INDIA – INDE Lalgudi Jayaraman – Compositions by Thyagaragi and L. Jayaraman – Melodiya C80-27225-004

INDIA – INDE
Lalgudi Jayaraman – Compositions by Thyagaragi and L. Jayaraman – Melodiya C80-27225-004, recorded 1987 (LP)

After presenting albums of the incomparable Carnatic violin master Lalgudi Jarayaman (1930-2013) from 1961 and 1971, we now showcase an exquisite, totally brilliant later recording from 1987 on the Russian Melodiya label, where he plays his own compositions (tracks A1, A2, B2) as well as those by the highly-influential Carnatic composer Tyagaraja (1767-1847) (tracks A3, B1). It’s important to note that Jarayaman’s father, the famous violinist Lalgudi Gopal Iyer (1900-1970), was the grandson of Lalgudi Rama Iyer (1807-1867), a direct disciple of Saint Tyagaraja. As the violin was first introduced in Carnatic music in the beginning of the 19th century, Valadi Radhakrishna Iyer (1849-1908) was actually the first violinist in the family.

 

Jarayaman is accompanied here by his son G. J. R. Krishnan and daughter Lalgudi Vijayalakshmi on violin, Vellore Ramabhadran (1929-2012) on the mridangam double-faced drum, V. Natarajan on the kanjira tambourine, and H. K. Venkatramana on the tanpura drone.

Après avoir présenté des albums de l'incomparable maître du violon Carnatic Lalgudi Jarayaman (1930-2013) de 1961 et 1971, nous présentons maintenant un enregistrement exquis d’une brillante virtuosité de 1987 sur le label russe Melodiya, où il joue ses propres compositions (pistes A1, A2, B2) ainsi que celles du très influent compositeur Carnatic Tyagaraja (1767-1847) (pistes A3, B1). Il convient de noter que le père de Lalgudi Jarayaman, le célèbre violoniste Lalgudi Gopal Iyer (1900-1970), était le petit-fils de Lalgudi Rama Iyer (1807-1867), un disciple direct de Saint Tyagaraja. Le violon ayant été introduit dans la musique Carnatic au début du XIXe siècle, Valadi Radhakrishna Iyer (1849-1908) fut le premier violoniste dans cette famille de musiciens distingués.

 

Jarayaman est accompagné par son fils G. J. R. Krishnan et de sa fille Lalgudi Vijayalakshmi au violon, par Vellore Ramabhadran (1929-2012) au tambour à double face mridangam, par V. Natarajan au tambourin kanjira et par H. K. Venkatramana au bourdon tanpura.

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https://lalgudivijayalakshmi.com/lalgudi-bani/

Our other Carnatic violin posts:

Lalgudi Jayaraman – HMV ECSD 2494, 1971 here
Lalgudi Jayaraman – HMV 7 EPE 1614, 1962 here

Dwaram Venkataswamy Naidu – HMV EALP 1375 here

T.N. Krishnan – SEDE 3609 Columbia, 1965 here
T.N. Krishnan & Kumari Viji Krishnan – Inreco 2401 - 5050 A, 1978 here

The photographs below are from The Metropolitan Museum of Art's Open Access initiative, which gives access to more than 400,000 images of public-domain artworks from The Met collection available for free and unrestricted use (www.metmuseum.org):

 

Celestial dancer (Devata), Madhya Pradesh, 11th century:

“The Hindu temple is conceived as a heavenly abode for the presiding deity. The building's stepped, indented, and towering exterior evokes the mountains of Indra's heavens, home to the assembly of gods as well as celestial beauties, dancers, and musicians. This life-size sandstone sculpture is an extraordinary rending of a heavenly celebrant performing in honor of the gods. The dancer's face and body are treated according to prescribed canons of beauty. Her body is contorted in an improbably pose, her legs projecting to her right while her upper torso and head turn sharply left. The extreme flexion reflects dance positions (karunas and sthanas) described in the Natyasastra, an ancient dramatic arts treatise. It is understood in Indian aesthetics that such positions enhance the appreciation of beauty.”

Mahadevi, the Great Goddess, Bikaner, Rajasthan, c. 1725:

“In this twenty-armed form, Mahadevi holds an array of weapons, affiliating her with all the male gods. This iconography also associates her with Durga, the slayer of the buffalo demon Mahisha. Ultimately powerful and creative, Mahadevi is understood by her devotees as the true reality in the universe.” 

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