Mariyada Gadayya - Abhishek Raghuram 

Firstly, please use headphones or speakers to truly experience any recording. Here, please listen to at least 6-7secs from the spot mentioned under “Key Moments”: ◆ I love how beautifully Vid. Abhishek has enjoyed the naada of the raga/song. It is one thing to sing something but another to inject presence into it with love. Key Moments: 0:16, 0:32, 1:17, 2:43, 3:39 (the whole first part of the charanam), 5:13, ◆ As open, empathetic listeners, I think we can appreciate the brilliance in the conception and delivery of some sangathis, temporarily ignoring the fact that it might have come in the way of the mood of the kriti’s meaning. One can notice how effortlessly he fits in sangathis without compromising on the consistency of the laya-heartbeat of the rendition. That is what makes the flow surreal. Key Moments: 2:19, 2:30, 2:56, 3:20, 3:24, 6:05, 6:15, ◆ I think we must take a moment to appreciate how original and creative Vid. Anantha’s accompaniment has been here - one of the highlights for me. In this case, heavily inspired by thavil, the rich choice of grooves offers some beautiful forms of accentuation and playing with tension-release. One might argue that it is unnecessarily busy and deviating from the sole aim of maintaining rhythm, but again, this is just one unique take on accompaniment - specific to that day, mood, etc. We must appreciate the free-spiritedness and conviction behind it. Key Moments: 1:44 and the whole anupallavi, 2:34, 4:09, 5:44 (the whole second part of the charanam in the higher octave), ◆ Vid. Anantha always has creative fillers/interludes that lead up to a spot back in the song seamlessly - that too while sometimes melding the start of the interlude with the previous groove to make it organic. Key Moments: 1:28, 1:38, 2:52, 5:03, 7:01 ◆ Most grooves used in accompaniment are parallel to the song; i.e. they won’t have a direct correlation with the tune or the lyric. But some grooves assert the sarvalagu-ness/layam/parallelism stronger than others. Here are a few examples of such grooves that are massive and exude majesty (moved me to tears): 3:15, 4:44, 6:00. Vid. Anantha’s choice of sollus (phrases) and grandeur/majesty are inseparable. The tapasya in his fingers make every single stroke be tailored to perfection, loaded with ‘weight’ and rotundity. ◆ And btw, only a daring brilliant violinist like Vid. Vittal can respond to a moment like this on the spot!: 3:24

Abhishek's rendition made me fall all the more in love with Tyagaraja Swami's creativity !!!

Outstanding rendition. On par with iconic MLV Ammas rendition of this kriti

❤❤❤

Bhairavam truly justified... Imaginative ..bhava laden..divine soaked..a splendid keerthanai...even the greatest of the composers world over can't even imagine....such an everest cadre keerthanai of Saint Thyagaraja..

Ahaaaaaa. What a rendition and amazing approch of layam. Cant ask for more. The accompaniment is amazingly complimentary.

👏 👏 fantastic. Rendition is emotionally so powerful, with the tune and raga adding to it 🙏🙏

Pramadham...God bless you Abhishek ji

Truly a celebration...listening to you...God bless the team in abundance...what flamboyance in singing and in your accompanying artistes as well..aural treat indeed!

Wonderful rendition.Thanks

Great singing. Moods beautifully reflected. Beautiful accompaniments 👏👏🙏

Namskaram

Excellent 👌 thanks to Abhishek.

Very nice

Deeply meditative rendition🙏🏽🙏🏽🙏🏽

Excellent rendition

🙏🙏🙏

Nice 🙏

👌👌👌🌹🌹🌹

👏👏👏🙏🙏🙏👍👍👍👌👌🌹🌹🌹

Anantha krishnan has to study how to play mridangam with song. He can show his talent in thani.. This is not good playing.. Every time he is same like this.. Killing the song

Why are you inserting unnecessarily your own Bruhaas everywhere in this beautiful kruthi and changing its structure? Do not become a Dhristi parikaram Carnatic Sangitham . Present simply with dignity and respect to tradition.