Clear stream of melody


SPARTAN TRAINING: Lalgudi G.J.R Krishnan and Vijayalakshmi.

SPARTAN TRAINING: Lalgudi G.J.R Krishnan and Vijayalakshmi.  

A clear stream of melody ran through the performance of Lakshmi Rangarajan at the Krishna Gana Sabha. Her music reflected the subtle inter-relationship between tonality and aesthetic perception.

Her concert left a deep impression of her sensitivity in the interpretative process. The raga sancharas of Ritigowla and Shanmukhapriya covered beautiful terrain. In the delineation of Sankarabharanam (``Yadutanilichite'), she captured the raga's haunting emotions in the tarasthayi phrasings. Her attempt seemed to be to invoke specific appealing image of the raga.

Of the kirtanas she rendered, "Dwaitamu-Sukhama" (Ritigowla) and "Govardhana-girisam" (Hindolam) were heart-warming.

"Chate-Buddhi" (Atana) and "Bogindra Saayinam" (Kuntalavarali) flashed in quick tempo. Part of the success of her recital was due to the lucidity with which she revealed the delights built into the compositions and the melodic treat the songs of great vaggeyakaras offer.

Usha Rajagopalan was the violinist. Her solo versions of the ragas were a simple, straightforward presentation on familiar lines; business-like. B. Sivaraman, on the mridangam, wrapped his beats firmly to support the song structure.

Sustained attention to accuracy of rendering raga alapanas and kirtanas was the distinctive feature of the violin duet by Lalgudi G. J. R. Krishnan and Lalgudi Vijayalakshmi. The vitality of their presentation stemmed from a methodical process in interpretation.

The performance, a testament to their years of Spartan training, was intense and precise.

Lakshmi Rangarajan.

Lakshmi Rangarajan.  

The contours of the alapanas of Saveri by Vijayalakshmi, and Bhairavi by Krishnan stood out by the mounting arrays of sancharas, reflecting their tight self-control. There was an ascetic adherence to what has been handed over to them. A style of exposition paying homage to pauses and subtleties was clearly perceptible.

"Maaru-Balka" (Sriranjani) "Nannu-Karuninchi" (Sankarabharanam) and "Tanayuni-Brova" (Bhairavi) were played with rhythmic exactitude in sangatis and swara exercise. Their approach in the kirtana session revealed a respect to the composition.

A soft eloquence resulting in a smooth percussive pattern was the outstanding feature of mridangam accompaniment by Srimushnam Raja Rao well grafted with T.V. Vasan's ghatam.

The tints of sound imagery in tekas and gumukis was his motivation in his support to kirtanas. He espoused the gentle role of a mridangist.

In the afternoon concert, Gayatri Devi draped the ragas and songs with respectability. A sense of proportion in the sancharas of Simhendramadhyamam (Ninne-Nammithnayya) and Bhairavi (Koluvayunnade) spoke of her interpretative technique.

Her singing proclaimed she has been well-schooled. The drag in the performance was the contribution of the violinist K. Gokul and mridangist Delhi Rajasubramaniam.

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