Chandan Kumar's flute recital was mesmerising. As for Shreyas Narayanan, voice is his asset.

Chandan Kumar's (grandson of the late violinist, T. Chowdaiah) exceptional talent to combine the panache with the dulcet came to the fore in his engaging flute recital, featured by Nadabrahma Gana Sabha in Vanaprastha, Vadavalli, at the inauguration of Kausthubam, a new complex for senior citizens at Kasthurinaickenpalayam. The flautist mesmerised the audience for nearly two hours.

The magic casements that he wove around ‘Vathapi Ganapathim' (Hamsadhwani) in the beginning followed by ‘Entharo Mahanubhavulu' (Sri) showed his concern for perfect alignment of the sruti and the bhani. His alapanas of Hindolam and Abheri, (‘Nagumomu'), and brigas and sangatis gliding through the octaves with sparks of innovative patches will linger in the rasika's minds for long. His array of swaras heralded his firm grip over rhythm. His swara gymnastics launching a vibrant mood posed a challenge to the violinist, Swaminathan, who matched the quality of the kutcheri. ‘Varanaradha' (Vijayasree) and ‘Bhagyadhalakshmi' were the other numbers on his agenda. Mani's (mridangam) grip in the kalapramanam and his sound instinct for bridging the pauses with sprightly melkala sollus facilitated easy team work with Suresh's measured strokes on the ghatam adding to the thani appeal. In sum, the recital was filled with melody.

Manjapuram Mohan and party presented devotional songs on different deities the following day. Well-aligned to sruti, their rendition of bhjans drew wide acclaim.

A resonating saareeram is Shreyas Narayanan's asset. In his recital after a warm up with the Saranga varnam in two speeds, his voice shone with an added sheen in the alapana of Nattai (for the kriti, ‘Maha Ganapathim' with swaras), with a comprehensive elaboration in the middle octave. ‘Deva Deva Kalayamidhe' (Mayamalavagowla) with a feisty niraval and a cascade of swaras were animated versions. His Sankarabharanam with felicitous flow of musical phrases revealed striking prayogas. The kriti, ‘Enthuku Peddala' with niraval and swaras were a supreme effort. ‘Marivere' in Anandhabhairavi and ‘Siva Siva Siva Enaradha' (Pantuvarali) with lively swaras stirred the interest of the audience. ‘Karunai Deivame' (Sindhubhairavi) was rendered with professional élan. Swaminathan (violin) gave able support. Mani (mridangam) and Suresh (ghatam) provided perfect rhythm at the right decibels.