> 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) | |
