous and well-knit, culminating in strong korvais. The tani āvartanam by B. Praveen and Omkar Rao was energetic and well-coordinated—solid sollus, clear interplay and a satisfying climax that rounded off the main suite on a high note.

Post-tani, U. Srinivas & U. Rajesh’s Sangamam in Kīravāṇi (Adi) offered a contemporary touch while remaining firmly classical in treatment. The tillana in Karṇaranjani (Adi, Ganesh-Kumaresh) was rendered with precision and sparkle. The concert closed with the customary Nī nāma rūpamulaku mangalam in Saurāṣṭra (Tyagaraja).

Bangalore Praveen provided intelligent, supportive mridangam accompaniment throughout, rising to the occasion in the tani and during the faster swara passages. Omkar Rao on the ghatam added colour and rhythmic clarity, especially in the exchanges and the tani.

Overall aesthetic: classical, well-proportioned and free of excess. The duo’s synchrony, clean bowing and shared manodharma ensured a satisfying evening of violin music.

2026 Aug 28 AbhishekRaghuram HMSmitha KishoreRamesh SunaadAnoor at Odukattur

Vocal: Vid. AbhishekRaghuram 

Violin: Vid HMSmitha 

Mridanga: Vid. KishoreRamesh 

Khanjira Vid. SunaadAnoor 

Venue : Odukattur / Janmashtami Celebrations

Song List:

01 sarasUDa ninnE kOri sAvEri Adhi kotthavAsal venkatarAma iyer

02 ninnuvinA marigalada ritigaula rUpaka syAmA shAstri (O)

04 sArasAkSha paripAlaya kAmavarDhini ChApu swAthi thirunAL (A, N, S,T)

05 viruttum

06 KaNDu kaNDu nI enna sahAna purandara dAsa

07 bhAgyAda lakshmi bAramma mAND Adi purandara dAsa

08 sukhi evvarO rAma nAma kAnada Adhi tyAgarAja

09 viruttum

10 akshaya linga vibhO svayambhO shankarAbharaNa mCApu m.dhIkshitar

Abhishek Raghuram at Odukathur — A Concert of Musical Depth and Quiet Brilliance

Some concerts impress you. Some concerts excite you. And then there are those rare concerts where, somewhere along the way, one simply stops analysing and becomes completely absorbed in the music. The concert by Abhishek Raghuram, accompanied by H. M. Smitha on violin, Kishore Ramesh on mridangam and Sunaad Anoor on Khanajira, was very much in the last category. It was an evening of remarkable musical imagination, exquisite raga bhava and an unusually compelling conversation between the four musicians.

For me, this was a 10/10 listening experience.

The programme itself was beautifully put together. There was no attempt to make the concert a parade of predictable choices. Instead, it travelled through Saveri, Ritigaula, Pantuvarali, Karnataka Devagandhari, Kannada Gandhara, Sahana, Mand, Kanada and finally Sankarabharana, with viruttams and bhajans creating natural bridges between the classical and devotional dimensions of the evening. The repertoire revealed a musician who is clearly comfortable inhabiting both the grammar and the expressive possibilities of Carnatic music.

The concert began with “Sarasuda Ninne Kori” in Saveri, composed by Kothavasal Venkatarama Iyer and set to Adi tala. Saveri is an interesting choice to open a concert: unmistakably classical, deeply rooted and capable of immediately bringing the listener into the Carnatic soundscape. The varnam made for a purposeful beginning, establishing the tonal and rhythmic foundation before the concert moved into a very different emotional territory.

The second item, Syama Sastri's “Ninnuvina Marigalada” in Ritigaula, set to Rupaka tala, brought with it an altogether different mood. Ritigaula has that fascinating ability to sound simultaneously intimate and majestic. It is a raga where the emotional character is often conveyed through the shape and weight of individual phrases rather than through overt musical drama. The choice of Syama Sastri here was particularly satisfying, and the composition provided a beautiful counterpoint to the opening Saveri.

Then came the first major raga exploration of the evening: Pantuvarali alapana, followed by Swati Tirunal's “Sarasaksha Paripalaya” in Kamavardhini, set to Chapu tala. The Pantuvarali/Kamavardhini combination opened up a much more expansive and intense musical space. This is music that does not merely decorate the raga; it asks the listener to enter it.

