Sensitivity meets structure in Ritwik Raja’s concert at Sangeet Academy

Ritwik Raja is known for presenting his art with sensitivity and awareness, constantly shaping his concerts with a different approach. His presentation at the Sangeet Academy this year included three Dixit kritis, among other compositions. He was accompanied by Shruti Sarathi on violin and K. on mridangam. Arun Prakash and Madipakkam A on Ghatam. Was Murali.

In the beginning of Kachcheri, Niraval was presented for ”Sri Nathadi” (Mayamalvagoula) and ‘Sarasa Samadana” (Kapi Narayani). Shruti effectively enhanced Ritwik’s ideas in these sections, while Arun’s steady pace and use of contrast at appropriate moments helped to construct the concerto in a thoughtful manner. Murali reflected Arun’s vision and blended in with the ensemble.

Ragamalika alapana with quick raga changes created a sense of unpredictability as to what the next raga would emerge. Shruti deserves praise for her responsiveness and ability to immediately understand and follow Ritwik. This unique effort connected well with the audience, as Ritwik was clearly enjoying what he was doing. Loud noises were avoided in the presentation of this long work and it was presented at a calm pace. While the alapana was attractive, it was doubtful whether the audience would be able to understand that it contained ragas from Dikshitar’s ‘Chaturdash Ragamalika’, especially since the order was reversed.

Ritwik’s rendition of ‘Balagopal’ was typical of his adherence to the Muthuswami Dikshitar sect. Photo courtesy: K. pichumani

The rendition of Ritwik’s magnum opus ‘Balagopal’ came out in adherence to the Muthuswami Dikshitar sect, in which Shuddha Daivatam (D1) figured prominently. The Manodharma sections included several relevant usages that shed light on this specific usage. From an academic perspective, it is important to present the works in this way to showcase Dikshitar’s unique perspective. Ritvik excels in this regard by demonstrating in many ways how the Shuddha Daivatam, with less use of Chatushruti Daivatam (D2) in its alapana, combines with the Nishadam, giving a different color to the raga. His Niraval and Kalpanaswara in ‘Vanika Gayak’ also focused on the D-N relationship and made for enjoyable listening. Some specific phrases emerged from Nishadam in the upper Rishabh region. Shruti’s Bhairavi Alapana shone with clarity.

More efficient time management could have allowed for a longer, more leisurely RTP; However, the singer and violinist presented a well-structured Purvakalyani RTP in the section Triputa.