1. Sarasijaksha- Varnam in Nayaki.
2. Daasasreshta dayaanidhim vandeham sadaa – Malahari ragam, composition of Mysore Vasudevachar
3. Kadaikkann vaithennai aalamma- Begada, composition of Ramaswamy Sivan
4. Kodandaramam- Kokilapriya, composition of Dikshithar
5. Govardhanagireesam- Hindolam, composition of Dikshithar
6. Raagasudhaarasa-Aandolika, composition of Thyagaraja
7. Marubaari- Javali in Khamas
8. Virutham-Kondal vannanai kovalanai vennai unda vaayan in ragams Saveri, Poorvikalyani, Reethigowla, Maruabehag, Ahiri. I left after that.
The concert had a nice start with the rarely heard varnam in one of his favourite ragams, Nayaki. He presented some enthralling swarams in two kaalams at the Charanam line Marubaari. The song in Malahari was a new pick for me. It was on Purandaradasa. Malahari ragam was presented very elaborately for about 10 minutes. The raga alapana was nothing short of excellent and he covered all possible prayogams in that ragam. The charanam was in madhyamakalam and he rendered kalpana swarams at the line Raagaraajageethamoolam. The swaras contained most attractive patterns and many prayogams from the geethams were skillfully employed. The Begada alapana was for 10 minutes containing most authentic sancharas of the ragam each phrase dipped in ragabhava. His voice was in its best throughout the concert. The song was rendered very pleasingly and neraval at charanam line Santhatham pugazhnthu guhadaasan manathanpu followed by detailed swaras in two kalams with excellent poruthams. At the end he rendered the pallavi in three kalams which was a good substitute for a pallavi.
Kodandaramam and Govardhanagireesam were chosen for quick fillers nevertheless they were rendered giving due weight to the raga bhavam and sahithyam. Then came the pleasant surprise for the rasikas. Andolika- which I was hearing from the Maestro for the first time. Thyagaraja’s unparalleled jewel in the ragam Ragasudharasa which another king of brighas GNB made it his own through his immaculate rendition. The alapana was spectacular for about 15 minutes and the song was rendered in an appropriate kalapramanam skillfully utilizing his voice to give long karvais and brighas. Neraval was done at Yaagayogathyaagabhogabhalamosage and swaras rendered in his usual style employing lot of kanakku, thisram, khandam etc which was a great feast in itself. After the thani, Marubaari was rendered in a very aesthetic manner and the virutham was also rendered in his usual style. Actually I departed after Marubari but his saveri, one of my favourite ragams and the succeeding Poorvikalyani forced me inside into the hall. While rendering the virutham he intelligently employed the kondukootti paadummurai- kanda kannkal, amudinaikanda kannkal, Arangathamudinaikanda kannkal, Andarkon Arangathamudinaikanda kannkal. I left after the virutham. Saveri was simply out of the world. Some rasikas may wonder at my usage of too much superlatives but honestly the concert deserved nothing short. This concert also confirms that you can always expect something special in all his concerts.

The accompanists jelled well with TNS. SD Sridhar gave very good support in the violin. His alapanas were brief but had catchy phrases and his violin returns were most appropriate. Regarding Easwaran Mama, I need not tell anything special. It was sowkhyam personified and I felt as if the Mridangam sang along with TNS. The thani which lasted for 10 minutes contained attractive strokes and Guruprasad also complemented well. The artists on the stage very much enjoyed each other as was evident from their faces. An excellent concert.