The Grand Mridangam of Vid. Arjun Kumar

In the present-day world, where Indian classical music is being hijacked by shallow gimmicks, unwarranted speed, high pitch and high volume, there is a need to reiterate the value of true ‘aesthetics’ that Indian music has always stood for. Very few and rare are those musicians who are able to uphold traditional values and at the same time explore the unfathomable dimensions of the ocean called ‘Music’ and thereby create a deep, musically enriching ‘aesthetic’ experience to the rasikas.

The role of mridangam in Carnatic music is better experienced than said. Often hailed as the ‘King of Percussion’ and ‘Queen of Melody’ it is a not just a Talavadya, but a Layavadya and Shrutivadya as well. A sensible and sensitive mridangam accompaniment goes a long way in elevating the musical rendition, be it vocal or instrumental. A galaxy of incredible Mridangam Maestros of the yesteryears have not just taken the art of Mridangam playing to the greatest heights but also paved the path by defining and refining the same.

One such magnificent mridangam Vidwan of our times is Mridangam Maestro Vid. Arjun Kumar who is no new name in the Carnatic Music circuit. I was inspired to write this article after listening to his majestic Mridangam playing on Saturday evening, Oct 19^th 2019 at Chowdaiah Memorial Hall where he performed with other maestros like Vid Kumaresh, Vid Abhishek Raghuram, Vid Akkarai Sornalatha, Pandit Tanmay Bose, and Pandit Purbayan Chatterji. It was a musical offering held as a part of celebrating 150 years of Mahatma Gandhiji and also in aid of ‘Desi’ and ‘Charaka’.

Vid. Arjun Kumar grew up with the best of musical influences, from his revered father Sri Arjunan to Padmavibhushan Sangeetha Kalanidhi Dr Umayalpuram K Sivaraman. He has this special ability to grasp and internalise music with lightning swiftness and to aid this, a photographic memory. He is so natural and expressive with his instrument and this gift of gab has been his asset.

His playing on Saturday, as always, was rich and soulful, as well as power-packed and electrifying. First of all, the ‘Nada’ he brings out of the Mridangam is truly a bliss; the way he handles his instrument is a delight; the dexterity of his fingers that facilitates bringing out the best of classical strokes is striking! His unique and unmatchable style of closely following and thereby embellishing a kriti was evident in ‘Swara Raga Sudha’, ‘Darini telusukonti’ and ‘Tulasi Jagajjanani’ sung brilliantly by Vid. Abhishek and ‘Atukaradani’ played marvelously by Vid. Kumaresh. His use of multiple nadais with intricate patterns, the right-left balance and use of ghumki lent vitality to the musical evening. A masterly tani avartanam (percussion solo) stole the show, while his lilting accompaniment to ‘Raghupathi Raghava Raja Raam’ performed together by all artists was the fitting finale.

In Carnatic music vocabulary, we do not seem to have any one word that describes a deeply engaged musician, performer, educator, scholar and collaborator. But…May be there is an expression... ‘Vidwan’. If there is a person who embodies that term, it is the wonderful musician, Vidwan Arjun Kumar.

Music transcends words… I can write pages about this truly gifted musician but it can come nowhere close the to ‘Ahaaa’ moments that one experiences listening to ‘the Grand Mridangam’ of Vid. Arjun Kumar!

Indeed, my respectful Pranams to you Vid. Arjun Kumar!

Dharmafreak