ABHISHEK RAGHURAM IN NGS- 13/9

[CRama]

The concert of Abhishek Raghuram was sponsored by Tanjara, Parimal and one more brand of Agarbathis. The concert commenced at 6.15 P.M.
ACCOMPANISTS.
Akkarai Subbalakshmi- Violin
Anantha R Krishnan-Mridangam
Chandrasekar Sarma-Ghatam

List of songs.
• Varnam-Sankarabharanam-Ata talam- ST
• Kalananerchina- Deepakam-T (S)
• Seetanayaka Sritajanaposhaka Sree Raghukula tilaka-Reetigowla- T (R,N,S)
• Matimatiki-Mohanam-T (R,N,S)
• Ninnuvina sukhamugana-Todi-T (N)
• Hecharikagaa raa raa- Yadukulakambodi-T
• RTP-Yamunakalyani- K.Triputa- Tisra nadai
Pallavi- Radha Sameta Krishna Brindavana Govinda
• Mangalam

The Ata tala varnam in Sankarabharanam is an exquisite piece of grandeur, but not as frequently heard as its cousins in Bhairavi and Kalyani. The rendition of the varnam by Alathur Brothers is the Gold standard for this varnam and the recently held Alathur Centenary concerts revived my nostalgic memories of this varnam being presented by the doyens in various concerts. Abhishek’s start with this varnam was superb with so much intonations and micro muse moments. It was sheer joy to hear Kalananerchina in Deepakam- popularised by GNB. This song is not heard from other schools. The ragam Deepakam is a rare one, and I believe this is the only song available in this ragam. The ragam Deepakam is a janya of Pantuvarali avoiding gandharam and nishadam in the arohanam and with an extra nishadam in the avarohanam. The song was rendered with strict fidelity to the sahithyam and decorated with sufficient rounds of swaras in second kalam.

Reethigowla was taken up for elaboration as the first ragam of the day. I have heard many Reetigowlas of Abhishek and each instance is a joy to savour. His open throated singing with long akara passages interspersed with the brighas and gamakams do give an exquisite picture of the ragam most of the times. The kriti- Seetanayaka Sritajanaposhaka Sree Raghukula tilaka is a Divyanama sankeertanam of the saint of Tiruvayyaryu. There is a Sangeeta cassette of Balamuralikrishna and P.Susheela singing Divyanama sankeertanams. Guys, I strongly recommend this cassette for all the music lovers. Well coordinated rendering by both the singers with beautiful musical interludes- like MBK Bhadrachala Ramadas Kritis. Coming to Abhishek, I would say he has converted this simple Divyanama sankeertanam to a heavy weight kriti by adding more sangatis and brought the stature of a Ragaratnamalikache. Whether such a change is warranted- it is matter of debate. Elaborate neraval at the charanam lines -Nee gunamulu gattu baguga delisenu and appended with cracker swarams at Tyagaraja vinuta created many aha moments which received loads of applause from the huge crowd of music lovers.

The main ragam of the day was Mohanam. The akara suddham of Abhishek created an alapana of such intensity that Mohanam was aurally shown a great dimension. It was an Manamohanamana Mohanam with no sangati Kalyanish. His voice in fine mettle, his tremendous breath control, his roaring manodharmam, attention to micro tones, all indulged him to portrait the ragam in a wild canvas with the most colourful strokes that will remain a joy for ever for those who witnessed the creation of music. The raga alapana was only for 10 minutes. But the intensity of sangathis gave it a wholesome status. The song was Matimatiki – popularised by Lalgudi and TRS. The song was rendered with absolute fidelity to the authentic patantharam. Neraval at Mangalaakaara roopa with the torrential rounds of swarams with nadai variations, attractive koraippu culminating in a complex teermanam- all reinforced that Abhishek is a master of swaras.

