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Remembering Lalgudi Jayaraman through a Violin Duet
The Lalgudi G. Jayaraman Memorial Endowment concert at Kasturi Srinivasan Hall celebrated the musical legacy of the renowned violinist through a captivating duet by H.K. Venkatram and B.U. Ganesh Prasad. Their performance not only showcased their individual artistry but also the distinctive semblance that resonated throughout their playing—their unified tonal quality, masterful modulation control, and impeccable sruti alignment created an experience reminiscent of Jayaraman’s recitals with his own children.
Concert Highlights
Kicking off the concert with a Lalgudi varnam and concluding with a thillana were almost expected, given the composer’s expertise in these traditional genres. The duo’s choice of pieces in between heightened the performance’s appeal, enhanced by the accompaniment of Neyveli S. Skandasubramaniyam on mridangam and Adambakkam K. Sankar on ghatam. Interestingly, four out of the six compositions performed were in Telugu, all by different composers, although this may hold more academic interest than practical significance in an instrumental recital.
Beginning with the Nalinakanti varnam, ‘Neeve gatiyani’ on Shanmukha, the duo laid a strong foundation. The varnam’s vakra patterns in ascending notes (sa ga ri) and its swaraksharas (ma pa ni) injected the music with charming lilts. Their handling of staccato phrases crescendoing into the muktayi swara and the brisk tempo during the charanam and its accompanying swaras was executed with flair, reflecting their agile technique and deep understanding of rhythm.
Exploring Melodic Richness
Moving forward, the duo seamlessly transitioned into ‘Guruleka etuvanti’ in raga Gowrimanohari, composed by Tyagaraja. This piece emphasizes the essential nature of a guru’s grace, and the pronounced percussive synergy in this Khanda Chapu kriti added depth to their presentation.
Next, they ventured into the regal nuances of raga Begada, with Ganesh Prasad initiating the exploration while Venkatram continued the melodic journey. The characteristic phrases of Begada beautifully illustrated the vakra movements present in its arohanam. The duo then presented Subbaraya Sastri’s devotional piece, ‘Sankari neeve’ in Rupaka tala, although the tempo could have benefited from a more relaxed feel.
The evening included a performance of Mandhari, a shadava-shadava raga notable for its dual character. It comprises a distinct Pantuvarali-like gravity, enhanced by the ‘ga ma pa ni’ sequence evocative of Amritavarshini. The duo’s compelling rendition of Patnam Subramanya Iyer’s ‘Ninnu jeppa karanamemi’—an iconic composition that authentically embodies the raga—culminated in lively exchanges of swaras following the pallavi.
Principal Segment and Finale
The night’s primary focus settled on the raga Thodi, revered for its profound potential for exploration. Venkatram commenced by delving into the lower registers, establishing a solid groundwork. His spiraling phrases were rich in gamakas, gradually leading to the higher octaves, with Ganesh Prasad elevating the raga’s essence further through vibrant, gamaka-laden passages. Their rendition of ‘Srikrishnam bhaja manasa’ featured a layer of niraval and kalpanaswara artfully interwoven at ‘Sankha chakra’ at two contrasting speeds. The accompaniment from Skandasubramaniyam and Sankar was nothing short of stellar, with their tani avartanam in a two-kalai Adi tala displaying both nuance and versatility.
As the concert drew to a close, the duo performed Desh thillana, characterized by its methodical yet enchanting construction—a hallmark of Lalgudi Jayaraman’s intricate style. The organic build-up of sangatis highlighted the charm and contours of the raga, wrapping up an evening that paid tribute to the genius of Lalgudi Jayaraman while underscoring the duo’s exceptional talents.
