Abhishek Raghuram and his penchant for unconventionality

Abhishek RAghuram’s penchant for unconventionality came through

Abhishek Raghuram’s concert is perhaps one where the audience needs some preparation and conditioning, as unconventionality is the norm. There is always an air of intrigue and some trepidation. As he has travelled far in his unique bani, the distance from familiar terrain has widened, as the concert demonstrated. It was also a take-it-or-leave-it kind of performance.

The number 22 divided by seven has a unique place in the numbers’ world. It’s called the ‘Pi’, is considered an irrational number with an indeterminate number of decimals and nonterminating. There are books written only on Pi. The analogy between Abhishek’s concert principles and Pi is very conceivable. There are irrational (not normally heard) phrases and seemingly endless manodharma that often manifest in different ways – like the Hindolam alapana or the high-stakes Pallavi in Varali that formed the key parts of his concert.

‘Kari kalabha mukham’ (Saveri, Dikshitar) was sung with a traditional gait and bhava as Abhishek kept it simple and enjoyable. ‘Amba Kamakshi’, the Yadukula Kamboji swarajathi of Syama sastry (only the lyrics were sung) was as much a surprise pick as the kalapramana that stayed at an in-between zone, to allow for progress and enjoyment at the same time. Abhishek dived into the aesthetics of the raga at various points to reinforce his raganubhava instinct. The same instinct dominated Hindolam, with many plain notes and short and pregnant phrases. The alapana structure was different to what one hears and therefore, there was a danger of an overkill. As it turned out, his 14-minute alapana was responded to beautifully by violinist L. Ramakrishnan in 4 minutes, with no less an outcome. It is perhaps a greater challenge to encapsulate the essence of a raga in short duration than dwell on it. In a timed concert, where the audience expects a variety of emotions, this is important. This is not part of Abhishek’s playbook though. ‘Manasuloni marmamulu’ is as old on the performing stage as anyone knows, and Abhishek revelled in a verve-filled presentation. By this time, his adrenalin was rushing as the swaras in Hindolam demonstrated.

Abhishek presented a pleasant raga alapana of Bilahari before ‘Paridana michite’ (Patnam Subramanya Iyer, Kanta Chapu) fell like a torrent, including a hastened charanam. Abhishek was so self-consumed that Ramakrishnan forfeited his raga alapana chance. Niraval at ‘Rokkami chudagu’ was brilliant from both artistes, with matching strokes from Patri Satish Kumar and V. Suresh.

The pallavi in Varali was in Adi tala with kanda nadai on thattu – yes, that’s a Pi moment! The thanam was embedded in the raga alapana of Varali, perhaps to keep pace with the clock, as Ramakrishnan once again graciously gave up the alapana rights. What followed was a combination of some breathless singing, bold travels through the tala structure and ragamalika embroidery, that few artistes will even attempt. As the soul moments yielded space to the mind challenges, it rained sangathis and swaras raising a flood alarm. Hamir Kalyani and Sri were juxtaposed into the swara segments seamlessly, and thanks to artistes like him, these are now par for the course among youngsters. A Darbari dasarnama finished the concert .

One heard a different shade of Patri on the mridangam, with many moments of close alignment to the vocalist’s expressions and restraint. The tani was crisp and enjoyable, reflecting that strategy. Veteran Suresh, on ghatam blended nicely into a rhythm-dominated concert.

Ramakrishnan’s growing stature was evident in his limited raga alapana opportunities and in the trickly pallavi. One is not sure how he manages the bowing strength without an exaggerated swing, much like some of the new six-hitters in IPL! His grace in letting Abhishek dictate his openings is a commendable etiquette too.