5 months ago
2
The rainfall pattered softly outside, mounting a prelude to the concert. Inside, the Lalgudi siblings — G.J.R. Krishnan and Vijayalakshmi — took the signifier with their signature poise, supported by Thiruvaarur Bakthavathsalam connected the mridangam and K.V. Gopalakrishnan connected the kanjira.
The performance opened with ‘Sri mahaganapathi’ successful Gowla, a timeless creation by Muthuswami Dikshitar. The mridangam acceptable disconnected with a crisp and assured start, and the kanjira’s introduction from the anupallavi added extent to the rhythmic structure.
The evening moved guardant with the Nagaswarali kriti ‘Sri shankara guruvaram’, a creation by Maha Vaidyanatha Iyer. Brisk and engaging, the portion showcased tonal diverseness betwixt 2 violins, each articulating the raga’s quality successful its ain hue.
The performance was impacted by unsatisfactory audio output, with excessive high-end frequencies dominating the mix.
The 3rd piece, ‘Kaa vaa vaa’ successful Varali by Papanasam Sivan was layered with energetic sollus and kuraippus from the percussion. While technically impressive, the rhythmic density somewhat overshadowed the innate affectional extent of the composition.
Vijayalakshmi took the pb for the Bilahari alapana, which preceded Tyagaraja’s ‘Naa jeevadhara’ acceptable to Adi tala. The medium-fast tempo erstwhile again placed bushed astatine the forefront. Krishnan handled the lower-octave phrases with commendable control, and the presumption wide felt engaging. ‘Gaanamurthe’ successful raga Ganamurthi, different Tyagaraja composition, followed. The violin duo maintained philharmonic equilibrium and grace.
The main portion featured Hindolam, wherever Krishnan began with a bold exploration utilising vaadi and vivadi swaras. This lent a chiseled western-leaning contour enhanced by agile playing techniques and accelerated gamakas, portion holding creativity strong. Krishnan’s benignant emerged assertive and sharp, portion Vijayalakshmi’s publication felt gentler and much profoundly rooted. After an elaborate alapana, the duo unfolded ‘Neerajakshi kamakshi’ by Muthuswami Dikshitar successful Rupakam.
Lalgudi GJR Krishnan and Lalgudi Vijayalakshmi accompanied by Tiruvaarur Bakthavathsalam connected the mridangam, K.V. Gopalakrishnan connected the kanjira. | Photo Credit: RAVINDRAN R
The accompaniment interchange astatine the kalpanaswara — Krishnan with the kanjira and Vijayalakshmi with the mridangam — added variety. The duo’s expressive rhythmic interplay, mirrored by the percussion team, was ambitious. The last kalpanaswara section, with double-string techniques, enhanced the energy.
The tani avartanam began connected a almighty tone, leaning towards thavil-style aggression. The softer, controlled kanjira by K. V. Gopalakrishnan stood retired successful contrast, cleanable and measured with elegant patterns. In the combined section, mismatches again appeared, peculiarly erstwhile a three-beat changeable by Bakthavathsalam went unanswered by the kanjira. A beautifully dilatory mohra followed with a analyzable korvai by Bakthavathsalam closed the thani.
A delightful alteration of ambiance arrived with Papanasam Sivan’s ‘Idathu padam thooki aadum’ successful Khamas, bringing devotional sweetness brimming with bhakti. This was followed by a profoundly moving Sindhu Bhairavi, arsenic the duo gave a antithetic magnitude to the raga. ‘Chandrashekara’ was meditative.
The performance approached its finale with a Mohana Kalyani thillana composed by Lalgudi Jayaraman (the duo’s guru and father), performed connected the peculiar petition of Bakthavathsalam. The duo’s bowing radiated joyousness and camaraderie crossed the stage.