The alapana was an important turning point in the concert. After the structured opening pieces, the music now acquired greater freedom. Pantuvarali, with its inherent intensity and almost incandescent quality, is particularly suited to a vocalist with Abhishek's expansive musical personality. What followed in “Sarasaksha Paripalaya” gave the raga a compositional framework while retaining the sense of openness created by the alapana.

The tani avartanam followed, bringing the rhythmic spotlight onto Kishore Ramesh and Sunaad Anoor. The mridangam and Khanjira combination added a fascinating layer to the concert. The percussion was not simply functioning as an accompaniment to the vocalist; it became another voice in the larger musical conversation. The presence of both instruments allowed the rhythmic texture to acquire additional colour and dimension.

The concert then took a particularly interesting turn with a viruttam, leading into Purandara Dasa's “Kandu Kandu Nee Enna” in Sahana.

This was one of the most aesthetically pleasing transitions of the evening. Sahana is a raga of extraordinary emotional delicacy. It does not need flamboyance to make an impact. Its appeal lies in its tenderness, poignancy and ability to suggest a great deal through apparently simple melodic movement. Purandara Dasa's devotional poetry sits beautifully within this framework. The combination created an intimate atmosphere, almost as though the concert had temporarily stepped away from the formal concert stage and entered the world of personal devotion.

The next item, “Bhagyada Lakshmi Baramma” in Mand, again by Purandara Dasa, continued the devotional thread. Mand brings an appealing lightness and folk-inflected charm, and the transition from Sahana to Mand was wonderfully natural. Here was another example of the programme's intelligent pacing: rather than sustaining one emotional intensity indefinitely, it allowed the mood to soften and brighten.

One could almost sense the concert changing colour with every major selection.

The next major item was Tyagaraja's “Sukhi Evvaro Rama Nama” in Kanada, set to Adi tala. Kanada is a raga that can be extraordinarily rewarding in the hands of an imaginative musician. It carries a certain depth and maturity, and Tyagaraja's composition gives it an especially appropriate devotional vehicle. The choice also brought the concert back from the lighter devotional Mand into a more substantial classical mood.

Another viruttam followed, providing yet another moment of freedom before the final major composition of the evening.

The concluding piece was Muthuswami Dikshitar's “Akshaya Linga Vibho Swayambho” in Sankarabharana, set to Misra Chapu. What an appropriate way to bring such a concert towards its conclusion. Sankarabharana is foundational, expansive and seemingly inexhaustible, yet Dikshitar's composition reveals its grandeur through a highly crafted classical architecture. After the succession of contrasting ragas earlier in the concert, returning to Sankarabharana at the end had a sense of arrival.

What I particularly enjoyed about the programme was the balance between discovery and familiarity. Saveri, Ritigaula and Sankarabharana are deeply familiar territories to the seasoned rasika, while Karnataka Devagandhari, Kannada Gandhara and the particular combinations in the programme offered opportunities for exploration. The devotional selections by Purandara Dasa and the viruttams provided further contrast.

And this is where Abhishek's musical personality becomes so engaging.

There is an extraordinary restlessness of musical imagination in his singing—not restlessness in the sense of impatience, but a sense that the music is continually searching for another possibility. This quality has been noted by rasikas over the years: his performances can carry tremendous energy and an abundance of ideas, sometimes creating an almost exhilarating sense of musical momentum.

Yet what makes this concert especially satisfying is that the imagination is being channelled through a repertoire that offers plenty of room for bhava, melodic nuance and repose.

The accompanists deserve equal appreciation. H. M. Smitha provided the violin voice with sensitivity and musical attentiveness, making the violin an integral part of the concert rather than a parallel performance. Kishore Ramesh on mridangam and Sunaad Anoor on Khanjira brought considerable rhythmic vitality to the proceedings. The ensemble clearly had the ingredients for the kind of spontaneous musical exchange that can elevate a concert beyond a sequence of individual performances.

What stayed with me most was the sense of musical continuity. The concert did not feel like eleven disconnected items. The varnam led into the kritis; the alapana opened larger melodic spaces; the tani created a rhythmic punctuation; the viruttams provided moments of contemplative freedom; and the Purandara Dasa compositions brought the devotional dimension into sharper focus. Even the final Sankarabharana felt like part of a larger journey.

