Lalgudi GJR Viji w/ Trichy Sankaran @ MMA 29.12

[mahavishnu]

Lalgudi GJR Krishnan, Vijayalakshmi - violin duet
Trichy Sankaran - Mridangam
B.S. Purushothaman - khanjira

Mandari varnam - LGJ
Kanna thandri napai- devamanohari - T
amba neelayadakshi - neelambari - MD
Namularakinchi - Dhanyasi - Veena Kuppier
Thamadam thagadayya - mohanakalyani - Lalgudi Gopala Iyer
mahita pravrddha(lalgudi pancharatnam) - Kamboji - Tyagaraja Tisra Triputa, Tani Avartanam
RTP: Kosalam (Misra Jhampai, tisra nadai): Pallavi line - Devi Brova samayamide ati vegame vacchi
Ragamalika swarams in saramati, hamir kalyani, ahiri, janasammodhini
Ramachandra prabho - Sindhu Bhairavi - ST
Ati Neepai - yamuna kalyani - Dharmapuri Subbarayar
Tillana - hamsanandi - LGJ

I have been lapping up the season so much that I haven't had the time to post a review. But I am making an exception here. Because this was an exceptional concert, to say the least.

The vidwat, the grace of presentation, the dignity, the song selection, the balance between intellectual satisfaction and sensory arousal just made this one of the most (if not the most) wonderful concerts of the season for me.

The concert was a perfect representation of one of the greatest legacies of the 20th century, that of the Lalgudi margam. The emotions that the performers and the audience went through was one of the most unique celebrations of everything that this school stood for. Not a note out of place - no frills, just plain, gorgeous music.

Although the concert was solemn, it still excited the sesnsory systems in just the right amount. The kambhoji was stellar and flawless. The kosalam alapanai was out of the world. Beautiful structure, with the vivadi parts in the bottom of the scale with a kalyani like feel from the madhyamam upwards. GJR is a master of these vivadi ragams. Viji played in perfect harmony.

Trichy Sankaran became the music itself. Such masterly accompaniment. I am reminded of the millions of occasions in which he added so much value to Lalgudi sir's concerts. It was equally emotional for him too, and his playing reflected this sentiment as he latched on to the musical expressions. The complex rhythms were in the backdrop, but when Sankaran-sir played all we heard was just music.

BSP was ok; he played a very supportive role where he could.

I am so glad that we can still see the treasures that Lalgudi left behind kept alive by these wonderful musicians. I am too choked up to write any more...

[Rsachi]

Mahavishnu,
Thank you. I can vicariously live your emotions somewhat.

A year so full of partings seems to have at last spilled over with expressions of nostalgia, gratitude and grace.

I wish the Lalgudi siblings all the success they so richly deserve. That they had Sri Sankaran as a sheet anchor was another aspect of grace.

[rshankar]

WOW! Thank you for sharing.

[Ramasubramanian M.K]

I echo Mahavishnu's sentiments.Two words would describe the whole concert--SUKHAM and SOWKHYAM.The LGJ BANI was in full foce--the deft "glides" with the right accent on the notes--nary a harsh note--were a delight to hear. No melodramatic speeches given the emotionally-charged environment--just plain old professionalism at its best.
The chittaswaram in the Mohanakalyani piece was crisp and elegant. Kambodhi delineation was like a story unfolding(as LGJ would put it!!) fitting with the mood of the composition.I sometimes wonder WHY other musicians do not sing these pancharathnams.Each one--kalyani,Thodi,Bhairavi,Kambodhi and Madhyamavathy--are charming in their own way--have heard Bombay Sisters sing the Gathi Neevani(Thodi)--other than that I have not heard others sing or play.

