The conferment of the award, ‘Thyaga Brahma Nada Vibhushan’ on Lalgudi Jayaraman by Sri Thyaga Brahma Gana Sabha recently, was followed by a violin concert with Lalgudi G.J.R. Krishnan and Lalgudi Vijayalakshmi.
It was an exemplification of perfection, the hallmark of the Lalgudi bani. Pauses, the manipulation of gana-naya, the sanchara explorations, the clipped kirtana interpretations… they were all well emphasised. The distinguishing mark was the way the duo awakened the Lalgudi bani of grace.
Alapanas represented the harmony and purity between manodharma and delineation, contributing to expositional delicacy. Equally there was inclination to laya profligacy. The duo explored the length and breadth of ragas and kirtanas.
Facile playing
The early part of the recital contained songs not much in vogue such as ‘Vinata Sutha Vahana’ (Jayanta Seva) and ‘Pahi Rama Dhoota’ played in the raga Shadvigamargini, though there is another version in Vasantavarali.
The preceding raga alapanas briefly touched the essential notes in the scale that revealed the image of the ragas. There was a sense of natural ease in the depiction.
Vijayalakshmi handled the vinyasa of Janaranjani (‘Nadaadina Mata’) with elegance. Her presentation conveyed music rooted in tradition.
Krishnan explored Bhairavi. Manodharma perception and clarity of articulation enhanced every detail of Bhairavi. Both in the fast mode and slower passages, there was no distortion in sound quality. Though very austere in approach, the precision and control of the bow and the fingers actualised his intention and execution. The sancharas were convenient entry points to stimulate his fertile instincts. ‘Ënaati Nomu Palamo’ was the kirtana.
The Lalgudi idealism flourished in the interpretative style, for the way the recital was enlivened, the credit went to Neyveli Narayanan.
The ringing beats clicked with the violin sound. His laya resources helped him evolve a constructive approach to accompanying ideology. This got outlined in every korvai in supporting kirtanas with Sundar Kumar (ganjira) who let the tone of the instrument prevail.
That morning, there was goshti ganam of the Pancharatnas. The co-ordinated singing by artists was exhilaratingly.
