Features: Magazine | Literary Review | Life | Metro Plus | Open Page | Education Plus | Book Review | Business | SciTech | Friday Review | Cinema Plus | Young World | Property Plus | Quest | Folio |

Genius: Lalgudi Jayaraman.

The ‘Lalgudi Story,’ evolved as it did, because his ‘inherited blessings’ did not lull him into complacency; rather they were catalysts that spurred him on. And so, as a novice, he executed the 128-beat Simhanandana tala, as a seasoned artiste, he was adjudged the best violinist at an international competition that had 77 entries from 17 countries and as a veteran, his maiden effort in composing the music for the film ‘Shringaaram’ won him a national award.

Lalgudi says, “The violin, as an instrument, is unique. It can perform as a pakkavadyam, hold its own as a solo instrument, make its presence felt in an ensemble, and much more. Gods and goddesses are associated with other musical instruments. But the violin stands on its own glory.”

This melodious association with the violin had young Lalgudi emerge as a sideman, a solo performer, a composer, a tunesmith and a teacher. “Create something original, a new technique which retains only the best of all styles,” his father had advised. The stamp of originality was unmistakable. The word ‘Lalgudi’ was fast becoming a brand name.

The year was 1956. Twenty-six-year-old Lalgudi beamed when his role model GNB patted him on the back. This unforgettable award was in appreciation of his first composition — a tillana in Vasanta. ‘Kettunde Irukkalam Polirukku’ — that was Semmangudi expressing his appreciation of the Mand tillana. Varnams, tillanas, pushpanjali, jattiswaram, kritis, operas, orchestral music, and lately the music score for a film, ‘Shringaaram’ — Lalgudi has explored the entire spectrum. “Every composition was coeval to the delivery of a baby. A Force compelled me to compose, making me only an instrument. I’m grateful to God,” says Lalgudi, who has also breathed fresh life into the timeless lyrics of Arunagirinathar, Bharati and other poets.

The year 1958 — Lalgudi emerged as a solo performer, taking the violin centre-stage. There had been other violin soloists before him but here again it was an unmistakable impact that he created, even among senior contemporaries. Lalgudi says, “I’ve contributed my mite towards promoting the violin as a solo instrument. My music has been recorded. I leave it to Time to judge my contributions.”

Vocal concerts, lecture-demonstrations, popularising not-in-vogue ragas like Bindumalini, Rasali and Vagadeeshwari, changing the melodic setting of kritis to match the lyrical import, bringing to light obscure kritis like ‘Sri Rama Padama’ (Amritavahini) and ‘Varasikhivahana’ (Supradeepam) — Lalgudi, the analytical musician has done it all. The Lalgudi Bani, which created magic, was the outcome of many inputs. “Besides many others, I’ve been influenced greatly by the music as also the graceful curves and glides of Bismillah Khan and Rajarathnam Pillai.”

The firsts of Lalgudi command attention. In the Seventies, the violin, veena, venu ensemble swept music lovers off their feet. The ‘jugalbandi trend’ commenced with Lalgudi, teaming up with Vilayat Khan. Laya giants sat up when he performed the pallavi to three speeds and co-violinists observed keenly when he played ‘madhyama sruti’ without changing the tuning.

The Lalgudi Trust silently supports various charitable causes — the renovation of the houses of the Trinity at Tiruvarur; the modernisation of the government school at Lalgudi, the silent but significant support given to various rehabilitation efforts in distant places like Aayakudi and fund raising for hospitals like Sankara Nethralaya and so on.

Despite his mind-boggling music schedule, Lalgudi has managed to create a small army of students. It goes beyond violin to vocal, veena and flute; beyond those he taught to those he inspired. “A teacher gives the eye of knowledge to his students. This is a role that is immensely gratifying.”

He offers a few words of advice to students, “Intelligent practice is better than long-drawn practice. It should be designed according to the needs and the calibre of the student. But there are some aspects that can’t be compromised on. Learning has to be directly from a guru; connect the mind to the instrument while practising.” And he adds, “A disciplined life is necessary for a successful career as a musician.”

Lalgudi, the man and Lalgudi the musician are not two separate entities. The sounds of nature, the silence behind the sound, everything kindles in him an awareness of music. He expresses, “Change is an essential part of growth. The growth of music rests on four pillars — performers, organisers, rasikas and critics. Each one should play their role responsibly.

Today, the world recognises him as a complete musician, maestro, genius and a living legend. In keeping with the spirit, the Music Academy has come forward to honour this maestro with the “Special Lifetime Achievement Award.”

N. Murali, president of the Academy, says, “In the 80th year of the Music Academy, we wanted to give an award to an achiever whose contribution to music has been monumental. The immediate consensus was on Lalgudi Jayaraman. This is a one-off award. It will not be given on a regular basis. Lalgudi is a giant among musicians. The Academy has not honoured him earlier. There cannot be a worthier occasion than this and a worthier musician than Lalgudi Jayaraman to receive this special award.” And the maestro sums up: “It is the world that has termed my actions as achievements. On my part, all that I can say is that I’m grateful for all the opportunities and recognitions that have come my way… And in retrospect, I feel that probably I could have worked harder and made better use of the opportunities that came along. If God granted me a wish, I would ask Him to make me twenty-five years younger. I want to delve deeper into the ocean of music.”

Special function

After the invocation sung by Bombay Jayashri, there will be a multimedia show on the maestro containing excerpts of his concerts at the Music Academy. Presentation of the award (7.15 p.m.) and felicitations will be followed (7.55 p.m.) by ‘Uma Parinayam,’ an episode from ‘Jaya Jaya Devi,’ dance-drama composed by Lalgudi Jayaraman and choreographed by Rhadha.

Printer friendly page  
Send this article to Friends by E-Mail