Smt Gayathri Girish and Smt Lakshmi Sriram - Jugalbandhi @ H

[Sathej]

Smt Gayathri Girish - Vocal (Carnatic) (GG)
Smt Lakshmi Sriram - Vocal (Hindusthani) (LS)
Shri MA Krishnaswamy Violin (MAK)
Shri B Sivaraman - Mrudangam
Shri Suresh - Tabla

Date : April 10, 2009
Venue : Hamsadhwani, Adyar

1) Invocatory Shlokams in Kedaram and Kedar.

2) A composition in Abhogi Kanada presented by LS after a brief Ragam (Chahath - announced to be composed by Pandit CR Vyas), with interludes in Abhogi by GG and a short round of Swarams.

3) An Alapanai of Chakravakam by GG with interludes of Ahirbhairav by LS. Followed by Sugunamule with a round of Swarams.

4) A detailed Vilambit and Dhurit composition presented by LS in Shudh Kalyan with Mohanakalyani interludes by GG followed by Bhuvaneshvariya in Mohanakalyani with Swarams by GG.

5) An Alapanai of Madhyamavathi by GG followed by a short Madhyamat Sarang composition presented by LS and then Ramakatha Sudha with Neraval and Swaram by GG with LS joining in with Swarams in Madhyamat sarang.

6) Thani - exchange between Mrudangam and Tabla

7) Parulanna Mata in Kapi by GG and a Thumri in Pilu by LS

8) Shlokam in Ragamalika (Bhairavi, Shudh Sarang, Nadanamakriya, Yamunakalyani) followed by Sri Ranga Kamalakantha and Bhavayami Gopalabalam -Yamunakalyani - presented by both.

9) Mangalam



To begin with, my knowledge of Hindusthani music isn't anything to write home about. So, this post might have a Carnatic bias (like giving the rough Carnatic equivalent of a Hindusthani Ragam but not vice versa!) . And any mistakes may be pointed out.

At the outset, the Jugalbandhi, being a part of the GNB centenary series of concerts, its appropriateness was pointed out - GNB being a well known admirer of the Hindusthani tradition.

It was announced that the first presentation would be on Ragams with similar names in the two traditions, but with entirely different structures. Subsequently, allied Ragams with distinct characters in the two traditions were chosen for further items.

The Kedar in Hindusthani sounded like Hamirkalyani in Carnatic. Abhogi Kanada is supposedly borrowed from Carnatic Abhogi and then attained its own shape and form in the Hindusthani tradition. The composition in Abhogi Kanada presented by LS was good, with interludes in Abhogi and a short round of Swarams by GG. Liked the medium pace of Swarams here.

Chakravakam Alapanai was presented by GG with nice interludes in Ahirbhairav by LS. MAK, on violin was exemplary in his essay here, with alternating phrases of both the Ragams. His Ahirbhairav phrases, in particular were very good. Sugunamule was sung as in a typical Carnatic concert, with a round of Swarams with interludes by LS in Ahirbhairav.

A detailed Shudh Kalyan with two compositions - one in Vilambit Kal and one in Dhurit Kal (as is the tradition in Hindusthani supposedly) was presented by LS. GG joined in with phrases of Mohanakalyani during the elaboration. A detailed Neraval-like exposition was done by LS. At this point, an interesting observation that I made was this. Such a Neraval in Hindusthani primarily involved phrases with extensive Brigas. This seemed highly similar and suited to the Parur style of playing the violin and MAK's replies were excellent and almost seemed like vocalization of the violin. It must be said that Shruthi adherence was perfect all through the Brigas. This was followed by Bhuvaneshvariya - a Muthiah Bhagavathar composition, rendered by GG with a round of Swarams.

