ABHISHEK RAGHURAM AT SIVAGAMI PETHACHI AUDITORIUM-26/10/14

[CRama]

As a part of the Kalpadruma Arts and Artists Festival, Abhishek Raghuram presented the concert on 26 Oct accompanied by Akkarai Subbalakshmi on the violin, Anantha R Krishnan on the Mridangam and Sreesundarkumar on the Ganjira.

The list of songs.
Balambikaya param nahire re chitha-Kanada-MD-Adi
Gathi neevanine kori-Thodi-Lalgudi Pancharathnam of Thyagaraja- Adi
Entha muddo entha sogaso-Bindumalini-Adi- T- (R,S)
Sree Swaminathaya namasthe-Khamas- MD (R,N,S)
RTP- Dharmavathi-Nadai pallavi-khanda chapu
Sringara rasa manjari- Rasa manjari-Adi-MD
I left after this song.

Abhishek Raghuram, who stands tall in the league of genx musicians, never disappoints listeners. He is a combination of intellect, virtuosity, zeal, and hard work and I have always been mesmerized by his performance. This was no different. In this concert, the opening number, a rare song of MD in Kanada was a pointer to the many rare songs that was to follow. When the brief alapana of Kanada was being done, he kept us guessing whether it will be varnam or Mamavasada or Sukhi evvaro. But Balambikaya came as a fresh breeze. It was presented in its pristine pure form without adding any manodharmam elements to it so as to facilitate unadulterated savouring of the kriti. The next song, a grand composition of Thyagaraja in one of the mighty ragas- Thodi was presented in all its grandeur in a most suitable kalapramanam. The song with its swirling sangathis was presented in a manner that over shadowed all other renditions of the song you have heard earlier. Sad, this song is presented only by Lalgudi school. There was no raga alapana or swarams to this song, but nobody felt the lack of them either. Taking up Thodi in the beginning itself brought a weight to the entire concert.

The first ragam to be taken up in the concert was Bindumalini. This ragam is a favourite of flutists. But Abhishek is one vidwan who always infuses moments of aha in the alapana of Bindumalini. Though the alapana was not as elaborate as the one I have heard from him in an earlier instance, he compensated that in the elaborate sparkling swaras rendered at the pallavi. The landing of many cycles in gaari gaa maa to showcase porutham was like a roller coaster ride which the audience immensely enjoyed. I also liked his pattern of seamlessly merging the alapana into the kriti without any violin interlude. This is welcome when the alapana is not a big one.

Abhishek next embarked on a joyfull ride with Khamas. It was an elaborate one for about 7 minutes. The alapana with its poignant glides and jarus was most enjoyable and it was very amusing to see refreshing expressions in this ragam. Another rare composition of Deekshithar -Sree Swaminathaya Namaste was chosen to the delight of the rasikas. But the patantharam was slightly different from what I have heard earlier. He has added many sangathis to the pallavi which is not the feature of MD kritis. Neraval was done in the charanam line Gajaambaa ramanaaya Ganapathi sodaraaya and ornamented with liberal rounds of swaras. (to be continued)

[CRama]

()Continued)
Abhishek is one consistent artiste who never fail to include a pallavi in most of his concerts. And he never choose an obscure ragam for displaying his vidwat. Many times he goes for multi ragams. In this concert he chose Dharmavathi for the detailed exploration. Even though this is branded as a scalar ragam (discussion going on in another thread), the genius TNS has shown the potential available in this ragam which Abhishek has successfully harnessed with his immense manodharmam. The elaborate alapana of this ragam in two stages did flow in the right pace and each swara unfurled the grandeur of the ragam in a very scholarly manner which is not every body’’s forte. The brilliant akara laden phrases, fast brighas, especially abundant sancharams around ni were out of the world. The alapana in two stages took 15 minutes and Akkarai Subbalakshmi took 5 minutes to reply. The thanam took another 15 minutes with his creative quotient riding high throughout. The pallavi was Palimsu Bangaru Kamakshi Bhagavthi Gunavathi Dharmavathi- same pallavi coined by TNS and Abhishek announced also. The neraval and swaras were of high order. Customary trikalam was done. In the ragamalika segment, sahana, saveri, ranjani were presented. Here also Abhishek displayed unusual creativity. He sang the swaras sarimaagari sarigarisaa- this usually reminds us of Malahari geetham Lambodhara lakumikara- but Abhishek used this in Saveri and created enormous patterns around this phrase in various speeds which was astounding. The final segment consisted of many rounds containing all these ragams which I have seen only from TNS. It was nothing short of spectacular. The huge audience showed their appreciation very lavishly at appropriate junctures.

Akkarai Subbalakshmi proved she is perfect match for Abhishek in terms of dexterity, skills and imagination. Her alapanas of Khamas, Dharmavathi, swarams and neraval returns were all top notch. Rasikas showered their appreciation very liberally on Akkarai. Anantha R Krishnan, being the pal of Abhishek anticipated the sangathis of Abhishek and embellished them with his manodharmam and creative energy. The thani with Sreesundarkumar lasting for 20 minutes was amazing and drew applause for each round. It was very lovely to see the sync between all the artistes on the stage which took the concert to great heights.

