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Tuned in: G.J.R.Krishnan and G.J.Vijayalakshmi during their concert in Thrissur.
Tuned in: G.J.R.Krishnan and G.J.Vijayalakshmi during their concert in Thrissur.

JAYA NARAYANAN PISHAROTY

Siblings G.J.R. Krishnan and G.J. Vijayalakshmi showcased their bani, scholarship and musicality during their violin recital in Thrissur.

A violin recital by G.J.R. Krishnan and G.J. Vijayalakshmi, the son and daughter of Lalgudi Jayaraman, was a treat for rasikas of Thrissur. A traditional concert, it highlighted their high standard of proficiency.

The opening varnam in raga Mandari, Adi tala, was a composition of their father and guru. This janya raga of Pantuvarali was showcased in an impressive manner.

‘Brovatharamma,' the Tyagaraja kriti in raga Bahudari, Adi tala, brought to fore the harmonisation between the siblings. Each note had a distinct presence and the neatly woven phrases predominantly traversed the mandara and madhya sthayi. This was followed by a detailed alapana in the lower register in raga Kalyanavasantham.

The duo paid their tribute to the Trinity of Carnatic music by presenting a composition from each of their major works.

Sreerangam Pancharatna kirtanas are a set of Tyagaraja kritis in honour of the deity, Sreeranganatha. A fine example was the composition in raga Devagandhari, set to Adi tala.

Resonant delineation

Shyama Sastri's series of Swarajathis are highly regarded; the composition that was presented was ‘Ambakamakshi' in Bhairavi, Mishra Chapu tala. Vijayalakshmi's delineation of the raga was resonant. Her masterly touch revealed the slow, grand movement of this sampoorna raga. At the niraval, the siblings rivalled each other in creating innovative swaraprastharas. A brisk composition of Tyagaraja in raga Bangala provided a light-hearted contrast after the sombre Bhairavi.

The major raga of the recital – Kalyani – was unveiled through an exquisite alapana with Krishnan taking the lead. The artistes chose one of the Navavarana kirtanas of Dikshitar – ‘Kamalamba Bhaja Re' – as a mark of respect to the great Three.

The full-blooded articulation was interspersed with delicate touches.

During taniavartanam, K.V. Prasad (mridangam) calmly threw a challenge at his younger colleague Thripunithara Radhakrishnan, who responded in a spirited manner on the ghatam.

Galaxy of poets

The devotional compositions were representative of a galaxy of great poets. ‘Arul chaiya,' Koteeswara Iyer's devotional piece, was in raga Rasikapriya; ‘Adathay asangathay Kanna,' an Oothukkadu composition in Madyamavathi raga and ‘Baro Krishnayya,' a ragamalika by Purandaradasa comprised the lighter segment of the concert. ‘Saramaina Matalentho,' a Telugu Swati kriti in Behag, was a welcome change.

An Adi tala Tillana in Karnaranjini, composed by Lalgudi Jayaraman, was pleasing to the ear. The systematic build-up of the raga included a varied pattern of melodious bursts of notes and evocative pauses. Prasad's accompaniment was controlled and Radhakrishnan, matched him in sensitivity.

The subtle understanding and the bond between the brother and sister exalted the performance to a mystic level. The concert was organised by Rasikapriya, Thrissur.


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