There was also something wonderfully unpretentious about the overall repertoire. The concert did not appear to be constructed merely to showcase virtuosity. Of course, a musician of Abhishek's calibre possesses formidable technical resources, but technique here seemed to serve the larger purpose of musical expression. The best moments in a concert are not necessarily the ones that make the audience gasp; sometimes they are the ones that quietly make the listener lean forward.

This evening had many such moments.

It reminded me why live Carnatic music can be such an extraordinary experience. A recording can preserve notes, phrases and compositions, but a live concert captures something more elusive—the collective concentration of vocalist, violinist, percussionists and audience. A good concert creates its own atmosphere, and a great one makes that atmosphere difficult to leave behind.

This was, for me, a deeply immersive and richly rewarding concert. The music was vibrant without becoming merely demonstrative, contemplative without becoming languid, and traditional without becoming predictable. The repertoire allowed Abhishek Raghuram to move across a remarkable spectrum of Carnatic expression, while the accompaniment provided a strong and sensitive musical foundation.

The final Sankarabharana left the evening with a feeling of quiet completeness. One came away not with the sense that a concert had simply ended, but that a particularly rewarding musical journey had reached its natural destination.

Abhishek Raghuram, H. M. Smitha, Kishore Ramesh and Sunaad Anoor gave us an evening where melody, rhythm, poetry and devotion came together with exceptional coherence.

For a rasika, there is little more one can ask for.

10/10. A memorable concert. A truly absorbing listening experience.

2026 Aug 29 TMKrishna HKVenkatram KArunPrakash SunilKumar @ Odukattur

Vocal: Vid. TMKrishna 

Violin: Vid. HKVenkatram 

Mridanga: Vid. KArunPrakash 

Khanjira: Vid. SunilKumar 

01 shankari nIve bEgaDe rUpaka subbarAya shAstri

02 rAga tAna pUrvikalyANi MukhAri

03 chinna nADenA chEyi kalAnidhi Adhi tyAgarAja

04 karnATaka dEvagAndhAri AlApane

05 shrI tuLasamma mayinta nelakonavamma dEvagAndhAri Adi tyAgarAja

06 shankaram sharanAgata vatsalam kannaDa gAndhAra Adi RKSK (A, N, S, T)

07 sAvare aijiyyo yamunA kinAre miSra khamAj mIra bhajan

08 enna thavam shaidhanai kApi Adhi pApanAsham shivan

09 vaishNava janatO Mishra khamAj Adi Narsi Mehta

A Mesmerising Evening of Musical Conversation

There are concerts that one listens to, and then there are concerts that one experiences. The concert by T. M. Krishna, with H. K. Venkatram on violin, K. Arun Prakash on mridangam and Sunil Kumar on the Khanjira, belonged unmistakably to the latter category. It was a deeply absorbing evening in which music seemed to unfold organically, without the feeling of being driven towards a predetermined destination. The four musicians brought together formidable musical experience, individuality and sensitivity, resulting in a performance that was both intellectually stimulating and emotionally compelling. For a rasika, it was the kind of concert in which one gradually stops keeping track of time and simply surrenders to the music.

The opening “Shankari Neeve” in Begada, composed by Subbaraya Shastri and set to Rupaka tala, immediately established the character of the evening. Begada is a raga whose personality can be easily diminished when approached merely as a collection of familiar phrases. In the hands of a sensitive musician, however, its unmistakable grandeur, grace and slightly elusive character emerge naturally. The opening kriti provided a dignified entry into the concert, and the choice of Subbaraya Shastri was itself a lovely reminder of the extraordinary richness of the Carnatic compositional tradition beyond the most frequently performed repertoire.

What followed was a substantial exploration of Purvikalyani, with raga and tana, followed by Tyagaraja's “Chinna Nadena Cheyi” in Kalanidhi, set to Adi tala. The transition from the evocative world of Begada to the expansive emotional territory of Purvikalyani gave the concert an entirely different dimension. Purvikalyani has a naturally searching quality; it can sound luminous one moment and intensely introspective the next. The raga-tana presentation provided the first major opportunity for the evening to breathe expansively, and the subsequent kriti brought the music back from abstraction into the structured world of composition.

