When the nagaswaram followed a traditional Carnatic concert pattern

The last day’s performance of Nadotsavam 2026, organised by The Music Academy, featured Pazhayaseevaram G. Kalidass and Koleri G. Vinoth Kumar. It opened successful the mode of a accepted performance — a varnam successful Charukesi, ‘Innum en manam’, with Tirukkadayur T.G. Babu connected the thavil done the muktayi swara earlier Panapakkam Tamizhselvan took over. The nagaswaram playing was notable for its dynamic scope — mellow wherever the operation demanded, bold wherever it needed to be. Mazhavai Chidambara Bharati’s ‘Pahi pahi balaganapathi’ successful Hamsadhwani followed by kalpanaswaras, the thavil accompaniment sitting successful earthy alignment with the nagaswaram throughout.

Kalidass’ alapana successful Anandabhairavi preceded ‘Kamalamba samrakshatu maam’, 1 of the Muthuswami Dikshitar’s Kamalamba Navaavarana kritis. It was rendered to people the composer’s 250th commencement anniversary. Played successful the keezh kaalam, the portion demanded and received precise thavil accompaniment; the kala pramanam held steadily throughout. Vinoth’s continuous shadjam resonance worked quietly, grounding the ensemble and deepening the wide tonal effect.

Tyagaraja’s ‘Neevada ne gana’ successful Saranga followed. The raga’s brighter disposition came successful the displacement to the mel kalam, offering an effectual opposition to Anandabhairavi’s meditativeness.

The main portion of the evening was successful Purvikalyani and the kriti chosen was Dikshitar’s ‘Meenakshi memudham’ — Kalidass’ alapana unfolding with phrases that Vinoth followed with awesome attentiveness, repeating each with tenable sangati clarity. The occasional lapse successful swarasthanam accuracy from Vinoth notwithstanding, the speech had an integrated prime that served the raga well. In the kalpanaswaras segment, Babu accompanied Kalidass and Tamizhselvan played for Vinoth.

The thani was anchored by a bully usage of karvais and a measured kuraippu successful the little octave, gathering steadily to an effectual close. The mohara korvai that followed carried well-constructed sollu development, Babu’s publication holding its ain done the much analyzable passages — a thani that, taken arsenic a whole, had its moments of genuine engagement.

Lalgudi Jayaraman’s thillana successful Misra Sivaranjani stood retired for its rhythmic buoyancy and was followed by ‘Eru mayil eri’, a ragamalika that seamlessly wove unneurotic Bhagesri, Hamsanandi, Atana and Surutti.