|
|
|
Lalgudi Jayaraman
By T. M. Anantharaman
It is not as if I had not relished the music of violin maestro
Lalgudi Jayaraman before I went abroad. Ironically,
it was while speaking to the undersecretary of Arts & Culture
department in Doha, Qatar, back in March 1984, that I realized
instrumental music had a new dimension to it. We had approached
the undersecretary for permission to host Lalgudi’s carnatic
music concert.
Fearing that the official may veto our request to hold the concert,
I had pleaded with the argument “but its only instrumental
music!” I was trying to stress the point that as it was
instrumental and not vocal, it won’t have any references
to Hindu deities. |
 |
The undersecretary looked squarely
at me and asked: “Who told you that instrumental music
cannot be religious music?”
It was a revelation. The official by asking that question opened
my eyes as it were to another facet of Lalgudi’s music.
Instrument it was. But Lalgudi, with his vocalized style of
playing the violin, could invoke a spiritual experience for
the listener.
We had organized a festival of Indian classical music in Doha,
Qatar, in 1984, and among the performances that stood out was
of course that of Lalgudi Jayaraman’s solo concert at
the Sofitel Hotel. The three-hour concert had exquisite vignettes
of various ragas. However, Hindolam and Kalyani ragas were given
space and dimension, making them truly melodious. To this day
I can remember the standing ovation he got from the audience
at the end of the concert.
Now for a little flashback. The first time I perhaps listened
to Lalgudi Jayaraman, with focused attention to his enchanting
music, was as soon as I had landed in Doha, Qatar. The year
was 1979. Destiny brought me to meet an ardent carnatic music
aficionado. He had a vast collection of audio tapes of carnatic
music and one day he invited me to listen exclusively to Lalgudi’s
music.
The one that swept me off my feet and took me to stratospheric
heights was Lalgudi Jayaraman exquisitely playing an enchanting
and hummable Kalyanavasantham raga followed by the Thyagaraja
composition “Nadaloludai Bramhananda mey”, something
incredibly beautiful. How can anyone bring in such grace, such
a sheen, such perfection, such hauntingly creative ideas to
enshrine the beauty of Kalyanavasantham for ever? Then there
was a racy Bilahari piece, a heart-tugging ragamalika including
such jewels as Sindu Bhairavi, Maund and Tilang, breath-taking
in their sweep and joie-de-vivre!
There was another album wherein he had handled with his usual
vigorously enchanting mode kritis in ragas like Mohana Kalyani,
Desh, Hamir Kalyani, Kathanakuthuhalam, Kapi, and Pahadi. The
music, to put it simply, was bewitching and for days on end,
I was humming one or the other of these masterpieces. Truly
I was bewitched by this “stringer supreme” if I
may coin a phrase in his honour.
Over the years, my friend softened the harsh realities of my
living in the Gulf alone and made it more bearable. Many were
the Friday evenings (Fridays are holidays in Doha) we spent
together listening to and enjoying vintage music.
Music from albums of masters like Ariyakudi Ramanuja Iyengar,
Semmangudi Srinivasa Iyer, Alathur Brothers, Madurai Mani Iyer
, Chembai Vaidyanatha Baghavathar, and others, to many of whom
Lalgudi Jayaraman was an automatic choice as an accompanying
violinist. Automatic, because he had the knack of giving admirable
support even while enriching the concert as a whole, adding
his own scintillating touches while playing the raga or compositions
or swaras.
It’s time to refer to a Tamil phrase “Chaala porundum”
when one talks about a musical genius Lalgudi Jayaraman being
honoured with “Lifetime Achievement Award” by the
Madras Music Academy. It literally means “truly deserving”
but countless admirers of Lalgudi Jayaraman like me, while welcoming
the recognition, feel a twinge of regret.
For, a title like “Sangeetha Kalanidhi”, which he
truly deserved for his multi-dimensional, path-breaking contribution
to carnatic music, eluded him. Others were honoured so by the
Music Academy. That does not redound to the Academy’s
credit. It indeed is and must be reckoned as one of the singular
misfortunes in the history of carnatic music.