Post tani, two fillers- not exactly fillers- two heavy kritis in weighty ragams- Todi and Yadukulakambodi came up. Ninnu vina sukhamu gana which normally comes as main or sub main and Hecharika gaa raa raa were rendered as fillers. But their weight was not compromised. Then Abhishek announced that he will present a small RTP in ragam Yamunakalyani. I was surprised. Raga Yamunakalyani – we are used to hear in slokams and Ragamalikas. Abhishek leashed out an elaborate exposition of this ragam for about twelve minutes revealing the myriad hues of the ragam. But over lapping with Kalyani could not be avoided. The innate beauty of this ragam lays in the diligent prayogam of sudha madhyamam in this prati madhyamam ragam. That was clearly portrayed. Elaborate tanam was followed by the pallavi and neraval. The pallavi is adapted from the famous kriti Radha sameta Krishna popularised by GNB. Customary trikalam was done with precision. Ragamalika swaras were in Chakravakm, Bindumalini and Sindubhairavi. The swaras in Sindubhairavi were so enchanting that I am looking forward to his RTP in Sindubhairavi. The RTP took 40 minutes. After the pallavi, no tukkadas. Straight Pavamana. The concert ended at 8.50 P.M. He could have gone for two light pieces and concluded at 9.00P.M.

Akkarai Subbalakshmi gave excellent support. Her mellinam, vallinam, alapanas, returns were commendable. Her silken touch and nimbleness of mind do remind the couple of legends belonging to the earlier generation.

Anantha R.Krishnan- I have not heard him for some time now. I cannot stop admiring his qualities of excellence each time I hear him embellishing the concerts he play- be Abhishek or any other vidwan/vidushi. His strokes are powerful matched by speed and sensitivity. He has an extremely keen sense enhancing the concert without drawing attraction to himself. His strokes for the kritis and swarams and koraippu were amazing. Chandrasekar Sarma proved a good match for Anantha in terms of virtuosity. Their tani drew repeated applause from the huge audience. An excellent concert.

[Rsachi]

CRama,
Great line:

portrait the ragam in a wild canvas with the most colourful strokes that will remain a joy for ever

I also found the entire Divyanama recording here:

https://youtu.be/cXhP1h8VHLY

[shankarank]

It was sheer joy to hear Kalananerchina in Deepakam- popularised by GNB. This song is not heard from other schools.

I remember reading a song list from CMANA concert in RMIC - Vid. Sowmya sang it 2000/2001 !

And I see 3 links:

http://www.sruti.org/concerts/2006/Sowm ... Review.pdf

http://www.rasikas.org/forums/viewtopic.php?t=15273

http://www.thehindu.com/features/friday ... e64883.ece

So my memory must be correct I suppose!

[sureshvv]

Sowmya sang it a Brahma Gana Sabha at #2 with some rapid fire swaras during the season some years back.

[mahavishnu]

I've heard this song more from Radha-Jayalakshmi than from other sources (Yes, certainly GNB influence).
Other than Sowmya, I have also heard Ranjani-Gayatri sing this a few years ago.

CRama: Thanks for your review. Seems like a grand concert by Abhishek with stellar accompaniment.

[rajeshnat]

Crama
Lovely review .I have heard twice abhishek's sindhubhairavi RTP, once in Annanagar when I got up and asked pallavi and sang it and another in the same NGS.

It looks of late Abhishek is taking a lot of cues from the great TRS . Numbers like Matimatiki in mohanam and a year or two back when I wrote about lakshmanamulu in suddhasaveri . I wrote long time back that TRS mAma popularized with many many unheard compositions of vageyakkara T with and these krithis are great testimony to that pursuit . More power to Abhi . The team of A A A is a joy always.

I am glad the concert started at 06:15 Pm . I am assuming the concert ended at 08:45 or so , that is why you had a yamunA kalyani mini prasadam instead of full sappadu kalyani RTP.

[Sivaramakrishnan]

.................. Bhadrachala Ramadas Kritis. .......I would say he has converted this simple Divyanama sankeertanam to a heavy weight kriti by adding more sangatis and brought the stature of a Ragaratnamalikache. Whether such a change is warranted- it is matter of debate. Elaborate neraval at the charanam lines -Nee gunamulu gattu baguga delisenu and appended with cracker swarams at Tyagaraja vinuta created many aha moments which received loads of applause from the huge crowd of music lovers.

A agree CRama.
The other day I listened to a radio concert (Chennai A -14 Sep.9.30 p.m. by Vasudha Ravi IIRC) where the main item was Sadaasiva Brahmendra's Tatwajjeevatwam in Keeravani with Neraval, Swaraprastara etc.!!
I don't welcome this trend.

[sureshvv]

I disagree. This is another area where artistes can experiment. There are bound to be some failed experiments but there is also a chance that rarely heard gems become revitalized in this process. I dare say that Abhishek's choices in Reethigowlai and Mohanam were well appreciated by a vast part of audience in this concert.