The very name Lalgudi has come to establish a unique Identity in the world of music. And the perception and execution, the core values, the adopting of the gayaki bhava on the instrument - which are the high-points of this particular bani - were in full play at the concert given by Lalgudi Rajalakshmi, that was held recently.
She was performing for the Anna Nagar Music Trust, at Chinmaya Vidyalaya, Annanagar. She was provided able support on the violin by Master Pradesh Achar.
The laya duo was Ramesh on the mridangam and Tiruchi Krishnaswami on the ghatam.
The highlight of her concert occurred when Rajalakshmi allowed herself to inhabit the world of the Pallavi. The RTP was in Kharaharapriya, and the pallavi ended with the words ‘sadha namasthe,' in Khanda Jati Triputa talam.
The alapana itself became the fluid juxtaposition of long karvai presentations and breathtaking brigas. Even the familiar phrases bore the Lalgudi stamp.
One could also witness an experienced use of the bow, which imparted fine modulations to the sounds (nadham) that emanated from the violin. The bow techniques again were also a treat on the musical ear when the tanam was played.
Perfect coordinationThe concert began with a varnam in Asaveri and followed by ‘Maha Ganapatim’ (Nattai, Dikshitar). ‘Koluvai Unnade’ (Devagandhari, Tyagaraja) and ‘Anandha Natamaduvar Thillai,’ Neelakanta Sivan’s quality piece in Purvikalyani.
The latter (Purvikalyani) saw the alapana and swaras being exchanged between the two violinists on stage. This was done with civility, with none of those searing tendencies that would tear to pieces this raga and this composition.
Achar, showed extraordinary refinement for his age. One could sense this when he involved himself fully during the alapana of Mohanam (‘Raa Raa Rajeevalochana,’ Mysore Vasudevachar). He never got himself into a stereotyped rut and allowed a free flow of imaginative phrases to project this absorbing scale with enviable confidence.
The Bilahari piece that he played during the pallavi ragamalika attracted one’s attention.
In her tukkada section, Rajalakshmi added quite a few lilting numbers such as ‘Thamburi Meetidava’ and ‘Baro Krishnaiah.’ She concluded her concert with a thillana.
The laya duo showed immense understanding between them and comprehended the pallavi, following it with ease, during its many rounds. Their thani had compact sollus that showed verve and capacity both when they played in tandem and alone.
(sivakumar2004 @gmail.com)