The concert then entered one of its most rewarding phases with the Karnataka Devagandhari alapana. This was followed by Tyagaraja's “Sri Tulasamma Mayinta Nelakonavamma” in Karnataka Devagandhari, set to Adi tala. The choice was exquisite. Karnataka Devagandhari possesses a distinctive emotional fragrance, and its appeal lies partly in the subtlety of its identity. It does not demand attention through sheer dramatic force; rather, it draws the listener inward through its gentle, poignant contours. The alapana and the kriti together formed a particularly satisfying musical pairing, allowing the raga to be encountered first in its unrestrained melodic form and then through the composer's carefully fashioned creation.

One of the pleasures of a concert of this calibre is noticing how deliberately the musical landscape changes without ever feeling fragmented. The movement from Karnataka Devagandhari to Kannada Gandhara created precisely such a moment. Another alapana opened up this distinctive raga, followed by “Shankaram Sharanagata Vatsalam” in Kannada Gandhara, an Adi tala composition of R. K. Srikantan's repertoire. Here again, the choice was compelling. Instead of relying entirely on the familiar raga-kriti combinations that dominate many concert programmes, the presentation gave space to less routinely encountered musical colours.

Kannada Gandhara, with its unusual melodic personality, seemed particularly well suited to a concert that valued exploration and listening rather than predictability. The juxtaposition of the two alapana segments—Karnataka Devagandhari and Kannada Gandhara—was one of the programme's most thoughtful features. They demonstrated how two comparatively less commonplace raga worlds can create very different shades of emotion and atmosphere. It was a reminder that the Carnatic tradition is at its most fascinating when its vast repertoire is allowed to breathe.

The tani avartanam that followed brought the rhythmic dimension of the concert into sharp focus. With K. Arun Prakash on mridangam and Sunil Kumar on Khanjira, the percussion combination had an impressive breadth of sonic possibility. The tani was not merely an interlude between the main musical sections; it represented the independent vitality of laya within the larger architecture of the concert. The rhythmic dialogue between mridangam and Khanjira added another layer to an evening that had already moved through several contrasting melodic landscapes.

The post-tani portion took an entirely different turn with the Mirabai bhajan “Savare Aijiyyo Yamuna Kinare” in Mishra Khamaj. This was a particularly natural transition. After the density and sophistication of the preceding Carnatic presentation, the bhajan opened up a more direct devotional space. Mishra Khamaj, with its graceful mixture of classical structure and expressive accessibility, provided an ideal vehicle for this shift. The atmosphere became more intimate, and the devotional character of the composition allowed the music to communicate without the need for elaborate musical architecture.

Then came Papanasam Sivan's “Enna Tavam Seithanai” in Kapi, in Adi tala. This was perhaps one of those moments where the familiar can become newly meaningful. Kapi is a raga of extraordinary emotional versatility, and Papanasam Sivan's composition carries an unmistakable devotional tenderness. Coming after the Mirabai bhajan, the choice created a beautiful continuity of bhava. The concert had moved from the sophisticated architecture of raga and tala towards the more direct language of devotion, but without compromising musical depth.

The final item, “Vaishnava Janato” in Mishra Khamaj, set to Adi tala and attributed to Narsi Mehta, brought the evening to a deeply evocative close. The placement of this bhajan at the conclusion felt particularly apt. It did not attempt to end the concert with a spectacular flourish; instead, it left the listener in a contemplative and devotional space. The final impression was therefore not one of exhaustion after a long musical journey, but of having arrived somewhere quiet and inward.

What made the concert particularly memorable was the way T. M. Krishna's musical personality interacted with the exceptional calibre of his accompanists. H. K. Venkatram is an accompanist with a remarkable ability to inhabit the music rather than merely follow it. The violin becomes a conversational voice, capable of reflecting, complementing and enriching the central melodic line. K. Arun Prakash brings to the mridangam an extraordinary combination of authority and sensitivity, while Sunil Kumar's khanjira added a complementary rhythmic colour to the ensemble.

But perhaps the most important quality of the evening was its sense of musical freedom. There was no impression that the concert was simply moving through a checklist of items. Each raga and composition seemed to have its own space and character. Begada gave way to Purvikalyani; Purvikalyani yielded to Kalanidhi; Karnataka Devagandhari opened another window; Kannada Gandhara offered a less familiar but fascinating landscape; and the final sequence gradually moved towards the devotional intimacy of Mishra Khamaj and Kapi.

