Vocal : Abhishek Raghuram
Violin : H N Smitha
Mrudangam : Anantha R Krishnan
01. viribONi ( varNam ) – bhairavi – Pachimirium Adiappa
02. vAtApi gaNapatim bhajE – hamsadhwani – Dikshitar ( A (short) , S )
03. vinatA suta vAhana – jayanthasEna – Thyagaraja ( A,S )
04. AdamODi galadE – chArukESi – Thyagaraja
05. mInAkshi mEmudam dEhi – gamakakriya ( pUrvikalyANi ) – Dikshitar ( A,N,S,T )
neraval & swara @ ‘ madhu mada mOdita hrdayE sadayE, mahAdEva sundarESa priyE’
06. mAyamma yani nE – Ahiri – Shyama Sasthri ( started at anupallavi )
07. rAma deivamA rAgarAga lObhamA – surutti – thyagaraja
08. mangaLam – saurAshtram – Thyagaraja
Rasanveshanam was an idea nourished amongst a few dedicated listeners of carnatic music to experience the music in its true sense, within a closed circle of ardent listeners and in an environment which give ample scope of expression to the artist and the ambiance of uninterrupted absorption to the listeners. The drift between the artist and the rasika has to fade away and the aspect of ‘oneness’ with the music where everyone is a participant has to evolve. Abhishek Raghuram’s concert was the first step in that direction as it had to start with one who is on a path of exploration and personal experience of this music form beyond the established pattern. And what a way it begun …
Abhishek, physically unwell after a mishap few days ago, did perform ( probably against the medical advice) with his characteristic fervor. A majestic endeavor ably supported by H N Smitha and a scintillating Anantha R Krishnan, in a place away from the rush and hush of the city. A select crowd of chosen few were to be treated with awesome music from the artists. The hosts ( Arun and Meenakshi ) were equally awesome in their hospitality.
Concert started with a bang, viriboni was brilliant, a start giving us the glimpse of what is to follow for the rest of the evening. A short hamsadhwani alapana ( no violin turn) preceded ‘vAtapi ganapatim’ with some interesting sangatis incorporated to the pallavi line as well as the charanam before some masterly swara kalpana to finish with aplomb. Jayanthasena alapana was the first to elaborate, probably the longest I’ve heard. Got us scratch our head for a while, before hints vinata suta appeared in the alapana. H N Smitha did a commendable job on her return. Charukesi filler was apt before a giant main in the form of Dikshtar’s masterpiece.
Purvikalyani alapana saw him exploring some new depths ( or heights, if you may) of the raga, especially in the higher octaves. He seemed to thrive on one phrase after the other, trying out new nuances of the raga, new possibilities with extempore creativity. An alapana to remember for a long time. Smitha’s return were rather subdued after the brilliance of Abhishek, threading the regular melodious phrases of the raga, done with careful hands. Meenakshi memudam dehi was a splendid affair. He marveled all through the kriti, picked neraval line at ‘madhu mada modita’ and did some clever musical wordplay around ‘mahAdEva sundarESapriyE’. Kalpana swara was elaborate in two kalam, showcasing his wizardry with the intricacies of the swara patterns and mechanics. Some of those takes probably was a bit too hot to handle for Smitha, but she did her best to live upto the singers creativity.
Anantha R Krishnan was the live wire of the day. He played phenomenally well through out, adding another feather in his cap with s stupendous tani avartanam. Post main was short as he wounded up the concert with a moving ahiri and a rarely heard surutti kriti of Thyagaraja.
A Splendiferous treat to the music lovers and a brilliant start to ‘rasanveshanam’.