The concert of Lalgudi G.J.R. Krishnan and Lalgudi Vijayalakshmi was notable for its rich dose of profundity while rendering Muthuswamy Dikshitar's composition in raga Kedaram.
Krishnan announced the reason for playing the raga -- that day it was Aarudra darsanam (Tiruvadarai). The sahityam ‘Aananda Natana-Prakasam' and the depth of playing, showcased the mystical grandeur of the transcendental dance, the Grand Tandava at Kailasa. The two violinists playing on the bass and sharp strings and their acoustic output modulated by appropriate pressure of the bow, added lustre.
Tiruchi Sankaran on the mridangam and V. Suresh on the ghatam seemed to be magnetically drawn to the melodic stream, contributing to the solemnity. One expected niraval at the anupallavi (‘Bhaanu Koti Koti Samkaasham').
Vijayalakshmi took the lead in introducing Shanmukhapriya in an alapana that befitted Papanasam Sivan's ‘Aandavane, Unai Nambinen' (rupaka talam).
Tyagaraja's kriti in Kapi, ‘Anyaayamu Seyukuraa Rama', followed an announcement that it was composed at a time when Tyagaraja was going through hard times with his elder brother, and in his anguish, sought refuge in Rama's kindness - a detail which he mentions in the sahityam. Krishnan played a sweet alapana of Mohanam prefacing Tyagaraja's ‘Mohana Rama.'
Distinct notes
Certain lively swara clusters dotted the kalpanaswara phase, and led to the main item, Thodi. Krishnan's interpretation was deep and delectable. Whether in emphasis or in gliding passages, the notes were distinct and pure. Krishnan also demonstrated how the nishada in Thodi can sound in different tonal hues: ni, distinct and pure; ni, drawn upwards to Sa and ni, pulling out from ma.
‘Gajavadana' of Kumara Bhoopati in a double-beat Adi talam is a kriti that can whip up seriousness and tempo within minutes of its start.
At the hands of the siblings, it received powerful treatment, leading up to a climax in the brisk and enjoyable manodharma swara exchange.
The icing came in the shape of a series of percussive exchanges between Sankaran and Suresh, commencing with a chatusram-tisram korvai, proceeding to a faster chatusram and covering khandam in a tisra nadai. As attractive as the interesting computation was, the thoroughly pleasing aural results, with sollus gushing out from both offered a delightful experience.
The RTP was a demonstration of virtuosity, although melodic value was not wanting. The hues of the three ragas, Kalyani, Vasanta and Kalyanavasantam, were showcased distinctly and were inspiring.
To tip the scale more towards erudition, the metre was Khandajati ata taalam, to the sahityam ‘Tat, Tadhimi Tadhimi Dhimi Ena' a splendid creation masterfully rendered.
