The Tao of Music

> abhishek raghuram is a rare taoist of carnatic music who

belongs to nyasa sangeetha samrajyam where the pranaanala samyogada

nadhanubhava music is attained by a very few intuitive musical geniuses.

> is a laya kovida, (profound virtuoso of laya) inheriting subtlest inklings of layam

from his late grandpa (Palghat Shri Raghu)

> an adept of NYASA music where,

every swara is gotten a shadja like anchoring.(not to be confused with graha or

sruti bhedha) and juxtaposing (rear and front) the remaining swaras of scale to

create multiple flavours, thus exposing new and hidden visages of ragas.

(one cannot forget that the carnatic arena was blessed with the presence of

(one and only) nayana genius t.n.rajarathnam pillai, who was the emperor of nyasa

sangeetha)

His tao of music encompassing the other traits such as :

> impressive jharu prayogams (idioms of dilation) in vilamba kala keerthanas like

meru samaana and mari vere gathi evva ramma for instance.

(one can muse over 'ranganayakam' (nayaki) of both seshagopalan and abhishek)

> weaving unusual patterns of using different intervals of swaras

in aarohana and avarohana, thus causing psychedelic frills of fervour.

> very mysterious and mystical moorchana of raga phrases and daringly disposed

to revel in dangerous zones of untrodden raga contours.

> while presenting krithis, insightful sangathis are propitious to visit his resistless

imagination without inhibition.

> re-calibrating moodswing of ragas. (look for neelambari, madhyamavathi and

mohanam of abhishek for instance)

> majestic interpolation of nadaswara bhani in raga alapana while dealing with

ghana or sampoorna ragas like thodi, kalyani, kharaharapriya, shanmukhapriya

and gamanashram.

(sincere rasikas would have experienced this astounding demeanour

from the legendary seshagopalan)

> amazing swara prastharam in thisra and khanda gaits in any native

thala of krithis and extraordinary dexterity of tricky mathematical syncopation.

(like balamuralikrishna and seshagopalan, who are undisputed masters of laya)

> very compressed but fluid and spriteful brigas to embellish the music content.

> very strange nuance of landing and take-off notes in raga essaying.

> blending the melody aspect of hindustani music with

the vibrancy of native music and thereby easily eschewing

needless homesickness of adhering to some barren and boring tenets

of tradition which is liked by a few dull and conservative old folks.

> poised to exploiting fully, the scalar gamut of ragas, though it is seldom

ratified by stubborn traditionalists (who are not more than the burdens to be

averted in the wake of carnatic music.)

> in a nutshell, abhishek raghuram is a grace of rarity who is undoubtedly

going to launch some troughless waves of music amid rapturous bedrocks

in the years to come.

> the listeners are required to be more alert enough to cognise such

happening like abhishek when some real values are to be added to the

undying art of carnatic music. ARRAY OF CREATIVE CROWNS OF VOCAL MUSIC OF SOUTH ***G.N.BALASUBRAMANIAM ***DR.M.BALAMURALIKRISHNA ***MADURAI.T.N.SESHAGOPALAN ***ABHISHEK RAGHURAM

(all the above remarks of appreciation can be amply verified by attentive listening to his concerts without prejudices.) written by UDBHAV MAREECHI ( an ardent lover of carnatic music for the past twenty two years) Nanganallur, Chennai, INDIA (responses awaited at rmkudbhav@yahoo.com and mobile : 93811 41062)