Abhishek Raghuram juxtaposes rhythmic brilliance with melodic introspection

Abhishek Raghuram’s music is deeply rooted in Carnatic classicism, yet is not confined by conventional boundaries. He brings an unmistakably individualistic approach to the concert platform as seen recently at ‘Mind, Voice and Beyond’, his performance for Bharat Sangeet Utsav at Narada Gana Sabha.

Ponnaiah Pillai’s Khamas padam, ‘Saamiyai azhaithu vaadi sakhiye, emerged as a centrepiece offering a juxtaposition of rhythmic exuberance and melodic exploration. The Sankarabharanam Ata tala varnam, ‘Chalamelara’, set the proceedings on a brisk, almost jet-speed course.

Swarna Venkatesa Dikshitar’s ‘Manamirangadha’ in Mayamalavagowla, set to Rupaka tala, offered a contrasting shade before Tyagaraja’s ‘Vinata suta vahana’ in Jayantasena brought rhythmic complexity to the fore with its mel-kala tisram kuraippu.

The rapid-fire treatment of ‘Vara narada narayana’ in Vijayashree further demonstrated Abhishek’s agility and command over musical passages. The Khamas padam provided the concert’s most engaging rhythmic encounter. N.C. Bharadhwaj, on the mridangam, after a brief Chatusra nadai, seemed to momentarily venture into Sankeerna nadai for half a cycle in Adi tala, before swiftly settling into Khanda nadai and developing an elaborate Misra nadai.

His farans, stood out for their clarity at speed, so did the balanced thoppi . He was ably supported by Krishna Sriram on the ghatam and Surmukh Karanth on the kanjira. Surmukh’s repetition of Bharadhwaj’s Khanda nadai korvai during his first turn was particularly delightful.

Vittal Rangan’s violin provided melodic support to the proceedings. Abhishek’s percussion training and his innate rhythmic intelligence are well known. However, there are occasions when these strengths become a double-edged sword.

His fascination for speed and intricate mathematical constructions particularly during niravals, can sometimes come at the expense of the raga’s aesthetic continuity. The challenge is to ensure that the mathematics remains subservient to the music rather than becoming the principal attraction.

Pattabhiramayya’s Purvikalyani javali, ‘Ni maatalu maayanura ’, was evocative. It revealed an introspective side of the vocalist, although a slower, more deliberate unfolding would have allowed its emotional possibilities to linger.

The Ashtapadi in Subhapantuvarali brought the presentation to a close.