This is where Krishna's approach to concert-making becomes particularly engaging. The programme did not seem designed merely to satisfy expectations. Instead, it invited the listener to travel with the musicians. Familiarity and discovery sat comfortably beside each other. The compositions were not simply vehicles to be crossed off a list; they became points of entry into different emotional and musical worlds.

There was also something wonderfully unhurried and contemplative about the overall progression. Even where the music was technically demanding, the larger experience remained spacious. That spaciousness is precious in a concert setting. It allows the rasika to listen not only to the notes but also to the silences, the pauses, the transitions and the subtle changes in mood. The music acquires a life beyond the printed programme.

The programme itself deserves appreciation for its imaginative curation. Beginning with Subbaraya Shastri and moving through Purvikalyani, Kalanidhi, Karnataka Devagandhari, Kannada Gandhara and finally into the world of Mirabai, Papanasam Sivan and Narsi Mehta, it presented Carnatic music not as a rigid succession of standardised items but as a living continuum. There was tradition here, but there was also curiosity. There was scholarship, but there was also spontaneity. Most importantly, there was bhava.

For me, the concert was an unequivocal 10/10 listening experience. The rating is not simply a comment on technical excellence—which, at this level of musicianship, almost goes without saying. It is a reflection of something more difficult to quantify: the ability of music to hold one's attention completely, to provoke thought, to evoke emotion and ultimately to leave a residue that remains long after the final note has disappeared.

A memorable concert need not necessarily overwhelm. Sometimes its greatness lies in the manner in which it quietly occupies the mind. This evening did exactly that. The ragas continued to linger, the compositions acquired renewed resonance, and the interplay between melody and rhythm remained vivid in memory.

In an age where the temptation can sometimes be to measure a concert by the number of items, the length of an alapana or the brilliance of a particular swara sequence, this performance offered a more enduring measure: Did the music make you listen? Did it make you feel? Did it make you think? Did it leave you wanting to hear it again?

The answer, unequivocally, was yes.

It was a rich, refined, evocative and deeply satisfying evening of Carnatic music—one where four accomplished musicians created not merely a concert, but a sustained musical conversation. And for those fortunate enough to have been present, it was the kind of evening that one does not simply remember as having attended; one remembers it as having lived through the music.

2026 Aug 16 RamakrishnanMurthy VittalRangan NCBharadwaj VKrishnaKumar @ Odukattur

Vocal: Ramakrishnan Murthy  

Violin: Vittal Rangan  

Mridangam: N.C. Bharadwaj  

Kanjira: V. Krishna Kumar  

01 vIribONi varNa bhairavi khaNDa aTa pachchimiriam Adiappayya

02 sAmaja varadA shuddhasAvEri rUpaka pUchi srInivAsa IyengAr

03 sUryamUrtE namOstute saurAshtra CDhruva Navagraha m.dIkshitar

04 nija marmamulanu umAbharaNa Adi tyAgarAja (A, S)

05 sArasAkSha paripAlaya kAmavarDhini ChApu swAthi thirunAL (A, S)

06 karuNA samudra nanu dEvagAndhAri Adi tyAgarAja (A, S)

07 brindAvana lOla tODi rUpaka tyAgarAja

08 shrI subrahmaNyAya namastE kAmbOdhi Adix m.dIkshitar (A, N, S, T)

09 dEvaki nandana nanda mukundana bhAgEshrI purandara dAsa

10 viruttum in bhairavi varALi nILAmbari

11 iLamarimAn nayane jAvaLi bEhAg swAti thirunAL

12 Tom Tom Tadhara pUrNachandrika tillAna Adi Poochi Srinivasa Iyengar

13 nAdi tEdi tiruppugazh bAgEshiri aruNagirinAdhar

14 nI nAma rUpamulaku mangaLa sourAshtra Adi tyAgarAja

A brilliant concert lasting a little over 3 hours 15 minutes. Ramakrishnan Murthy was in full form, voice pliant, sruti-suddha and carrying that characteristic sheen that has become his hallmark. The concert had excellent pacing, a well-thought-out selection of kritis spanning different composers and talas, and ample manodharma without ever feeling rushed or padded.

He began with the khaṇḍa aṭa tāla varṇam vīribōṇi in Bhairavi (Pacchimiriam Adiyappayya). The varṇam was rendered with clarity and good weight in the muktāyis; the unusual anubandham passages already hinted at the energy that would mark the evening.

