Dr Ramani on flute was accompanied by Mysore nAgarAj in violin and Tumkur ravishankar in the mridangam .
1. varnam in nAttaikurinji
2. Shree mahagAnapathi ravatumA(S) - gowlai - MD
3. krithi in bEgaDa (R,S)
4. samAja vara gamanA (R,S) - hindOlam -T
5A. inta sowkya(R,S,T) - kApi -T
5B. tani
6. bAro krishnayyA- mAnd + kApi + darbAri kAnaDa? - kanaka dAsar
7. chinnan chiru kiliyE - sindhubhairavi+ behAg + kAnaDA - bharathiyAr
8. thillAnA - sindhubhairavi - LGJ
9. pavamAna (mangalam)
Flute a delightful instrument in sowkhyam does take me to a kind of meditative trance more when the flautist blows longer where some gamakAms give an extended melody. That was one side of delight . In other side of the spectrum is when the vidwan takes the shorter sized flute where the blow is possibly shorter but the fingering is very impressive perhaps giving almost a vocal like concert experience.
The start was very sedate with a medium sized flute the gentle prayogams in nAttaikurinji varnam was brilliantly played . gowlai swaras were handled and he played very good . A heavy bEgaDa rAga alApanai was matched well by fitting swaras , I think the krithi was nAdopasAna not sure though.
The best no was the hindOlam and kApi , with me personally hearing hindOlam for the first time in flute and the other kApi perhaps was born only for flute in first place. The rAga alApanai style was quite in contrast very fast and quick blowing in hindOlam and a leisurely blow in kApi. The swaras were excellent , with Dr ramani giving more time for mysore nAgarAj.nAgarAj gave an outstanding returns in hindOlam , it was almost like a violin concert supported by flute in hindOlam . In kApi for a brief time the blowing was little imperfect but definitely the spark of manOdharmam was everywhere in kApi.
Unfortunately the concert was too short , in tukkadAs I liked the kAnaDA blow which had a very meditative effect , here he used a longest flute. The last thillAna just caught up with law of average . The mridangist played very apt and the tani was just good .
3 decades before Music Academy was the only sabha in this side of alwarpet-royapatteh area. , NGS came up 2 decades before to take a lot of share . Now with new woodlands coming up with one more sabha championed as valayApatti trust , the fourth corner is now taken by Hotel Maris as a one day mAris melA. Nice to hear as more artists are given oppurtunities , but perhaps the rasikAs crowd is getting thinner in each sabhas too.