Lalgudi siblings create a melodic ambience

The music of G.J.R. Krishnan and Vijayalakshmi flowed seamlessly

January 10, 2019 03:20 pm | Updated 03:20 pm IST

G.J.R. Krishnan and Lalgudi Vijayalakshmi performing at The Music Academy, Chennai on December 23, 2018.

G.J.R. Krishnan and Lalgudi Vijayalakshmi performing at The Music Academy, Chennai on December 23, 2018.

Lalgudi G.J.R.Krishnan and Lalgudi Vijayalakshmi laid accent on melody, be it raga, kalpanaswara, kriti or tukkada. Nowhere was there any attempt to create a sensation or play to the gallery. Veteran Tiruchi Sankaran on the mridangam and Suresh Vaidyanathan on the ghatam added colour to the proceedings.

Young accompanists would do well to take a leaf out of Tiruchi Sankaran’s style of playing for a totally melody-oriented concert.

Krishnan and Viji began with a Husseini varnam. The poignant opening calmed frayed nerves after one had to make way through the crowd of rasikas exiting the auditorium after the 4 p.m. concert. Fast, yet soothing swarakalpana added to what came next, ‘Ramachandram Bhavayami’ (Vasantha). Their music flowed seamlessly and joyfully.

Challenging korvai

You can depend on Viji to create a meditative ambience as she did with her Thodi alapana. They played Syama Sastri’s Thodi Swarajati ‘Rave Himagiri’. This made way for the piece ‘Innu Daya Barade’ (Kalyana Vasantham).

Next, it was Krishnan’s turn to give the Nattakurinji essay a wholesome feel before taking up Tyagaraja’s ‘Manasu Vishaya’ (Nattakurinji). The swarakalpana ended in a challenging korvai that he missed, and it made him go a couple of more rounds to get to that perfect finish.

During the thani, Tiruchi Sankaran’s exquisite nadai variations elicited applause from the audience. Suresh Vaidyanathan was equally inspired to bring on the gumkhis and rhythmic intricacies on the ghatam. The kuraippu and korvai were par excellence.

Following this was the RTP. Alternating on Simhendramadhyamam, Krishnan and Viji chiselled the raga, lacing it with graha bedam. During the tanam, they took turns to play beautifully on multiple strings.

The niraval for the pallavi ‘Ananda Natana Prakasa Sabesa Natesa Jagadeesa’ (Kandajati Ata tala) was efficient, at the end of which Viji brought up the trikalam. Transforming the 14-beat Ata tala into a quick Misra Chapu tala, the duo delved into swaraprasthara ending it in ragamalika (Kedaram, Atana, Hamirkalyani, Kuntalavarali and Abhogi).

The tukkada section included ‘Ayye metha kadinam’ (Ragamalika) and a tillana (Thilang).

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