Sāmaja varadā in Śuddhasāvēri (Rūpaka, Poochi Srinivasa Iyengar) followed, a bright and crisp piece that settled the audience nicely. 

The Navagraha kriti Sūryamūrtē namōstute in Saurāṣṭra (Chaturasra Dhruva, Muthuswami Dikshitar) was taken at a measured pace; the raga’s character came through well in the limited space it was given.

The first substantial alapana of the evening was in Umābharaṇa. Ramakrishnan Murthy sketched the raga with clean phrases and a sense of architecture before presenting Tyagaraja’s Nija marmamulanu (Adi). The kriti was handled with care; the few rounds of swaras were well-knit.

Pantuvarāḷi (Kāmavardhini) alapana came next – expansive, with the characteristic oscillations and the raga’s inherent pathos brought out without exaggeration. Swathi Thirunal’s Sārasākṣa paripālaya in Chapu was the vehicle. Neraval and swara exchanges here were lively; Vittal Rangan’s replies were precise and complementary.

Devagāndhāri received a detailed alapana. The raga’s bright yet contemplative nature was explored with good phrases in the upper reaches and careful use of the characteristic prayogas. Tyagaraja’s Karuṇā samudra nanu (Adi) followed. The rendering had both bhava and technical polish; the swara kalpana, especially the concluding korvais, were tightly constructed and drew appreciative responses from the audience.

A shorter but effective Brindāvana lōla in Tōḍi (Rūpaka, Tyagaraja) served as a pleasant interlude before the main suite.

Kāmbhōji was the centrepiece. The alapana was leisurely and richly detailed – the raga’s grandeur unfolded gradually, with well-placed long phrases, imaginative sancharas around the pivotal notes, and a satisfying ascent into the tara sthayi. Vittal Rangan’s reply was equally absorbing, matching the vocalist in both depth and imagination. Dikshitar’s Śrī Subrahmaṇyāya namastē (Adi) was the chosen kriti. Neraval at the traditional place was expansive and bhava-laden; the swara kalpana that followed was vigorous, with interesting combinations and a strong sense of laya. 

The tani āvartanam by N.C. Bharadwaj and V. Krishna Kumar was of high quality – well-structured, with good interplay, crisp sollus and a satisfying finale that brought the main suite to a close on a high note.

The post-tani section maintained the momentum. Purandara Dasa’s Dēvaki nandana nanda mukundana in Bhāgēśrī was rendered with feeling. A viruttam moving through Bhairavi, Varāḷi and Nīlāmbarī provided a nice ragamalika interlude. Swathi Thirunal’s iḷamarimān nayane (Jāvaḷi, Behag) was sung with the required lightness and charm. The tillana in Pūrṇacandrikā (Adi, Poochi Srinivasa Iyengar) was energetic and cleanly executed. 

Arunagirinathar’s Tiruppugazh Nāḍi tēḍi in Bhāgēśrī and the customary Nī nāma rūpamulaku mangalam in Saurāṣṭra (Tyagaraja) brought the concert to a graceful close.

Vittal Rangan was an ideal accompanist throughout – attentive, imaginative in his replies, and never overpowering. N.C. Bharadwaj provided solid, intelligent support on the mridangam, rising to the occasion in the tani and in the swara passages. V. Krishna Kumar on the kanjira added colour and precision, especially in the faster passages and the tani.

Overall aesthetic: classical, unhurried, and deeply satisfying. Ramakrishnan Murthy’s command over both the kalpita and kalpana aspects was evident, and the concert never lost its sense of proportion or raga bhava. A memorable evening of high-quality music.

