Giant (Jayant )and the Flute Stalk - J.A.Jayanth
Giant (Jayant )and the Flute Stalk
I have been saying now for several years that it’s not fair to have instrumental concerts inserted between the vocal concerts during the Marghazhi December Season. There is so much happening as it is, with artistes, timings & venues being deciding the parameters with rasikas. Somewhere the instrumentalists do not get their share of undivided audience or attention. Probably there should be an exclusive instrumental mini season and the rasikas get to enjoy a lovely Veena, mandolin, keyboard, piano, flute or anything else without feeling bad about missing any vocal concert. There are so many accomplished instrumentalists who don’t get the crowd they deserve.
The option of having an exclusive festival for instrumentalists should be seriously explored.
Like for example, I went to attend a flute concert (where the theme was ‘Muruga’) on 13th December at Marghazhi Maha Utsavam at around 4.45 pm and people kept walking in at all points of the concert and it was by 5.45 pm that the venue was nearly full and the reason was Vishaka Hari being the next to perform.
People who came early to get better seating for Vishaka, truly benefited because they got to listen to a most beautiful flute recital by Jayanth.
Now some may wonder if I was one of the early birds who had gone for Vishaka specifically. Well I had gone there only to listen to Jayanth because I have heard his name float in the air as someone to look out for. So curiousity took me there and I was pleasantly surprised to see a youngster all of just 26 years playing ‘Vaa Muruga Vaa’ in Ragam Begada set to Rupaka thalam composed by Spencer Venugopal in an exquisite manner. That was enough for me settle down for the rest of the concert.
I have always been fascinated with this instrument which is made from the simple bamboo and can produce such beautiful music. It is not just any instrument but also the trademark of Lord Krishna. Even if it’s mythology, that Krishna played the flute and not Veena or drums must have had a reason. Just like they say the violin sounds the closest to the human voice, I have a strong feeling that the flute has the capacity to take you to your past lives ! You just have to close your eyes and listen and it descends on you transporting you into the depths of your past !
There are two prerequisites to make all this possible. First is that the music should be good rather more than good it should have a quality of divinity. Second reason is the listener should be receptive & introspective like Arjuna and not just listen but let the music envelope you !
Jayant fulfills the first prerequisite and has magic in his fingers and breath. I closed my eyes as he played Papanasam Sivan’s ‘Sri Valli Devasenapathe’ in Ragam NataBhairavi. He displayed confidence & a natural flair as he played the swaras in Chaturshra Nadai & Khanda Nadai.
That Jayant was training under none other than Sangita Kalanidhi Sanjay Subramanyam should explain his expertise and what promise he offers. Why would someone like Sanjay be wasting his time on a person if he was not worth it ?
Jayant went on to play Periyaswami Thooran’s ‘Muruga Muruga’ in Saveri. I have not heard people sing this often, so it was very pleasant to see Jayant play this krithi. And boy, he was so very good that the lyrics were running in my mind.
His best choice for the day was ‘Thaamadham Thagaadhaya’ in Ragam Mohanakalyani, set to Adi thalam. This song was composed by V.R.Gopal Iyer and I am not sure how many know that he was a very versatile musician and the father of violin maestro Sri Lalgudi Jayaraman. I would take the liberty of digressing a bit to share about this composer Gopal Iyer. He was the strictest father & teacher anybody could have yet he would not allow his son Jayaraman to sharpen his pencils for the fear that he may hurt his fingers. Those fingers which were later going to give the world some incomparable music. Every parent dreams and aspires for their children and blessed are those whose children are able to make them come true. Jayant is out there to make his parents and teachers proud.
After this song came Papanasam Sivan’s ‘Sharavana Bava Guhane’ next in Ragam Madhyamavati which was his main piece. His alaapane & playing with swaras was mesmerising. It was in a way soothing after attending innumerable loud vocal concerts.
When he started Ragam Sindhu Bhairavi, it was a little bit of brainwork to guess the song. It was Tanjavur Shankar Aiyer’s composition ‘Manadirk Kughandhadhu Murugan Rupam.’
He concluded his concert with a thillana in Behaag whose composer I could not guess !
I left the concert not intending to stay on for Vishaka Hari not only because I had listened to her twice before but also I didn’t want anything to take away the experience of this concert !!
The option of having an exclusive festival for instrumentalists should be seriously explored.
Like for example, I went to attend a flute concert (where the theme was ‘Muruga’) on 13th December at Marghazhi Maha Utsavam at around 4.45 pm and people kept walking in at all points of the concert and it was by 5.45 pm that the venue was nearly full and the reason was Vishaka Hari being the next to perform.
People who came early to get better seating for Vishaka, truly benefited because they got to listen to a most beautiful flute recital by Jayanth.
