By Dr. Padmavathi Narasimhan
On the 9th day of Ganeshotsava at 8th Cross V.V. Mohalla, music legend Lalgudi Jayaraman’s son Lalgudi GJR Krishnan gave a solo violin concert. He was accompanied by Vittal Ramamurthy on violin, renowned mridangist Bhaktavatsalam on mridanga, Bhargava Halambi on kanjira and Rajashekhar on morching.
The very name Lalgudi Jayaraman is associated with melody, mastery in violin techniques and vocal style, more commonly known as the Lalgudi Bani which aspires to make the violin sing. Raised in an atmosphere redolent of sublime, divine music, Krishnan is carved into a top ranking violinist today. He has performed with his father on several occasions, the disks of which are still available.
In each of the compositions that Krishnan played, the Lalgudi Bani of musical expression emerged clearly.
The concert opened up with Lalgudi Jayaraman’s varna in Nalinakanti. Brisk swaras were developed for the next number ‘Shree Maha Ganapatiravatu maam’ by Deekshitar. Dharmavathi raga, though short, was revealed with essence but in this raga development and the next two, one felt that the raga ran very hurriedly and the artiste could give a pause after each phrase and develop the raga slowly which would enhance the mood of the concert more. ‘Bhajana seya raada’ by Mysore Vasudevachar was the composition chosen.
Krishnan let Vittal Ramamurthy play the raga Hindola, after which ‘Mamavatu Sri Saraswati’, another Vasudevachar number, followed.
An honouring ceremony followed for the celebrities on stage on receiving the prestigious Sangeetha Kala Nidhi. SPVGMC Trust President Jagannath Shenoy honoured Krishnan and Bhaktavatsalam with a citation.
The concert resumed after the honouring ceremony which included a rare piece in Gambhiravani ‘Sada Madin Dalathu’ by Tyagaraja, Keeravani, which was treated with ragalapana and swaras for the charana, followed by a scintillating Taniyavartanam by Bhaktavatsalam, Bhargava and Rajashekhar.
Rajashekhar’s amusing percussion sounds brought smiles on the faces of the audience.
Krishnan chose to play a short Raga Tana and Pallavi after Taniyavartanam in Natakuranji. The violin accompanist was not given much chance to play.
The sahitya of the pallavi was ‘Radha Sametha Krishna Muralidhara maam pahi’ in Khanda nade Trishra Jhampe tala, for which Ragamalika swaras were chosen in Saranga, Rasika Ranjani and the intellectually chosen Yaman Kalyani which finally brought the first line of the song Radha Sametha Krishna of GNB fame.
The concert concluded with ‘Saramaina maatalento’ in Behag – Swati Tirunal, ‘Jagadoddarana’ by Purandaradasaru and the very popular Sindhubhairavi tillana by Lalgudi Jayaraman.
The artiste could have cut short the number of compositions and concentrate more on neraval as no composition was treated with a detailed neraval.