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An elevating experience
Lalgudi Jayaraman flanked by Krishnan and Vijayalakshmi... perfect harmony.
THE NEW year dawned in a pleasant manner at the Mylapore Fine Arts Club with the violin concert of Lalgudi Jayaraman along with his children G. J. R. Krishnan and Vijayalakshmi. From the beginning to the end it was an elevating experience. They concentrated on presenting kritis such as ``Rarama Inditaka" in Asaveri, ``Meenakshi Memudam" in Poorvikalyani, ``Koluvaiyunnade" in Devagandari in a neat and compact manner, rather than too many raga alapanas. In between came a short but attractive alapana of Surati by Krishnan preceding the Navagraha kriti of Dikshitar ``Angarakam." Mohanam, again, was a good elaboration by Jayaraman for ``Dayara Ni," which also had a brief Swarakalpana segment.
And it is rather difficult to distinguish the artistes, eyes closed, as it happened with the Bhairavi played by Vijayalakshmi.
There was such coordination that one only heard one instrument when the trio was playing. The neraval and swaras for ``Enatimomu" were kept short enough to grab the attention of the audience, before an excellent Thani Avartanam by Tiruchi Sankaran on the mridangam and T.V. Vasan on the ghatam.
The understanding support of these two artistes was an asset to the concert. It was a full three-and-a half hour concert and so there were quite a few kritis like ``Santhamuleka" in Sama, ``Maramanan" in Vasantha and a rare Navarasakannada piece ``Durgadevi" of Muthiah Bhagavatar. The Hamsanadam Ragam, Tanam, Pallavi was quite invigorating, when all the three artistes shared the honours in playing the Raga.
The Pallavi was set to Kandajati Triputa Talam; the kalpanaswaras were in Ragamalikai of Sahana, Kanada, Neelambari, Ranjani, Bindumalini, Desh and Tilang.
On the whole the concert had an even mixture of Carnatic and Hindustani ragas.
For instance there was an Ashtapadi in Amirkalyani and ``Eppovaruvaro" in Jonpuri, after which came two Tillanas, both composed by Lalgudi Jayaraman, in Kalyanavasantham and Durga, before the concluding Thiruppugazh in Dwijavanti.
One disconcerting aspect of the proceedings was the attitude some of the listeners, who were constantly walking in and out of the hall talking on their cell phones, disturbing everyone in the process showing respect to neither the artistes nor the rasikas.
LAKSHMI VENKATRAMAN
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