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Lalgudi Jayaraman - A Laya Bhava Raman, Says T.N. Seshagopalan
By Sudha Jagannathan
CHENNAI, March 14: The Carnatic music fraternity has showered
encomiums on veteran violin artiste Lalgudi G. Jayaraman,
who is conferred the Lifetime Achievement Award by the
Music Academy.
At an award presentation function organized here on Sunday last,
the Who’s Who of the Carnatic music was present in full
strength at the Academy. The auditorium was packed to capacity.
The function began with an invocation song by leading vocalist
Bombay Jayashri, herself a student of Lalgudi Jayaraman. She
sang ``Kanthan sayal andro…’’, a composition
of Lalgudi Jayaraman.
Laya Bhava Raman
Addressing the gathering, vocalist T.N. Seshagopalan said he
was thrilled when Lalgudi Jayaraman accompanied him at a concert
in 1969 at Sri Krishna Gana Sabha. Lalgudi Jayaraman, he said,
had the prowess to bring out all the creativity inside the main
artiste with his remarkable violin support. The main artiste
would never have imagined that he had that kind of potential
inside him. The ability to bring out the best in others showed
up the genius and knowledge in Lalgudi Jayaraman, he added.
Expressions such as `Layaraman’ to describe the violinist
won’t be enough, Seshagopalan said.
Lalgudi Jayaraman had brought revolution in `pakka vadya’
by making violin equal to the main vadya even while accompanying
stalwarts. Rasikas often went to vocal concerts simply because
Lalgudi Jayaraman was listed to play the violin, he said. While
accompanying Mani Iyer, GNB and Semmangudi, Lalgudi Jayarman
had instantly reproduced their sangatis on the violin. ``He
will remain unperturbed. On the other hand, the rasikas will
feel excited and thrilled,’’ he added. Once in 1960,
Mudikondan Venkatrama Iyer took up the Simhananda Pallavi for
lec-dem at Music Academy. Lalgudi Jayaraman accompanied him
on the violin and played so precisely that he could even be
called as “Laya Bhava Raman”. According to Seshagopalan,
Lalgudi Jayaraman was a personification of ``Vatsalyam, Karunyam
and Sowshilyam’’.
A `Pokkisham’
In his felicitation speech, veteran violinist M. Chandrasekharan
recalled the three-hour solo concert that Lalgudi Jayaraman
played in 1964 in Karnataka. It was tough, he said. Stalwarts
such as Dwaram Venkataswamy Naidu and Papa Venkatramayya were
also present and they all said it was a supreme violin playing.
Chandrasekharan also appreciated Lalgudi Jayaraman’s work
for the Tamil film “Shringara”. `The music was of
a good quality. I was so thrilled while I listened to it,’’
he added. Lalgudi Jayarman was a ``Pokkisham (treasure), ’’
he said. He lauded the Academy for conferring on Lalgudi Jayaraman
the special lifetime achievement award.
A True Nadopaska
Senior vidwan R.K.Srikantan said Lalgudi Jayaraman ``is a living
legend’’. His violin playing was very expressive,
mostly vocal in concept (vocalist to the core), he said. His
style was a brilliant exposition of the musical values, he added.
He gave many embellishments that were not possible in vocal
music, he pointed. Srikantan described Lalgudi Jayaraman as
the ``sharpest mind I have ever met’’. He went on
to say, ``he (Lalgudi Jayarman) is a true Nadopasaka.’’
Humility Personified
Veteran B.M. Sundaram said he was first introduced to Lalgudi
Jayaraman by mridangist Palani Subramanya Pillai. Lalgudi Jayaraman,
he said, used to play in concerts like a bride on the marriage
pandal. ``He is humility personified,’’ he pointed
out. Once in a concert at Erode, Ariyakudi Ramanuja Iyengar
took the Misra Jampa talam instead of Kanda talam for (“Parithanamichinte”)
without any prior announcement. But Lalgudi played so well without
the slightest fuss. After the concert was finished, Ariyakudi
praised Lalgudi Jayaraman as a genius. Lalgudi Jayaraman’s
varnams were published by Sundaram. He said Lalgudi Jayaraman
had the sharpest brain. In this context, he pointed out how
Lalgudi Jayaraman presented the kriti “Nada Loludai”
of Tyagaraja with some remarkable sangatis in the pallavi that
he (Sundaram) had discussed with Salem Desikan. (The pallavi
was available in suvadi).
A `bagyam’
Senior dancer Chitra Visweswaran wondered how best to express
Lalgudi Jayaraman. A few years ago, she recalled, how Lalgudi
Jayaraman had composed for her a padavarna on Lord Srinivasa
of Seven Hills. She had requested Lalgudi Jayaraman if it would
be possible for him to compose for her dance. She said she was
astonished when Lalgudi Jayaraman asked her the choice of raga,
talam and deity. She said it was a `bagyam’ for her to
get Lalgudi Jayaraman to compose the padavarnam in Raga Shanmukhapriya.
``The melody and meaning come together. I have only to react
to it,’’ she said. She also recalled a Charukesi
varnam “Kuzal Uthum Azhaga Kanna” composed by him.
``It will stir dancers to various levels,’’ she
pointed out. She said she was pleasantly surprised when he composed
a Navaraga Malika on the eyes of Devi (Ambal) as described in
the 51st stanza of the Soundarya Lahari. In the music composition
for Ramayana in `sapta suladi tala’ and `sapta kandam’,
she was assisted by Lalgudi Jayaraman on the nuances of assorted
expressions. And for the pallavi “Arthaanam Arthihandaram
Beethanam Beethinasanam,” Lalgudi Jayaraman gave her ideas
on how to give expression to this part while giving a performance.
Like Vali
Mridangist Karaikudi Mani said Lalgudi Jayaraman worshipped
his father according to the Tamil saying “Tanthai Sol
Mikka Manthiram Illai”. While Lalgudi Jayaraman played,
the power of his violin went to the main artiste like how Vali
in Ramayan gained the power of one who fought opposite him.
Laurels and titles would feel proud to be bestowed on Lalgudi
Jayaraman and not vice-versa, he said. Born in September 1930
to Lalgudi Gopal Iyer, Lalgudi Jayaraman made his debut while
he was twelve years old. Lalgudi Jayaraman gave his maiden performance
at Music Academy in 1948 in the presence of greats in Carnatic
music such as Chembia Bagavatar, GNB, Alathur brothers and Chowdiah.
For the first time, Lalgudi started the violin veena and venu
concert in 1966, which was appreciated by the Paramacharya of
Kanchi.
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