It’s a choice that runs decidedly counter to the musical culture Gopalnath grew up in where his adherence to strict canons albeit with their own internal evolution, has permitted the preservation of a thousand years old tradition. Kadri Gopalnath is a somewhat atypical figure on the Indian classical music scene on account of his choice of instrument the also sax, an instrument he began playing as a child and that he has bent to the needs of the needs of the raga in a series of brilliant left-field interpretations. Bhagyada Lakshmi – Madhyamavathi – Adi – Purundaradasar Kripayapalaya – Charukesi – Misrachapu – Swathi Thirunalħ. Marugelara – Jayanthasri – adi – ThyagarajaĤ. Sabhapathi – Abhogi - Roopakam-Papanasam Sivanģ. Gnana Vinayaka – Gambheera Natai – Adi – Papanasam SivanĢ. Raghuvamsasudha - Kathanakudhukalam – Adhi – Pattinam Subramanya IyerĬhinnanchiru Kiliye - Raga Malika – Rupakam – Bharathiyar' Samaganapriye – Anandhabhairavi- Adhi – G.N.Balasubramanyam
Vedhanai Evaridam – Parvathi- Kandachappu –Ambujam Krishnan 'Vadhapiganapathim- Hamsadhwani – Adhi –Dikshidhar