Now some may wonder if I was one of the early birds who had gone for Vishaka specifically. Well I had gone there only to listen to Jayanth because I have heard his name float in the air as someone to look out for. So curiousity took me there and I was pleasantly surprised to see a youngster all of just 26 years playing ‘Vaa Muruga Vaa’ in Ragam Begada set to Rupaka thalam composed by Spencer Venugopal in an exquisite manner. That was enough for me settle down for the rest of the concert.
I have always been fascinated with this instrument which is made from the simple bamboo and can produce such beautiful music. It is not just any instrument but also the trademark of Lord Krishna. Even if it’s mythology, that Krishna played the flute and not Veena or drums must have had a reason. Just like they say the violin sounds the closest to the human voice, I have a strong feeling that the flute has the capacity to take you to your past lives ! You just have to close your eyes and listen and it descends on you transporting you into the depths of your past !
There are two prerequisites to make all this possible. First is that the music should be good rather more than good it should have a quality of divinity. Second reason is the listener should be receptive & introspective like Arjuna and not just listen but let the music envelope you !
Jayant fulfills the first prerequisite and has magic in his fingers and breath. I closed my eyes as he played Papanasam Sivan’s ‘Sri Valli Devasenapathe’ in Ragam NataBhairavi. He displayed confidence & a natural flair as he played the swaras in Chaturshra Nadai & Khanda Nadai.
That Jayant was training under none other than Sangita Kalanidhi Sanjay Subramanyam should explain his expertise and what promise he offers. Why would someone like Sanjay be wasting his time on a person if he was not worth it ?
Jayant went on to play Periyaswami Thooran’s ‘Muruga Muruga’ in Saveri. I have not heard people sing this often, so it was very pleasant to see Jayant play this krithi. And boy, he was so very good that the lyrics were running in my mind.
His best choice for the day was ‘Thaamadham Thagaadhaya’ in Ragam Mohanakalyani, set to Adi thalam. This song was composed by V.R.Gopal Iyer and I am not sure how many know that he was a very versatile musician and the father of violin maestro Sri Lalgudi Jayaraman. I would take the liberty of digressing a bit to share about this composer Gopal Iyer. He was the strictest father & teacher anybody could have yet he would not allow his son Jayaraman to sharpen his pencils for the fear that he may hurt his fingers. Those fingers which were later going to give the world some incomparable music. Every parent dreams and aspires for their children and blessed are those whose children are able to make them come true. Jayant is out there to make his parents and teachers proud.
After this song came Papanasam Sivan’s ‘Sharavana Bava Guhane’ next in Ragam Madhyamavati which was his main piece. His alaapane & playing with swaras was mesmerising. It was in a way soothing after attending innumerable loud vocal concerts.
When he started Ragam Sindhu Bhairavi, it was a little bit of brainwork to guess the song. It was Tanjavur Shankar Aiyer’s composition ‘Manadirk Kughandhadhu Murugan Rupam.’
He concluded his concert with a thillana in Behaag whose composer I could not guess !
I left the concert not intending to stay on for Vishaka Hari not only because I had listened to her twice before but also I didn’t want anything to take away the experience of this concert !!
About the Author:
Sandhya Shankar belongs to a well respected business family in Chennai. She is a Life Skills & Corporate Trainer by profession. She is an avid reader and a natural writer, who has written several poems and articles. She even presented her poems as a reading at the British council. She has keen interest in all art forms and has explored many different forms of painting like stained glass and Tanjore being among them.
Music being her first passion, she had her formal training under Terakotti Chandrasekharaiah at Bangalore and later briefly under Mrs Champa Kumar. She is a regular visitor of concerts, theatre and other live performances. Her witty reviews have gained a loyal and interactive readership for their sound technical commentary and relevance for every kind of melophile, from the casual-goer to the ragam expert, frequenting Chennai’s rich music scene.
(*The views and opinions expressed herein are those of the author and not necessarily those of Music of Madras.)
Music being her first passion, she had her formal training under Terakotti Chandrasekharaiah at Bangalore and later briefly under Mrs Champa Kumar. She is a regular visitor of concerts, theatre and other live performances. Her witty reviews have gained a loyal and interactive readership for their sound technical commentary and relevance for every kind of melophile, from the casual-goer to the ragam expert, frequenting Chennai’s rich music scene.
(*The views and opinions expressed herein are those of the author and not necessarily those of Music of Madras.)
Very nice article, just reflecting my mind to have a season for instrumentalists, close to Dec so that people coming from abroad, out stns for season can listen to it. Yes J. A Jayanth is a gem of flautist carnatic world has got today. I am being his fan from the day one I listened to him and seeing his tremendous growth over the years. Thanks for this wonderful write up.
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