Aural treat from Lalgudi duo
G. SWAMINATHAN
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The violin concert of Lalgudi Krishnan and Vijayalakshmi lived up to expectations.
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UNCOMPROMISING: Lalgudi Krishnan and Vijayalakshmi. Photo: R. Shivaji Rao.
Tradition, dedication and discipline have been the salient features of the Lalgudi style. So one attends the concerts of students of this School, confident that all these qualities will be present in ample measure.
Lalgudi GJR Krishnan and Vijayalakshmi did not betray these expectations. The near three-hour concert was another reiteration of their belief in an uncompromising attitude.
Starting with Lalgudi Jayaraman's pada varnam, ``Devar munivar thozhum padan" in Shanmugapriya, the concert galloped through fast track numbers ``Vidajalathura" (Janaranjani) and ``Jalandhara" (Valaji). Breaks were applied at ``Ranganatham bhavaye" (Nayaki).
Vijayalakshmi spread out an absolutely soothing Subapantuvarali as a preamble to Tyagaraja's ``Ennalu yoorage."
Of the two later major elements — an expansive Kedaragowla (``Saraguana palimpa") and Ragam-Tanam-Pallavi in Dharamavati set in Chatusrajathi Jampa Talam, Kanda nadai, — the former scored almost in all aspects. Krishnan's essay of Kedaragowla, apart from his usual enchanting sancharas interspersed with safe landing glides, carried some brusque phrasings also. Tackling Dharmavati, Krishnan once again contemplated a few energetic flights, which could be possible only on a string instrument like the violin. Was Krishnan hinting at his inclination to consider modern tend? However, it should be emphasised that at no point was melody sacrificed.
The composition ``Saraguana palimpa" was luminous with its sangatis in tact, but for a rather too extended first kala swaras. What followed was an aural treat from the duo through the exchange of arithmetically accurate swaras punctuated with the characteristic notes of Kedaragowla. Krishnan rounded it off with ιlan. The Dharmavati tanam and pallavi were presented with with all their mandatory ingredients, including ragamalika swaras.
Percussion support by senior Kamalakar Rao on the mridangam and Suresh on the ghatam was vibrant, especially so in the exclusive trade of rhythmic patterns and final ensemble. The concert concluded with breezy tukkadas, which included ``Theeradha vilayattu pillai" and a lilting Misra Maund tillana.
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