Perhaps Lalgudi Jayaraman, one of 20th century’s brilliant
violinists, does not hanker after titles as others of his ilk
do. Titles have come unasked for this genius.
The Government of India honoured him with Padma Bhushan in 2001.The
Federation of Music Sabhas, Chennai, conferred on him the title
“Sangeetha Choodamani” in 1971.
Others too have recognised his worth. The Sangeetha Natak Academy
recognized his contribution to classical music with an award
in 1979. The Bangalore Gayana Samaja gave him the title “Sangeetha
Kala Ratna” in October 1997. And in 1982, the first Chowdiah
Memorial National-Level Award was given to him by the then chief
minister Gundu Rao. He was given the title “Bharatha Jyoti”
by the Bharatiya Vidya Bhavan following a millennium concert
it hosted at the New York Lincoln Centre, which won him rave
reviews.
And Yehudi Menuhin, world renowned violinist, was so taken up
with mastery and Lalgudi’s expressive skills over the
violin that he presented an Italian violin in 1965 to the Indian
musical wizard after a concert for the Edinborough Music Festival.
Talking about rave reviews I would like to refer to one. One
by Prof. S. Ramanathan, venerable musician and musicologist,
who perhaps typifies the best in Lalgudi Jayaraman’s music
with the words: “Its ingredients are a fascinating tonal
allure, a scintillating and polished delivery, a flawless fluency,
a preternatural grasp of the ins-and-outs of Laya, an unflagging
zeal, splendid resourcefulness, an unruffled self possession,
an effortless virtuosity, a fine sense of proportion, a tautness
of texture, an impeccable musical idiom and total creative brilliance.
In short, it is a sweet ensemble of the choicest artistic virtues".
Ultimate appreciation indeed!
Be it riveting attention of the listener with soulful enunciation
of the bhava of a raga or a composition, be it taking you into
a different dimension of innovation by etching out unheard of
melodies in new ragas, be it giving you an insight into his
rich musical grasp with many exquisite varnams or thillanas,
he is matchless.
An anecdote I must share with readers. I used to think that
I was among the greatest fans of Lalgudi Jayaraman’s music.
Until I met my uncle some years ago. Apparently he had met Lalgudi
one day in the foyer of the Music Academy in Chennai and went
up to him, shook his hand, and told him: “, Ungaladuya
kaiyai kulukki innekki en janma sabalyam aayidichu sir!”
(“My life’s purpose is accomplished after shaking
hands with you!”) Incredible but true. My uncle (and there
are scores of his genre, I am sure) is the ultimate die-hard
fan of Lalgudi Jayaraman!
In conclusion, I must also share one more nugget. Violin maestro
he is indisputably. But he has also been an excellent vocal
teacher of carnatic music. Testimony to his inimitable and charming
skill in teaching vocal music was given by none other than Balamurali
Krishna when once he referred to Lalgudi’s vocal teaching
ability by remarking: “Thank God he has not taken to vocal
music; else we all would have had to resort to some other profession
to make our living!”
The great violinist’s extraordinary musical legacy is
carried on by his vocalist disciples: Bombay Jayashri, S.P.Ramh,
Vishaka Hari and Saketaraman, to name some. They are making
waves as among the topnotch gennext musicians today.
He also has many disciples who play the violin, chief among
them being his son G.J.R. Krishnan, daughter Vijayalakshmi,
and noted violinist Vittal Ramamurthy. They have carved a special
niche as excellent and exuberant musicians on the violin.
May Lalgudi’s tribe increase, so that music is always
innovative and fresh, enjoyable, memorable and melodious. Long
live Lalgudi Jayaraman, carnatic music’s “avathara
purushan” (incarnate personified)!
Post your comments
Printer friendly page
Send this article to Friends by E-Mail
|
|
|
|
|