2026 Aug15 TrichurBrothers SJanardhan TrichurMohan KovaiSuresh @ Odukattur

Vocal: Trichur Brothers (Srikrishna Mohan & Ramkumar Mohan)  

Violin: Vid. SJanardhan 

Mridanga: Vid. TrichurMohan 

Ghata: Vid. KovaiSuresh 

Venue / Occasion : Odukattur - Janmashtami Celebrations

Song list

01 vIribONi varNa bhairavi khaNDa aTa pachchimiriam Adiappayya

02 vara vallabha ramaNa hamsadhvani Adi GN bAlasubramanian

03 mOsabOku vinavE satsahavAsamu gauLipantu Adi tyAgarAja

04 karuNA chaivAnendhu yadhukula kAmbOdhi Adi iriyathaman thampi

05 niravadhi sukhada nirmala rUpa nirjita muni shApa ravicandrikA Adi tyAgarAja

06 harihara putram vasanta khaNDaEka m.dIikshitar (A, N, S, T)

07 vande bhAratAmbe rItigauLa Adi COMPOSER

08 rAga tAna pallavi kApi khaNDa triputa 2 Kalai , 2 beats after samam

09 viruttum nanmayum shelvamum rEvati

10 rAghava sundara rAma raghuvara rEvati

11 bhAgyAda lakshmi bAramma madhyamAvathi Adi p.dAsa

12 shlOka medley

A well-structured concert that showcased the Brothers’ characteristic blend of precision, shared manodharma and clear enunciation. The presentation maintained good balance between kalpita and kalpana segments, with thoughtful kriti choices and solid support from the accompanists.

The concert opened with the khaṇḍa aṭa tāla varṇam  vīribōṇi in Bhairavi (Pacchimiriam Adiyappayya). Rendered with clean articulation and steady tempo, it set a firm classical foundation; the muktāyi swaras were crisply delivered.

G.N. Balasubramaniam’s Vara vallabha ramaṇa in Hamsadhvani (Adi) followed at a lively pace. The kriti sparkled with its characteristic brightness, and a few rounds of swarakalpana added energy without excess.

Tyagaraja’s Mōsabōku vinavē in Gauḷipantu (Adi) brought a change of mood. The Brothers handled the raga’s distinctive flavour with care, the sahitya coming through with clarity. 

Irayimman Thampi’s Karuṇā chaivānendhu in Yadukulakāmbhōji (Adi) was taken next—an attractive choice that allowed the raga’s languid beauty to emerge. The rendering was measured and bhava-oriented.

Tyagaraja’s Niravadhi sukhada in Ravicandrikā (Adi) provided a bright interlude before the main suite. The kriti’s flowing gait suited the Brothers well; short swara passages kept the momentum lively.

Vasantha was the chosen raga for the major alapana. The Brothers built the raga systematically, exploring its characteristic phrases and the interplay of the two voices with good understanding. The alapana had both breadth and focus, avoiding unnecessary elaboration. Dikshitar’s Harihara putram in khaṇḍa ēka was the vehicle. The kriti was rendered with dignity; neraval and subsequent swara kalpana were well-coordinated between the two vocalists, with Janardhan offering precise and imaginative replies. 

The tani āvartanam by Trichur Mohan and Kovai Suresh was compact yet satisfying—solid sollus, good interplay and a clean finish that rounded off the main suite effectively.

Post-tani, Vande Bhāratāmbe in Rītigauḷa (Adi) offered a pleasant change of pace. 

The RTP in Kāpi formed the intellectual centre of the latter half. Rāga and tāna were elaborated with clarity and shared imagination; the Brothers moved easily between phrases while maintaining the raga’s identity. The pallavi in khaṇḍa tripuṭa (2-kalai, eduppu two beats after samam) was taken with confidence. Trikāla and a few rounds of kalpanaswaras, including brief forays into related ragas, were handled cleanly. Janardhan’s contributions in both the tāna and swara sections were noteworthy for their fidelity and creativity.

A viruttam in Rēvati (Nanmayum shelvamum) led naturally into Rāghava sundara rāma raghuvara in the same raga. The short piece was sung with feeling. 

Purandara Dasa’s Bhāgyāda lakshmi bārama in Madhyamāvathi (Adi) brought the expected auspicious close to the main sequence, rendered with the traditional warmth. 

A brief śloka medley provided a fitting conclusion.

S. Janardhan provided consistent, attentive support throughout—his raga essays and swara replies were marked by good sruti alignment and tasteful imagination. Trichur Mohan on the mridangam offered experienced, understated accompaniment that never overpowered the vocals, rising appropriately during the tani and swara passages. Kovai Suresh on the ghatam added colour and precision, especially in the faster exchanges and the tani.

Overall aesthetic: classical, well-proportioned and free of excess. The Brothers’ synchronised approach and clear delivery ensured that both the compositional and improvisational elements remained accessible and satisfying. A solid, enjoyable concert.