Abhishek Raghuram enthusiastically handles an important performance

Abhishek Raghuram shared the stage with veteran mridangist Trichi Shankaran, violinist HN Bhaskar and Ghatam scholar Chandrashekhar Sharma. , Photo Credit: Raghunathan SR

The word passion does not seem sufficient to describe Abhishek Raghuram’s constant pursuit of musical excellence. On any given day, his music may exude blissful melody, unravel compelling complexities, or embrace unbridled eccentricity – or a combination of these.

His concert for Sri Parthasarathy Swami Sabha was a celebration of Trinity’s classics and ‘Azhimzhai Kanna’ from Andal’s Tiruppavai. Sharing the stage with violinist HN Bhaskar, mridangam player Trichi Shankaran and Chandrashekhar Sharma on ghatam, Abhishek came up with a weighty performance.

A setlist of Darbar, Varali and Mukhari is a classic for raga depiction. It also included one work each of Shyama Shastri and Dikshitar, which became attractive.

Abhishek Raghuram’s Varaali was not only made leisurely, but also followed a less-charted curriculum. , Photo Credit: Raghunathan SR

The consecration began with Virutham ‘Nanadhedhu Niyadhedhu’ in which the name of Rama was sung in Sahana as a prelude to the varnam ‘Karunimpa’ of Thiruvotriyur Tyagayyar. ‘Neelaatakshi’ brought out the soulful essence of Paras, and a brief Kalpanaswara section highlighted the swarakshara beauty in ‘Samagan Lole’ (Sa Ma Ga). The Vara kriti ‘Budhamashrayami’ was a timely choice, with Nattakurinji’s beauty shining through her rendition.

This was the next royal attraction of the court. Vakra phrases that characterize the raga and give it a unique identity were in prominent presence in Laghu Alapana. Tyagaraja’s ‘Endundi Vedalithivo’ in Mishra Chapu and the swara marga at the beginning of the pallavi provided the full spectrum of the raga.

Abhishek’s Varaali before ‘Azhimaazhai Kanna’ was not only leisurely but also followed a less-charted course, and Bhaskar’s response kept the essence intact. In ‘Vazha Ulaginil Pidhidaya’ Niraval eloquently conveys Andal’s appeal to the rain god and asks for blessings for universal prosperity. Due to this, there was a shower of imaginative voices along with the pulsating rhythm of Shankaran. Abhishek, himself a rhythm exponent, enjoyed the match-up in every way. After this Bhaskar and Sharma together repeated that experience.

Tyagaraja’s ‘Inthakan Anandam Emi’ (Bilahari-Roopakam) was relevant and a perfect follow-up, it means “What is greater joy than this?” This continued through the song presentation, and Niraval was a motivator in ‘Nee Japamula Vela’.

As soon as Abhishek expanded the main raga of the song, Mukhari, into a natural flow, the melancholic raga became dominant. Surprisingly, he started Tyagaraja’s composition ‘Murippemu’ without any violin prelude. The Niraval Charanam was on the line ‘Eiduleni Malayamaruthamu Che Gudina Kaveri’, culminating in an extraordinary vocal section with all the accompanists.

There was an interplay between Thani Shankaran and Chandrasekhar as they weaved complex rhythmic patterns in their avarthanam, leading to Kurappu before concluding with an energetic thermanam. The recital concluded with Papanasam Sivan’s ‘Karpagame’ in Madhyamavati.