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Steeped in tradition
The Lalgudi trio... refined instrumental music.
IT WAS indeed a rare privilege for rasikas to enjoy the mesmerising violin music of the Lalgudi trio on New Year's day at the Mylapore Fine Arts Club.
This concert bore ample testament to the fact that it is no exaggeration that Lalgudi's contribution to Carnatic music has refined the art of instrumental solo performances to a considerable degree. ``Vallabha Nayakasya," Dikshitar's invocatory song in Begada with brief swara prastharas was served as the appetiser for an enthralling morning's programme. Repeated listening of the Pancharatna kirtanas of Tyagaraja only makes one yearn for more, and that is exactly what Lalgudi's interpretation did to the houseful audience. ``Aparadhamula" by Tyagaraja in Rasali in which he pleads with the Lord to be tolerant of his sins and transgressions, is usually sung with an air of flamboyance.
Lalgudi, in his calm, composed instrumental expression wholly succeeds in conveying the disturbed mindset of the composer.
The swara passages in the pallavi would have enlightened even the layman of the raga lakshana. Vijayalakshmi's passion and joy for the art was evident in her Suratti alapana inundated with a flood of mellifluous phrasings. ``Sri Venkatagireesam," sometimes mistaken as a song in praise of Lord Srinivasa at Tirumalai, is a kriti on Lord Anantapadmanabha, the presiding deity at Tirukokarna kshetram.
The song was invested with appreciable musical warmth.
The quintessence of Shanmukhapriya was offered by Lalgudi in courtly fashion. Papanasam Sivan's ``Andavane" was given an additional impetus by the superb anticipation of Vellore Ramabhadran for the numerous sangatis.
The soft, melodic strains of Sama from Krishnan's violin creating a soporific ambience was tailor-made for Tyagaraja's ``Shantamu lekha" that stresses the importance of mental tranquillity, calm and poise. Shyama Sastri's peerless Swarajati or perhaps the ultimate in raga bhava, lyrical excellence and devotional fervour.
The rendition, steeped in aesthetics received praiseworthy percussion support because of Ramabhadran's confident awareness of the structure of the composition. Niraval and swaras a la Semmangudi were gratifying efforts. ``Ganamurthey" in the vivadhi raga Ganamurthi was a winner all the way.
Krishnan's masterly exposition of Sankarabharanam dripping with honeyed phrases was an object lesson in raga development. Tyagaraja's ``Swara raga sudha" with sarva laghu swaras, a gandhara kuraippu and the final summing up by Krishnan topped by a scintillating korvai earned palpable appreciation.
The tani avartanam by Vellore Ramabhadran and Suresh on the ghatam was poetry in rhythm. ``Marugelara" in Jayanthasri with the charanam beginning in the dhaivatam was clear indication of the vidwan's utmost care for grammar.
The sublime beauty of Desh, a surprising but welcome choice for the ragam, tanam, pallavi, a simple, enchanting pallavi in Adi talam with the kal idam anagata eduppu, the glittering chain of ragamalika swaras in Bowli, Kuntalavarali, Neelambari and Behag was truly an ode to Carnatic music. ``Srinivasa" in Hamsanandhi, ``Akhilandeswari" in Dvijavanti, ``Chinnanchiru kiliye," the Tilang tillana and the final Tiruppugazh made it a morning to cherish and remember.
BY A CORRESPONDENT
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