''You must become one with the Sruti and Laya (or the Y axis and X axis) and your manodharma then becomes the Z axis. This perfect union is said to be the union of Shiva and Shakti”.
The daughter of violin vidwan MS Gopalakrishnan, Narmadha punctuates her views with analogies that reflect a deeply imbibed spiritual approach to playing the violin. But she is just as comfortable training students overseas in violin and musicology over Skype!
A soloist of the Parur/ MSG bani with its well integrated Carnatic and Hindustani styles and its distinctive presentation, Narmadha’s recent jugalbandhi with Viji Krishnan and Lalgudi Vijayalakshmi was, for her, a very rewarding experience. “To play with two other reputed violinists, each of us representing a great lineage, and to be accompanied by mridangam vidwan TV Gopalakrishnan and Tripunithra Radhakrishnan on ghatam, was truly a blessing”.
Narmadha’s training in the Parur/ MSG mode began at a very young age with daily practice sessions at home involving a large family of aunts, uncles and cousins. “That was our idea of a fun evening then and it was simply thrilling!”
Breaking into Hindi to explain a point, Narmadha says with conviction, “Swaas tho zindagi hai” (Breath is indeed life) and the breath of the violin is the bow. My father was used to accompanying Pandit DV Paluskar and Pandit Omkarnath Thakur. It was this interaction that prompted him to develop the unique style of playing a full octave on a single string to match the raag improvisations of the Hindustani style. I grew up in a house ringing with music, so I am as comfortable playing a kriti as I am of a thumri’, — spontaneously singing the opening phrases of the Khamas thumri ‘Kaun gali gayo shyam’,” as she speaks.
Viji Krishnan
The opening phrase that I play at a concert must effortlessly communicate the classicism and purity of our parampara. It’s the training I’ve received as a child from my father violin vidwan TN Krishnan.”
How would she define the style?
“Our gayaki style is known for its emphasis on raga bhava and aesthetic refinement, without a great deal of sangati elaboration. It’s a very precise approach to classicism and when I’m on stage, well… I do what I know best!” This simple humility seems so identifiable with her parampara that one wonders if that has not been a part of the rigorous training as well. “The recent jugalbandhi was an interesting experiment”, says Viji. “We were three violin artistes exploring a common form, each in our unique styles. It’s a good start but work needs to be done to structure the presentation in a more meaningful way”.
She is from the seventh generation of a dynasty of musicians from a distinguished lineage. Viji began by accompanying her father in India and abroad but a home concert during the December season is still a very special occasion. The ‘season’, however, reminds me of an un-endearing southern tradition, where in the full glare of neon lights, audiences chatter and walk fussily in and out. A tradition not worth romanticising. Viji agrees but has a different, if politically correct, take on the subject. “When I play, I am focused on the playing and nothing distracts me though everything registers subconsciously!”
We talk of how the field is full of young and promising Carnatic talents but the audience continues to be regulars and visitors. Where have all the young people gone? “We need to take our music to the young, the man on the street so that the Carnatic style remains relevant and rewarding. To some extent, I think Chennai Sangamam has been able to do this. Certainly I look forward to concerts in the park where everyone from a wide cross section can wander in for the experience.”
L Vijayalakshmi
''Our style emphasises restraint over flamboyant technique. We look for lyrical beauty in everything — alapana, neraval, laya. Perfect synchronisation”.
It is her father, violin vidwan Lalgudi G Jayaraman, whose ancestor was a direct disciple of the saint Thyagaraja, who taught her to approach the art with the utmost reverence — something she tries to instill in her students as well.
The recent jugalbandhi with Viji Krishnan and Narmadha was a great experience although there is also a little element of compromise, “especially since our styles are so distinctive”, she says.
Sangati elaboration is a hallmark of the style. “For instance, when my father plays the sangati “Pinnalai pinn nindru izhuppan”, (“he pulls my braid from behind me”) from the Ragamalika (Theeratha vilaiyattu pillai), the audience must be able to visualise the twisting strands of a braid!
Playing abroad, especially for instrumentalists, is a challenge. Europe, in particular, with its vast musical heritage also has discerning Carnatic listeners! Vijayalakshmi remembers one concert with a predominantly German audience from whom there were requests to play Devagandhari and Dhanyasi ragams!
Vijayalakshmi loves playing the violin as much as she loves being outdoors, among trees and plants. “They seem to talk to me”, she says with a shy smile.
Another jugalbandhi between them, this time in a sacred grove then? Seems to me like an interesting idea… any organisers listening?
--- vepampoo@electricshadows.org