A style founded and evolved by Lalgudi Jayaraman, the ‘Lalgudi Bani’ (bani is the vernacular word for style) is a creation of the Maestro’s genius. It is a bani where music takes the front seat and technique is viewed only as a means of projecting and expressing the melody. The bani aspires to make the violin sing and this is the focal point around which the bani has evolved. The bani is a blend of melody and rhythm each complementing the other and where rhythm, however fascinating bows down necessarily to melody.
In the interpretations of ragas, the bani prides itself on revealing the identities of the melodic forms in the shortest possible time. Therefore, the expanse of a raga is only dictated by other factors in play. In the rendition of a kriti, the Lalgudi Style encapsulates the spirit of the composer and brings to life the meaning of the song.
This approach naturally necessitates the optimum choice of tempo, gamakas and related musical nuances. Contained in this effort, are also lofty values that include bhakti towards music, the composer, the guru and the Almighty.
The bani’s impact on the presentation of kalpana svaras is distinct and varied. Its hallmark is the dovetailing of the swaras with the eduppu, wherein the last few svaras neatly fits in with the swaras that make up the chosen theme line. A study of this captivating bani reveals the effort that has gone into its creation.
The Bani is mesmerizing displaying Lalgudi Jayaraman’s aptitude for research, his love for tradition, his urge to innovate, his quest for perfection and his keen eye for aesthetics while retaining the values.
Lalgudi Lineage
Lalgudi Rama Iyer
(1807-1867)
Lalgudi Rama Iyer was a direct disciple of Saint Tyagaraja (1767-1847). He was the court musician of the Royal House of Mysore under the benevolent Mummadi Krishnaraja Wodeyar. At the request of Rama Iyer, St.Tyagaraja not only visited the village Lalgudi, but also stayed in his house and composed five masterpieces on the presiding deities of Lalgudi, called the ’Lalgudi Pancharatnam’, which were later popularised by Lalgudi Jayaraman.
Valadi Radhakrishna Iyer
(1849-1908)
Valadi Radhakrishna Iyer was one of the four sons of Lalgudi Rama Iyer. He was the first violinist in the family. He was also one of the first in the field of violin accompaniment in Carnatic music.
Madurai Kandasamy Bhagavatar
(1890-1939)
Valadi Radhakrishna Iyer’s elder son Kandasamy Bhagavatar was a reputed violinist who earned a place for himself as an accompanist. He is known to have accompanied many great vidwans of his time, like Mazhavarayanendal Subbarama Bhagavatar and Harikesanallur Muthiah Bhagavatar.
Lalgudi V. R. Gopala Iyer
(1900-1970)
Valadi Radhakrishna Iyer’s younger son and Lalgudi Jayaraman’s father Gopala Iyer was a violinist, composer, poet and a teacher par excellence. His composing skills burst forth as kritis in rare ragas like Uthari, Suddha Tharangini, Velavali, Gandharva Manohari, Bhuvana Mohini, Sindhu Kriya, Megha Ranjani and Niranjani. His composition Thaamadham Thagaadhayya in Mohana Kalyani is very popular kriti.
