Lalgudi GJR Krishnan and Lalgudi Vijayalakshmi. , Photo Credits: Akhila Easwaran
The inaugural concert of the Madrasana’s Margazhi series began with performances by Lalgudi GJR Krishnan and Lalgudi Vijayalakshmi at the MS Subbulakshmi Arangam. Lalgudi Bani, known for her melodic precision and emotional depth, found the perfect expression through her violin and transported the listeners to a sublime level. His efforts on Mridangam were recognized by B. Giridhar Udupa’s rhythmic proficiency on Harikumar and Ghatam was enhanced.
The compositions for the day were chosen based on the feel of the place. The acoustics of the venue emphasized purity of sound, avoiding electronic amplification. This allowed artists to establish a closer, direct relationship with their audiences.
The concert began with Nalinakanti Varnam ‘Neeve Gathi’, a gem of his guru Lalgudi Jayaraman’s repertoire. After this the brother-sister duo transformed Tyagaraja’s only work ‘Srikant Niyada’ into Mishra Chapu in Bhavapriya. Rich with emotion, this rare and evocative Pratidhyam Raga was explored with compassion, showcasing complex swara patterns that deeply moved the audience.
The emotion-rich raga essays of Lalgudi GJR Krishnan and Lalgudi Vijayalakshmi resonated deeply with the rasikas. , Photo Credits: Akhila Easwaran
Musicians like ‘Kaveri Snanam, Saveri Gaanam’, and Periyasamy Thooran in Saveri ‘Muruga Muruga’ infused the essence of compassion through its soul-stirring melodious tunes. The duo’s interpretation brought out the contemplative aspects of the raga, while Harikumar and Giridhar Udupa provided a rhythmic backdrop of subtle intensity.
An extensive exploration of Nattakurinji was carried out under the leadership of Vijayalakshmi’s liquid pranam. Krishnan’s innovative double-bow technique unveiled the multidimensional texture of the raga (beautiful and majestic), with one bow producing intense clarity and the other creating a resonant base. His rendition of Swathi Tirunal’s ‘Mamva Sada Varadeh’, rich in elaborate gamakas and experiments, rich in elaborate imaganvas, shows an effortless command over manodharma.
‘Srivenkatesh’ added liveliness to the concert by bursting with energy with the fast Melakala taal in Pattanam Subramaniam Iyer’s unique raga masterpiece, Phalamanjari.
in a composition where Naadam described as perineumTyagaraja’s ‘Swara Raga Sudha’ was presented in Shankarabharanam at the inaugural function. Celebrated as a ‘Chakravarthy’ raga by Lalgudi Jayaraman, the majestic scope of Shankarabharanam made it an ideal choice for the occasion. The centerpiece began with Krishnan’s alapana, replete with subtle gamakas, which meshed seamlessly with Vijayalakshmi’s eloquent exclamations. The intricate playing brought out the multifaceted beauty of the raga. The presentation progressed through emotional outpourings and the cascade of imaginative sounds took the rasikas to a transcendental realm.
The Tani Avtaranam that followed was a listening feast. Harikumar’s measured, effortless koravais created a captivating rhythm interplay complementing Giridhar’s nuanced gumki variations.
At Dwijavanti the mood turned introspective with Muthuswami Dikshitar’s ‘Akilandeshwari’, presented with elegance. Each note seemed to move with meditative grace. Bharatiyar’s ‘Sollavallayo’ in Ragamalika, composed by Lalgudi Jayaraman, flowed beautifully through Valaji, Garuda Malhar, Ranjani and Saramathi.
The final piece, Arunagirinathar’s ‘Timira Udathi Tiruppugazh’ in Kapi, showcased the duo’s passionate relationship with their instruments. The siblings concluded with Mishra Sivaranjani Thillana, composed by their guru. Marked by precision and emotional depth, the piece left a lasting impression.
published – December 31, 2024 09:12 IST
