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A pioneer of his generation, Abhishek Raghuram seeps his performances with intellect and artistry. He comes from a widely respected lineage steeped in the rich tradition of Carnatic music. We hope you enjoy his performance of Raag Pahadi from the Darbar Festival 2014.

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Learn more about the music:

The eminent and widely respected Lalgudi Jayaraman’s compositions are regarded as unprecedented in Indian music because of their uniquely aesthetic quality. In this video, Late Jayaraman’s grand-nephew Abhishek Raghuram performs a thillana in Raag Pahadi. The midas touch lies in Raghuram’s application of the swaras of this raga alongside a witty manipulation of the Mishra Chapu talam.

Akkarai Subhalakshmi accompanies the piece with patient, well-shaped phrases, toeing the line with Raghuram’s rich contributions in the raga and tala-scapes. Along with Raghuram, she retains the tenderness of emotions that is typical of a Lalgudi Jayaraman composition with delectable culled phrases.

V V Ramanamurthy (mridangam) and G Guruprasanna (khanjira) add layers of soft touch on the surface that remain underpinned by delicate combinations of bols reaching the deepest strata to bring out the best in this rich composition.

Raag Pahadi is considered a janya raga of Dheerashankharabharanam, the 29th melakarta in the sampurna mela system. Its jati is audav-sampurna, that is, it uses five notes in its ascent and seven notes in its descent. Ma and Ni are omitted in the ascent. The vadi swar or dominant note is Sa and samvadi or sub-dominant note is Pa. Pahadi can be expanded all octaves but it sounds more appealing when elaborated in the lower and middle octaves. Ga, although not vadi swar, is of great importance in Pahadi.

The arohana and avarohana of this raga are as follows:

S R2 G3 P D2 P D2 S’ N3 D2 P G3 M1 G3 R2 S N3 D2 P D2 S

Musicians
Abhishek Raghuram (vocal)
Akkarai Subhalakshmi (violin)
VV Ramanamurthy (mridangam)
G Guruprasanna (khanjira)
Mithila Sarma (shruti box)
Kiruthika Balakrishnan (tanpura)

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