The concert was scheduled to start at 6.15 PM. I reached the venue by 5.40 PM. The hall was half full by then. By 6.00 PM, the hall was full- including balcony and people started standing on the aisles. At 5.45 all the artistes have seated behind the curtain and they were testing mikes and fixing it. We could hear splendid waves of Sankarabharanam from Abhishek- It was in an unstructured format but very enjoyable. This exercise went on for almost half an hour. The care they took in fixing the mike and monitor is appreciable and this should be done by all the artistes before the curtain goes up so that wasting of time and spoiling the mood after commencement of the concert can be avoided. The hall itself had a good acoustic system. However I felt that half an hour for this is too much. But once the concert started, there was no need for adjustments.

Some observations of audience behavior. It was a very happy sight to see so many young rasikas in the audience. Two mamas were sitting next to me. They had reached much before me and occupied good seats waiting for the concert patiently for more than 45 minutes. But within 45 minutes, at 7.00 PM. they left the concert. I wonder why they came so early and waited for the concert. I do not think they went dissatisfied with the performance. The hall was brimming with crowd One young lady was standing with her two year old child and hearing the concert standing for nearly two hours. There were two young Japanese lads who sat and listened to the full concert with rapt attention and trying to put thalam.

An excellent concert for nearly three hours.

[mahavishnu]

Thank you, CRama for your diligent review. I had heard about this concert through the grapevine.

The first ragam to be taken up in the concert was Bindumalini. This ragam is a favourite of flutists. But Abhishek is one vidwan who always infuses moments of aha in the alapana of Bindumalini.

Yes, it was also a U Srinivas favorite. I remember a concert where N Ramani (himself a bindu malini specialist) was in the audience and moved to tears by Srinivas's performance. I miss him enormously, especially when I listen to enta muddo.

[sureshvv]

Abhishek has found the perfect microphone. It is a big honking thing but it captures his voice irrespective of movement and direction. There was a long and soft kaanada overview to begin the concert, almost like he was humming, and it seemed like he was just enjoying the microphone.

[bombal]

wonderful reviewing CRama sir, covering the various aspects during the concert, both on and off the stage

:namaste:

[Rsachi]

CRama,
I was feeling deprived when I heard about this concert. Your review has given me much relief. Your writing is brilliant. Just two quotes:

He is a combination of intellect, virtuosity, zeal, and hard work and I have always been mesmerized by his performance

I couldn't have said it better about my own reaction to this wonder musician whom I follow since 2009 actively.

Second quote:

The alapana with its poignant glides and jarus was most enjoyable and it was very amusing to see refreshing expressions in this ragam.

This line is a classic like a Shakespearean scene (The Merchant of Venice). Brings out the musician in you too!

Dharmavati has been compared by me elsewhere to a rain forest for its effect on me. It is not a scalar raga to me. It becomes scalar in the voice of the tentative musician. I have heard a few RTPs I think in this raga. There was a commendable effort by Ganesh Kumaresh in Chowdiah 2 years ago.

Akkarai is a musician beyond compare. Anantha is a rockstar. And imagine them with Abhishek who is a class act EVERY TIME. I envy you CRama.

About the gentlemen who left at 7. I am reminded of the parable of Sri Ramakrishna. He bemoans the condition of the worldly. He says they just can't stay comfortably too long in a spiritually elevated mood. They have to drop down to their mundaneness soon enough for their comfort. It's much like a cat who has a stone tied to his tail so he doesn't raid the kitchen shelf.

[rajeshnat]

Crama
I was thinking to go on sunday for hearing this great 4 stars , let us not miss out praising B sundar kumar who is really good and has one of the fastest fingers in kanjira. Thank you for your review. I have not heard this kanada md krithi at all.

Mahavishnu
I was thinking Ramani , U srinivas all took enta muddo enta soguso after Lalgudi jayaraman sir took it to himalayan heights - I am assuming LGJ was their inspiration for bindhumalini.

[Rsachi]

Yes, Sundar Kumar strikes me as a classic package - composure PLUS talent to rise to any occasion.

[mahavishnu]

Mahavishnu
I was thinking Ramani , U srinivas all took enta muddo enta soguso after Lalgudi jayaraman sir took it to himalayan heights - I am assuming LGJ was their inspiration for bindhumalini.

You are absolutely right. LGJ's version was the inspiration for all of them. I still remember the first time I heard this kriti was in a commercial LP release by LGJ-GJR with Karaikudi Mani on the mridangam. Haunting bindu malini.

[Rsachi]

This song was a favourite of Dr S Ramanathan also!

[CRama]

I have never heard from Dr SR. But among the vocalists, it was Balamurali who popularised this song in the sixties.

[Rsachi]

Yes, BMK too. Have heard him sing this a few times.

[Sivaramakrishnan]

I find lot of MBK traces in AR's rendering.
He employs it 'judiciously' but to best advantage.
Is he getting / has received lessons from the great master?