Next was an elaborate Madhyamavathi by GG followed by a short exposition of Madhyamat Sarang by LS (it was announced that Madhyamat Sarang has been chosen for the purposes of the concert, though it is essentially an afternoon Ragam in the Hindusthani tradition). MAK was good in his Ragam essay, again interspersing Madhyamavathi and Madhyamat Sarang. The ease with which he shifted between the two was remarkable. Takes quite some doing! A detailed Ramakatha Sudha followed, with Neraval and Swarams - some nice patterns here. LS joined in here with a few rounds of Swaram in Madhyamat Sarang. The Thani exchange was good as well. Was good to hear the mix of Mrudangam and Tabla.

The Kapi Javali and a Thumri in Kapi was next. The Shlokam that ensued was a high point of the concert to me. The choice of the Ragams appealed greatly to me. The two compositions in Yamunakalyani - Sri Ranga Kamalakantha (said to be from the theatre tradition in Maharashtra) and Bhavayami (of Annamacharya) were jointly sung.

A fine Jugalbandhi with some really good violin accompaniment. The conceptualization was nicely done and the presentation was good.

Sathej

[gobilalitha]

whose disciple is Smt.LakshmiSriram? sathej, thanks for the wonderful review.You have presented the proceedings of the kutcheri in a very precise and informative review. wish you a happy virodhi gobilalitha

[rshankar]

Sathej: Any idea if the concert was recorded?

[MaheshS]

Same as rshankar, is it available? I wouldn't mind paying to hear this one. Very interesting way of doing a Jugalbhandi rather than the usual Yaman / Kalyani, Mal Kauns / Hindolam.

Thanks Sathej for your review and comments.

[Sathej]

Smt Lakshmi Sriram is a disciple of Pandit Vasantrao Kulkarni. This link might be useful.

www.thehorizons.com/music/lsriram/bio.htm

It was announced that they consciously avoided Ragams with similar structure like Malkauns and Hindolam, so as to bring out a better contrast between the two traditions. The other pairs of Ragams, though allied, had distinct features in the respective styles.

As for the recording, the organizers might have recorded it. Can check and get back about it.

Sathej

[arasi]

True. Not one of those predictable jugal bandhis with yaman and mAlkauns. Have there been many jugalbandhis with two women-vocalists? If so, I haven't heard them (or heard of them).
A sampling would be nice if the vocalists and Hamsadhwani would allow it!

[bilahari]

Thanks for the nice review, Sathej. It does seem like a well conceptualised effort, and a Parur school violinist is perhaps best fitted for such a concert... Chakravaham and Madhyamavathi are definitely unique choices as well.

[coolkarni]

..

[ramarama]

Very nice recording of Shyamala Bhave and Mysore Nagamani Srinath is commercially available. And I've heard Sakuntala Narasimhan in a jugalbandi with herself - she might be one of the very few (perhaps the only?) A grade AIR vocal artiste in both styles.

[arasi]

Anuradha Parasuram can be another solo jugalbandhist! She is trained in both genres.

[srikant1987]

^^^

You mean Anuradha Sriram?

[arasi]

You got me there! Yes, of course!

[srutibedam]

in the chakravaham piece where the hindustani artist joined every now and then in the middle, at least to me, the interspersions did not blend comfortably, from a listening pleasure point of view. i think the blending aspect may be worked beforehand for better results. there was also a deep diversion in tempo in some places (in other pieces too) where the carnatic was followed by hindustani that it affected the mood and the overall feel. violin, as stated earlier, was good in chakravahaham, a concise and well-rounded presentation of the raga. gayathri showed spontaneity in madhyamavati. the selected theme was interesting and informative.

[srutibedam]

i mean, the violin was good in both, though he was clearly more impressive in chakravaham...

[rshankar]

Another program at Hamsadhwani again - seems to have been wonderful...did anyone attend in person?

[kssr]

Gayathri Girish is an excellent artist. If the two artists plan and structure the jugalbandi such that they complement each other, it will definitely be nice. Also, this will train us to listen to HM for longer periods compared to exclusive HM concerts. Needless to mention that the traditional WWF style of jugalbandis are really annoying.