Paddhatti - Lalgudi G Jayaraman- Live in concert 1999, Mysore
|S P Ramh & S Saketharaman|
|Vellore G Ramabhadran|
|Sharanu Sidhi||Saurashtram||Misra Chapu||Purandaradasa||01:20||Sampler|
|Vallabha Nayakasya||Begada||Rupaka||Muthuswamy Dikshitar||01:20||Sampler|
|Sri Rama Saraswati||Nasikabhushini||Adi||Muthuswamy Dikshitar||01:20||Sampler|
|Srinivasa Tava Charanam||Kharaharapriya||Rupaka||Papanasam Sivan||01:20||Sampler|
|Innudaya Barade||Kalyanavasantam||Khanda Chapu||Purandaradasa||01:20||Sampler|
|RTP||Shanmukhapriya||Khanda Triputa||Lalgudi G Jayaraman||01:20||Sampler|
|Tunga Tarange Gange||Hamsadhwani||Adi||Sadasiva Brahmenendra||01:20||Sampler|
|Sarvam Brahmamayam||Darbari Kanada||Adi||Sadashiva Brahmendra||01:20||Sampler|
|Sruti Bhedam Tillana||Sindhubhairavi||Adi (Tisra Nadai)||Lalgudi G Jayaraman||01:20||Sampler|
|Tamburi Meetidava||Sindhubhairavi||Adi||Purandara Dasa||01:20||Sampler|
|Tillana||Bindumalini||Adi||Lalgudi G Jayaraman||01:20||Sampler|
He makes the violin sing!” -- Followers of violin maestro Lalgudi Shri. G. Jayaraman’s work often use this expression to convey their admiration for his highly communicative style.
His “singing violin” does not merely point to the emphasis Shri. Lalgudi placed on the lyrical component of a composition, but reflects his artistic disposition to approach every piece as a holistic, composite creation encompassing melody, rhythm, lyric and bhava (feel). In his musical mind, all these elements were delicately intertwined.
Being a composer himself, Shri. Lalgudi particularly appreciated the role of lyrics and saw immense value in music that was at once sensitive and sympathetic to the lyrics.
For those trying to understand how his violin bow managed to spell out each word in a song – even indicating minute pauses that the human voice would take for breath – his vocal concerts serve as a fascinating pointer to his music ideology.
It is virtually impossible to compartmentalise his artistic pursuit as “Lalgudi the violinist”, “Lalgudi the vocalist”, and “Lalgudi the composer”, for he always sought to be “Lalgudi the musician”, as evidenced in this live vocal concert performed in Mysore.
If someone did not know of ‘Lalgudi the violinist’, they would be convinced that he was a full time vocalist.
Not surprising, considering that the first ever public performance he gave as a 12 year old was a vocal concert, with his father and Guru Lalgudi Gopala Iyer accompanying him on the violin. His rich tone, voice modulation and the apparent effortlessness in traversing octaves - together lend every composition a unique identity and charm.
In this concert he presents, in his quintessential style, compositions covering a diverse range of ragams, talams, languages and composers. The delightful concert list includes Shri. Papanasam Sivan’s Kharaharapriya masterpiece Srinivasa tava charanam – a song that holds many memories.
After hearing the piece at a concert some of us, his students, requested him to teach the song. Enthused immediately, Lalgudi Sir squatted on the floor to notate the song in my friend’s notebook – he would write for each of us, painstakingly marking the Tala breaks, oscillations, aspirations in pronunciation.
He was very particular about the jaaru (glide) at tava charanam. He made us sing it many times. That little journey from from ‘ma’ to ‘ri’, he would insist, had to capture the spirit of total surrender. Notice in this recording how he pays special attention to vocalising that phrase, at times coming a bit closer to the microphone for emphasis – something he often did in his vocal concerts to highlight powerful phrases.
His creative mind zoomed into such detail in every song he dealt with. The vintage Devagandhari phrases he chooses for ‘Koluvaiyunnade’ or the utterly refreshing Hamsadhwani glides decorating ‘Tunga Tarange’, or the emotive appeal of the lines “Neenaegati endu” (Innudaya Bharatae, Kalyanavasantham) amply demonstrate how he employs melody to highlight a myriad of moods.
The Bindumalini Thilla in this recording, composed by him, shows us how he also used melody to veil complex rhythmic patterns that his mathematical brain had conceived.
In his constant engagement with a composition -- toiling with it, interpreting it, improvising on it, and savouring every turn of musical phrase – he made it his own. No wonder his music – emerging from his violin or voice – brims with tenderness.