TS was brilliant throughout and was emotionally attuned to the playing and the swaraprastharas exchanges between Krishnan and Viji were embellished by his playing--the anticipation and the agility of execution were object lessions for any aspiring percussion accompanist. In my humble opinion BGP fell short on this aspect--Mahavishnu was more charitable on this score!! On occasions I noticed BGP was distracted and missed in my opinion the subtleties displayed by Krishnan and Viji picked up astutely by TS. Afterall given his lofty stature and accomplishments he could have been laid back.this reminds me of an anecdote re: the late LGJ. How attentive he was even in his own solos to the accompaniment's cues.
In his house a couple of years back LGJ was listening to a Violin Duo(himself and Sreemathy) wih PMI. I hapened to "barge' in--KaligiyundeKiravani) was being
played --during the swara exchanges--wellpatterned and built-up in a nice sequence,PMI was inspired and anticipating th next sequence,would "lead"--LGJ would pick up the "cue" and play the "suggested" pattern .At one point PMI had indicated what the next round would be apt--LGJ following his own manodharma,had "leapfroged" PMI's suggested move. During the replay LGJ turns to Krishnan and laments to him as to how he missed PMI's cue--mind you this decades after the performance-he wa not "basking" in his exploits but instead pointed out to krishnan the need to be alert to the cues of accompanists--the "ETERNAL LEARNER" that he was.
I am not a technica lperson to explain the nuances mentioned in the above anecdote--but that incident is etched in my mind about LGJ's humility and eagerness to learn. This is the context in which my remarks about BGP should be interpreted..

It was a very satisfying concert for me --an unabashed admirer of the LGJ School.

[rajeshnat]

Wanted to be there but after hectic travel for 5 days could not come . RTP taalam mishra jampai - is that not one of the favorites of trichy sankaran?

[SrinathK]

Just one correction - the Devamanohari krithi was Kanna tandri naapai of Thyagaraja.

I was in heaven listening to that Koshalam alapana - what gamakas! What raga bhaava! Truly a soulful rendering. My understanding of that raaga has been rewritten for good. Earlier the rendering of Dhanyaasi was also incredible -- I heard new phrases yesterday.

The one thing that keeps disappointing me however is the sight of a hall with more than half the seats empty for this type of music (Actually up where I was, at one point there was just one other person in that full side of the balcony). Quite a contrast to the days where the only way to attend was to keep buying something at the canteen so that I could sit listen to the concert there! I wonder why this is the case for all instrumental concerts these days.

[mahavishnu]

mishra jampai - is that not one of the favorites of trichy sankaran?

and tisra nadai to boot! Yes this is a special pazhani delight.

[harimau]

The one thing that keeps disappointing me however is the sight of a hall with more than half the seats empty for this type of music (Actually up where I was, at one point there was just one other person in that full side of the balcony). Quite a contrast to the days where the only way to attend was to keep buying something at the canteen so that I could sit listen to the concert there! I wonder why this is the case for all instrumental concerts these days.

Yes, it is indeed a pity that attendance at such good concerts is poor.

But look at the brighter side: No chattering crowds. Nobody disturbing the peace by asking "What is this ragam?" when Kosalam was being played. (GJR announced it after the alapana IIRC). Very few persons wandering in and out for bio-breaks or tiffin at the canteen (excusable considering the lateness of the hour). Pin-drop silence in the auditorium. It was the perfect ambience for listening to such glorious music.

The audience was indeed blessed to have had such a wonderful listening experience. It was like attending a concert or opera in the West where the audience is so well behaved.

I am sure Lalgudi Sir and wife watched from the Heavens with approval and the blessings they showered on their children that evening must have fallen on us in the audience too for us to have had two-and-a-half-hours of out-of-this-world music.

[Rsachi]

Harimau, beautiful words, beautiful thoughts.

[SrinathK]

Speaking of the pallavi, for those interested - the pallavi structure went like this (the opening line eduppu was at 1 + 2/3 counts ) :

, , , ! , , - s ! , r, ! , g , ! , m , ! , p d , ! , n , , R !! S , , !! , n d ! p , m !! (Tala cycle ends)
, , , ! , , -de !, vi,! , bro,!, va, !, sa ma,! , ya, ,mi!! de, , !!, a ti !ve, ga !!

g , r ! , s -- rs (etc...)
me,vac!,chi -- de (etc...)

The rhythm is almost identical to the original krithi of Syama Sastri, but it is slightly shortened by 2 notes overall as this tala has a total of 10x3 = 30 notes per cycle (whereas Adi tala had 32 notes per cycle). The genius lies in fitting the pattern of the krithi pallavi into this tala in this nadai and fulfilling all the technical requirements for a pallavi line in the process. The eduppu point is also a subtly brilliant location for both neraval and kalapaswaras (will edit the post later to explain).