As the warm lights dimmed and the expectant buzz of the audience hushed, a palpable sense of both intrigue and apprehension filled the air. Those aficionados familiar with Abhishek Raghuram’s performances knew that what was about to unfold on stage would defy the conventional and venture into the musically uncharted waters of his unique bani.
The Music Academy’s Margazhi season was graced with such a performance, where one could barely take the time to draw comparisons to the indeterminable yet mesmerizing qualities of the mathematical constant Pi. Abhishek’s concert embodied the essence of this irrational number—full of phrases that mesmerized but did not follow the trodden musical paths, akin to the endlessness of Pi’s nonterminating decimal form.
Diving headlong into his recital with ‘Kari kalabha mukham’ set in Saveri, composed by Dikshitar, Abhishek maintained a balance of simplicity and emotional depth that entranced the gathering. The choice was as unexpected as the synergetic tempo that allowed enjoyment and progress to coexist. In the same way, his handling of ‘Amba Kamakshi’ – the Yadukula Kamboji swarajathi by Syama Sastri, sung only in its lyrical beauty—was a revelation in his command over the in-between speeds typically avoided by the less adventurous.
The alapana of Hindolam that ensued was another expedition into the territory of instinct over formula, featuring arresting phrases and plain notes that left the possibility for overkill looming like a shadow. Yet, the brevity of the 14-minute exploration was beautifully answered by violinist L. Ramakrishnan in a succinct four minutes, proving that brevity could indeed encapsulate the soul of a raga.
Abhishek’s deliverance of ‘Manasuloni marmamulu’, a well-aged composition in Hindolam, was a testimony to his fervor, as he embarked on a surge of adrenaline-laden swaras that demanded and retained the attention of everyone present. The torrent of music continued with ‘Paridana michite’ in Bilahari by Patnam Subramanya Iyer, including a hastened charanam with Niraval at ‘Rokkami chudagu’ becoming a brilliant interplay between the vocalist and the accompanying maestros.
The pinnacle of innovation reached its zenith with the high-caliber Pallavi in the raga Varali—a custom-built tapestry of rhythm and melody in Adi tala with kanda nadai on thattu—embroidered with bravura and intricate ragamalika segments; indeed, a musical moment mirroring the enigmatic quality of Pi.
The rhythmic aspect of the concert was accentuated by the distinctive touch of mridangist Patri Satish Kumar, whose alignment to the vocalist’s expressions was a blend of precision and subtlety that captivated the connoisseurs. Alongside, the veteran Ghatam artist V. Suresh complemented the rhythm-focused journey with his formidable playing.
Ramakrishnan’s growth as an artist shone through despite limited opportunities for solo raga alapanas and the challenging Pallavi, displaying a finesse in bowing strength that drew parallels with the adequate but unmistakably powerful strikes of modern cricket’s six-hitters. His willingness to yield the musical foreground to Abhishek out of respect illustrated his commendable professional etiquette.
The concert’s conclusion came with the soothing notes of Darbari dasarnama, encapsulating the audience’s collective breath. It was a concert that, akin to Pi, offered inspiration alongside an acknowledgment that the full understanding of its depth remained tantalizingly out of grasp. It was evidence that while Abhishek’s performances ignite the intellect, they also left a yearning for the comforts of the soul.
In sum, Abhishek Raghuram’s performance during the prestigious Margazhi season reflected his reputation as an artist whose unorthodox approach both challenges and delights, resonating with a spirit of exploration embodied by the mathematical wonder of Pi. His concert was a journey through the perfect blend of familiarity and surprise— a take-it-or-leave-it offering that left the audience eager for more of his innovative genius.
