When the nagaswaram followed a traditional Carnatic concert pattern

The final day’s concert of Nadotsavam 2026, organised by The Music Academy, featured Pazhayaseevaram G. Kalidass and Koleri G. Vinoth Kumar. It opened in the manner of a traditional concert — a varnam in Charukesi, ‘Innum en manam’, with Tirukkadayur T.G. Babu on the thavil through the muktayi swara before Panapakkam Tamizhselvan took over. The nagaswaram playing was notable for its dynamic range — mellow where the phrase demanded, bold where it needed to be. Mazhavai Chidambara Bharati’s ‘Pahi pahi balaganapathi’ in Hamsadhwani followed by kalpanaswaras, the thavil accompaniment sitting in natural alignment with the nagaswaram throughout.

Kalidass’ alapana in Anandabhairavi preceded ‘Kamalamba samrakshatu maam’, one of the Muthuswami Dikshitar’s Kamalamba Navaavarana kritis. It was rendered to mark the composer’s 250th birth anniversary. Played in the keezh kaalam, the piece 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 overall tonal effect.

Tyagaraja’s ‘Neevada ne gana’ in Saranga followed. The raga’s brighter disposition came in the shift to the mel kalam, offering an effective contrast to Anandabhairavi’s meditativeness.

Pazhayaseevaram G. Kalidass and Koleri Vinoth Kumar
| Photo Credit:
K. Pichumani

The main piece of the evening was in Purvikalyani and the kriti chosen was Dikshitar’s ‘Meenakshi memudham’ — Kalidass’ alapana unfolding with phrases that Vinoth followed with impressive attentiveness, repeating each with reasonable sangati clarity. The occasional lapse in swarasthanam accuracy from Vinoth notwithstanding, the exchange had an organic quality that served the raga well. In the kalpanaswaras segment, Babu accompanied Kalidass and Tamizhselvan played for Vinoth.

The thani was anchored by a good use of karvais and a measured kuraippu in the lower octave, building steadily to an effective close. The mohara korvai that followed carried well-constructed sollu development, Babu’s contribution holding its own through the more complex passages — a thani that, taken as a whole, had its moments of genuine engagement.

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