Belonging to the fifth generation of the great Lalgudi dynasty, Lalgudi Vijayalakshmi started learning music at theage of six under the watchful eye of her perfectionist father and violin maestro, Lalgudi G. Jayaraman. Today, she is not only the torchbearer of what is called the ‘Lalgudi bani' (style) but also a violinist par excellence in her own right. Vijayalakshmi was in the Capital recently to participate in the Bharatiya Vidya Bhavan's Sangeet Samaroh. Here the daughter and disciple of Lalgudi Jayaraman dwells on Lalgudi bani and other musical issues. Edited excerpts from the interview:
You were initiated early in life into music by your parents. So, do you consider your taking up violin professionally a natural progression? You must have started learning violin at by the initiation of your parents at a young age. Was your taking to the violin profession a natural extension of the paternal parental initiation?
It was a natural inheritance, I should say, as the house was pulsating with the sound of the violin all the time. I was always meant to become a professional violinist. The focus of my professional career shifted when I was paired with my anna (elder brother Lalgudi GJR Krishnan).
What are the distinctive features of the As an exponent of Lalgudi bani, can you briefly explain this style?
The Lalgudi bani very closely simulates the gayaki ang and gives utmost importance to bhava and classicism. Music is approached always keeping in mind the value of aesthetics, whether it is in rendering a kriti, kalpana swara or even an intricate rhythmic passage. Melody predominates, while laya remains a strong, ever present undercurrent, never projecting itself. Thus, a sense of proportion is maintained between the two. Also, instrumental virtuosity and technique are never showcased, compromising the beauty or the bhava of the music.
How does this style of instrument playing the ‘Lalgudi Bani' through instrumental music (violin) transcend the language barriers?
The Lalgudi bani always puts aesthetics in the forefront in its approach to music. My guru has shown in his compositions how bhava can be evoked with or without the help of lyrics. Most of his compositions can be enjoyed as pure music displaying myriad emotions and beauty. When such music is conveyed through the violin, tonal variations and dynamics are kept in mind…with all these aspects and flawless bowing, the Lalgudi bani through the violin goes beyond the language barriers and captures the hearts of the audience everywhere.
Do you feel it Is it an easy task to carry forward this legacy Bani or do you feel the pressure of you have more responsibilityies?
Getting noticed as a young performer from the ‘Lalgudi clan' may have been easy. But as years go by comparisons and very high expectations are inevitable. Interestingly, while there is a section of the audience who expect a carbon copy, there is another too which expects something totally different from the descendants. I feel it is my responsibility to preserve and pass on what I have inherited and to also to find expression for the artiste in me without any contrived attempt to be different.
How important is it for an instrumentalist to also know vocal music?
Only when you learn to sing a composition, the details of gamakas and anuswarams can be understood and reproduced on the instrument in its finest detail. Therefore, an instrumentalist must learn to sing and then develop a keen ear to reproduce the same on the instrument.
What are your future plans?
My brother and I have been teaching and training a number of students. We are planning to start a school very soon to teach students this bani with a standard curriculum.
