ABHISHEK RAGHURAM IN KGS ON 23/8/14

[CRama]

As a part of the on going Gokulashtami Celebrations organised by KGS spanning for three months (not a daily affair though) the concert of Abhishek Raghuram accompanied by Parur Ananthakrishnan on the violin and Anantha R Krishnan on the Mridangam enthralled the listeners on 23 Aug. The list of songs.
• Durbar varnam
• Dudugugala-Gowla Pancharathnam-T
• Koluvaiunnade-Bhairavi-T (R,N,S)
• Rajagopalam Bhajeham-Mohanam-MD (R,S)
• Emaanadichevo-Sahana-T
• Bhajare re manasa-Abheri-MV (R,S)
• Uyyalaloogavayya-Neelambari
• Alarsatha parithapam-Suruti-ST
• Thillana-Poorvi
(R-Raga alapana, N-Neraval, S-Swaras)

Even before the curtains unfurled, the entire auditorium was filled with the resonating sound of sruti. When the curtains went up, we could see the tambura artist strumming the age old sruti petti which was giving the wonderful nadam. I think mike was given for the sruti petti, but I am not sure. But the sruti was much enjoyable than the radel ones that we see in all concerts.

Abhishek Raghuram is one of the most creative artists of the young generation who always creates a sense of awe in the minds of rasikas wherever he performs. His creative quotient has always drawn me to his concerts. The concert had a bright start with Durbar varnam followed by Dudugugala with a brief alapana of Gowla. Bhairavi was the first raga of the day. The alapana of the ragam had an unusual start – from ni. The alapana was concise – for about 3 minutes and I liked his style of not giving violin return and just jumping to the krithi. The kriti, with its cascading sangathis was presented with a majestic grandeur and neraval done at manasuranjilla followed by electric swaras. The violin response was equally enjoyable.

Mohanam was his choice for the next elaboration. The way he unleashed the alapana breaking the shackles was breathtaking and there was no reprieve from there. The alapana had all flashy sangathis in a roller coaster mode. For solid 7 minutes, there was absolute ecstasy and his choice of Rajagopalam bhajeham- a rare song had sync with the celebrations. Elaborate swaras in two kalams at Parijatha thanumoolam embellished the song immensely. The leisurely song in Sahana brought a contrast mood to the vibrancy exhibited till the previous song.

Ragam Abheri was chosen for a majestic treatment of the day. The raga was presented with right impetus and this beautiful raga flowered progressively and raga exploration had some unique prayogas. I remember our rasikas comments asking for Bhajare re when Abhishek sang Nagumo in Bangalore. He has heard that perhaps. Bhajare came and stole the hearts of the rasikas. Personally I wanted to hear Nagumo from Abhishek with its delectable sangathis. I may hear on some other occasion. The melodic presentation of the song was further enriched by power packed gamakas and brighas aesthetics reigning supreme throuohout. Elaborate swaras with astounding combinations presented at the pallavi. In this song, he excelled in all aspects - manodharmam, aesthetics, raga bhavam, laya pyrotechniques. After the thani the three tail enders came.

Abhishek is blessed with a great voice, abundant manodharmam, very strong laya quotient and he gives more than 100% in all the concerts. My small crib- brighas need not be presented in every word of the kriti even if his voice is capable of executing with razor sharp precision. The song Uyyalaloogavayya was presented in a free style- its authentic structure taking a back seat.

The accompanists- wonderful match for the virtuosity of Abhishek. The young violinist from Parur family was a top notch match for Abhishek. His alapanas, returns for swaras all belied his age and experience. Abhishek also enjoyed each and every phrase of AK and showed his appreciation lavishly. In fact, Abhishek sang a few swaras in MSG style which was cake walk for the young Parur vidwan. Anantha- As usual, excelled with his deft strokes, anticipation and presence. The sound cloud of Anantha R Krishnan is just exceptional and there is so much of dexterity. The thani which he played alone for 20 minutes was electrifying throughout.

The entire team appreciated and enjoyed each other’s performance and together they took us to a great level of enjoyment. The audience was also very liberal in appreciating the music of the entire team. Thanks to KGS for providing us a wonderful concert.

[rajeshnat]

Crama
Tx for your review , i think this concert was held on 23rd Aug 2014 , saturday. One anantha Krishnan without any breaks in mrudangam - and another ananthakrishnan with breaks in violin. I remember seeing a notice that ghatam was there (chandrasekara sharma), may be he did not play.

[CRama]

Yes. I have corrected the date. There was no Ghatam.

[Rsachi]

Dear Ramakrishnan,
Thank you for the review. I also saw the song list on FB posted by Ram Kumar.
I have a question. Except the Poorvi tillana, this repertoire didn't, to my understanding, have any raga featuring the higher Ma. (pratimadhyama )

Just to improve my knowledge, I want to know from you and others knowledgeable about these matters: what is the norm in planning a concert? Is there a requirement that one offers a range of ragas and talas and composers and languages in such a way one covers more ground? Should one have both the lower Ma and higher Ma ragas? What is the "best practice" in this regard?

Thank you.
Sachi R

[CRama]

Generally, while panning a concert the following aspects should be taken into account.
• Variety of composers
• Variety of talas
• Songs of different kalapramanams
• A mix of sudha madhyama and prati madhyama ragas.
• Variety of languages.

However, when we see the ragams being presented in the concerts, there is a predominance of sudha madhyama ragams than prati madhyama ragams. The common prati madhyma ragams being sung are
Panthuvarali
Poorvikalyani
Kalyani
Lathangi
Hamsanadam
Amritavarshini
Shanmugapriya
Simhendramadhyamam
Varali
Subhapanthuvarali
Hemavathi
Vachaspathi
Ranjini
Ramapriya

I have listed them more or less on the frequency of presentation of the ragam. Among the six major ragams, Kalyani is the only prati madhyama ragam. In most of the concerts Panthuvarali or Poorvikalyani occupies the first raga alapana.
Having said this, Poorvikalyani and Kalyani are not my personal preferences. But I have seen that PK is capable of lifting a sagging concert to a higher level. I have also observed that there are very few songs in prati madhyama ragams which are presented as it is- sans any alapana or swarms- which we call as filler songs. Vidwans like Abhishek, sometimes, drifts from the pattern I have given above for their penchant on that day to present some specific ragam. Nothing wrong in that. The concert will not have any deficiency if PM raga is not sung in one concert. Some vidwans, to circumvent this, sing varnam in Kalyani . Some peole say, Mohanam being a madhyamavarja ragam can be sung in the place of prati madhyama ragam. Some vidwans, when no prati madhyama ragam is presented, include one PM ragam in the ragamalika slokam (mostly Shanmugapriya).

In the instant concert, I can say, absence of PM ragam never came in the way of the excellence of the concert.

[Rsachi]

Thank you!

[ganeshkant]

Inclusion of a song in pradhimadhyama rAgam do add color to a concert though it is not that mandatory.Proportion wise if U look at, the shudhdha madhyama rAgams have predominance over prati madhyamam.Even in the pancharatnam we have just one out of five making it only 20% !

[Sivaramakrishnan]

The so-called suddhamadhyama monotony can also be broken by a Ragamaalika or even a kriti based in madhyamasruti.

Unfortunately such pieces find a place only in the Tukkada segment as if by rule!