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Music Season
MUSIC ACADEMY
Deft handling of ragas
V SUBRAHMANIAM
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The violin duo, GJR Krishnan and Vijayalakshmi, gave a fulfilling concert.
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Photo: V. Ganesan
Astute: Lalgudi G.J.R.Krishnan and Lalgudi Vijayalakshmi
In the past Lalgudi Jayaraman paired with his sister Srimathi for duo violin concert. The same brother and sister combination continues in the next generation also. Lalgudi Jayaraman’s offspring, G.J.R.Krishnan and Vijayalakshmi, have been giving duo violin concerts for more than a decade.
The duo began their concert with the Ritigowla ragam, Ata tala varnam of Veena Kuppier. The whole varnam was done in two speeds. ‘Nadadina,’ in Janaranjani raga set to misra chapu tala of Tyagaraja was the first kirtanam to be taken up. Kalpanaswaram was rendered after the completion of the kriti in the anupallavi opening - presumably being instrumental the words were not heard.
Mahavaidyanatha Sivan has composed a grand creation covering all the 72 melakarta ragas with Chittaswarams for each one of them. The pallavi is cast in Sriragam which naturally would be rendered at the beginning and the end to mitigate Vivadhi dosham of handling the ragas in that category. Each group of six ragams are known as Chakram and the duo took up the first chakram for the concert. The first half of all the six ragas are vivadhi swaras. Even though astutely presented, it had a dulling effect creating an atmosphere of gloom as the vivadhi structure is not in natural harmony. This piece could have been taken up later in the concert between two medium paced sprightly kritis to overcome the adverse effect.
After a raga alapana by Vijayalakshmi in Purvikalyani set to Adi talam, a composition of Ramanathapuram Srinivasa Iyengar, ‘Parama Pavana Rama’ was presented. After just a couple of rounds of slow tempo kalpanaswaras between the duo in the charanam opening with ‘Kanakambaradara Krishnan’ they gave a long second tempo swara chain and concluded the piece.
The Vasanthabhairavi composition ‘Needayaradha’ (Tyagaraja) in Rupaka talam is a song of entreaty couched suitably in this ragam, the artists also matched the mood of the song by their sombre playing.
‘Sri Subramanyaya Namasthe,’ the majestic composition of Muthuswami Dikshitar in Khambodi raga set to Rupaka tala was taken up after a raga essay by Krishnan. A short round of niraval in the first speed tempo at the point Vasavadhi in the anupallavi, the duo indulged in kalpanaswaras. The tani avartanam was a dazzling presentation by the veteran, Tiruchi Sankaran on the mridangam and ghatam Suresh.
The Ragam for the RTP Ragam, Thanam, Pallavi was Shanmukhapriya, the alapana and the tanam were shared by the artists and the pallavi was in tisra jati ata talam in a twin nadai sequence, Chatusram and Tisram.
Vijayalakshmi sang by way of demonstration the line of the pallavi and it began with the words ‘Senthilnagar Mevum Vadivelane.’ After the usual niraval exercises swaraprastharas included a ragamalika.
With a Bharatiar song ‘Muruga Muruga’ in Ragamalika with Bhagesri, Neelamani and Suddha Sarang and the Behag raga tillana (Lalgudi Jayaraman) in Adi talam, Tisra nadai of Lalgudi Jayaraman the concert concluded on a good note.
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