He commenced with a Pushpanjali, followed by an Alarippu in usi. The Tanjore Quartet's varnam in Anandhabhairavi ragam, 'Sakhiye indha valaiyil jhalam shaiyade' was chosen as the main item of the recital. Such a dignified portrayal of nayika bhava, including the sringara rasa, was so effortlessly achieved by the dancer. His nritta was no less. His araimandi would have put a youngster to shame. The discipline of his body was also apparent. The varnam was cleverly interwoven with numerous small jathis instead of the regular big ones. Even the sancharis had small jathis fitted in with the swaras. The nayika begs her sakhi to take word to her Lord. She speaks of his greatness and her devotion to him.

An ashtapadi in Ahirbhairavi ragam, 'Mami in chalitha vilokgya' followed. He was now a nayaka, and in this case, Krishna. Krishna is heart broken. Radha is angry, after having seen him playing with some gopis, and spurns his love. What will she be thinking of me? I cannot bear this separation. I made a mistake, and I will not do it again, laments the nayaka. Chandrasekhar's pleading and his look of pain was so real, it spoke of the artist's calibre, and his involvement with the art.

He concluded with a lilting thillana in Paras ragam by Poochi Iyengar. Chandrasekhar was backed by a competent orchestra. Lead by his daughters, Manjari and Chitra, on the nattuvangam, the others were Hariprasad , vocal, Adyar Balu, mridangam, T.V.Padmanabhan, violin, V.Muthukumar, flute, and Lakshminarayan, tambura.