Lalgudi Jayaraman with Karaikudi Mani (Video) | Doordarshan Video Programme, 1985

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@arvraghu 3 ай бұрын

"The ending phrase of the swara korvai would overlap/ blend so beautifully with the beginning of the sahitya phrase of the composition taken up for niraval/ swaram elaboration." A theme that can most commonly be found in most of Mahavidwan LGJ's compositions (thillanas)/ solos when playing kalpana swarams for krithis & pallavis. Only an Artiste with supremely gifted aesthetic-musical-laya gyAnam can pull of such ecstatic moments!!!

@jjmoonshoes0 3 ай бұрын

Rightly said - To add to your point LGJ had an incredible ability to bring out the essence of any raga within a few swarams or phrases. Even if it was a Vivadi ragam or a ghana raga like thodi, his ability to grasp the essence of a raga was second to none. A one-of-a-kind intellect.

@balakrishnank.r.7188 3 ай бұрын

Thanks Vaak team for another gem

@sundaramthiags 3 ай бұрын

ஸ்ரீ லால்குடி வயலின் வாசிப்பு வாய்ப்பாட்டைக் கேட்ட அருமையான அனுபவம்.

@ganapathysubramaniansriniv627 3 ай бұрын

Big thanks for uploading this concert. It may be 1985 . This was recorded on a Thursday since My guru mani sir observing mouvna and fasting he was too tired. Excellent team work. Thanks to VAak team

@jjmoonshoes0 3 ай бұрын

This video is a testament to Lalgudi Sir’s grit, resilience and true mastery of the instrument. Backstory: during this period, his left hand fingering wasn’t as swift due to health issues. If you compare older videos of Sir’s playing in the 1970s/early 80s, there’s a stark contrast in the way his fingers move across the instrument. Yet despite that and adapting his fingers, Lalgudi Sir’s tonal quality, laya intelligence, gayaki style, raga bhava, sound like his prime time concerts in the 60s/70s. A fantastic video. I remain in awe of the legend 🙏

@venkatesh6828 3 ай бұрын

Absolutely correct. This fingering is a mere shadow of the maestro's playing of the 1960s and 70s

@srinitaaigaura 3 ай бұрын

@@venkatesh6828Violinists are at risk of repetitive stress injuries to their hands and it could have easily become a career ending injury. At this time Lalgudi sir was facing a sudden weakness in the left hand and it forced him to stop accompanying vocalists altogether, apart from the increasing shift to solos. It robbed him of a huge amount of capability. He was playing after this period with mostly his first 2 fingers and barely using the other 2 fingers only when absolutely needed, but still the supreme quality of music never suffered, which is remarkable. It slowed down and became more introspective. 50s, 60s and 70s Lalgudi mama was not human, he was a phenomenon who could play literally anything his mind came up with.

@venkatesh6828 3 ай бұрын

@@srinitaaigaura I totally agree with you. He was a phenomenon!

@balakrishnanpn9517 2 ай бұрын

Great Maha Vidwan, Lalgudi Baani had no parallel, fifties, sixties and seventies was outstanding.