Lalgudi Jayaraman Violin Mp3 Extra Quality Free Download

His disciples included his two children Lalgudi G. J. R. Krishnan, Lalgudi Vijayalakshmi, his sister Lalgudi Srimathi Brahmanandam, former composer-conductor of All India Radio's Vadya Vrinda National Orchestra P. Purnachander Rao, renowned musician S P Ramh (grandson of Shri. G.N. Dandapani Iyer), renowned Harikatha exponent Vishaka Hari, leading carnatic vocalist Saketharaman, Vittal Ramamurthy, Dr. N. Shashidhar, Film Music Composer Girishh G, Padma Shankar, Kanchan Chandran, Raghuram Hosahalli, renowned violinist from London - Shri A.G.A.Gnanasundaram, Srinivasamurthy, Pakkala Ramdas, Sankari Krishnan, Yamini Ramesh, Mumbai Shilpa, Shreya Devnath, Krithika Natarajan, Salem Sisters, the leading Vainika Srikanth Chary and the Academy Award-nominated Bombay Jayashri Ramnath.

He expanded the style of violin playing by inventing a new technique that is designed to suit the needs of Indian Classical Music and establishing a unique style that came to be known as Lalgudi Bani. Jayaraman composed several 'kritis', 'tillanas' and 'varnams' and dance compositions, which are a blend of raga, bhava, rhythm and lyrical beauty. Lalgudi's instrumental talent comes to the fore in the form of lyrical excellence. He brought vocal style into violin, and his renditions exhibit knowledge of lyrical content of the compositions.[5][6][7] Lalgudi actively and scientifically learned to self-critique his performances and dutifully wrote detailed reviews after each concert, a habit encouraged by his father and guru.[2] He was loath to experiment on stage in his solo concerts and almost always planned to the last detail, leading a certain critic to tout them as being intellectual rather than emotional in spirit, but Lalgudi's spontaneity and innate musical genius were often seen when he accompanied leading vocalists.[2]

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After inviting him to play the Edinburgh Festival in 1965, Yehudi Menuhin, the renowned violinist, impressed by Lalgudi's technique and performance, presented him with his Italian violin. Lalgudi presented Menuhin with an ivory dancing Nataraja when Menuhin visited India.[9]

Lalgudi Jayaraman was married to Smt Rajalakshmi and had two children, son G.J.R.Krishnan and daughter Lalgudi Vijayalakshmi. Both follow the footsteps of their father and are famous in their own right. Jayaraman had three sisters Padmavathy, a vainika, Rajalakshmi and Srimathi, both violinists. Srimathi learned violin from him as well. The renowned veena player Jayanthi Kumaresh is his sister Smt Rajalakshmi's daughter.

Apart from these compositions, Sri Lalgudi jayaraman has composed jathiswarams and swarajathis as well. The jathiswaram in Rasikapriya raga is popular among Bharatanatyam dancers. He has also composed a unique swarajathi which demonstrates the concept of Grahabhedam, using ragas Sindhu Bhairavi, Chenchurutti, Mohanakalyani, Behag and Tilang. He was a much sought after tunesmith who set tunes to numerous songs and compositions including several krithis of Ambujam Krishna.

Others played the violin. Lalgudi G. Jayaraman coaxed lucid lyrics and a pitch-perfect human voice out of the instrument. The violin maestro, whose chiselled rendering elevated Carnatic music to new heights, died here on Monday.

A prolific composer, he taught and inspired several of his disciples to excel in violin and vocal music. He declined the Sangita Kalanidhi award of the Music Academy as he thought it came late, though the institution honoured him with a special lifetime achievement award.

He composed many varnams and thillanas. He is said to have composed over 30 thillanas. He composed the rageshri thillana at the request of Nedunuri Krishnamurthy. Voleti Venkateswarulu liked to sing Pahari raga and requested Lalgudi to compose a Pahari Thillana. In this link you can listen to a joint concert by Voleti and Lalgudi. -venkateswarulu-lalgudi-g-jayaraman-guruvayoor-dorai-live-concert/

Over the course of 30 days, the festival featured many luminaries of Carnatic music: M S Subbulakshmi, Balamuralikrishna, Semmangudi Srinivasa Iyer, M D Ramanathan, and the list goes on. I was fascinated by the vocal-violin combination, and the biggest attraction was Lalgudi Jayaraman who accompanied several legends, including Chembai Vaidyanatha Bhagavatar, and Ariakudi Ramanuja Iyengar.

It was indeed a spiritual experience to listen to Lalgudi as he brought out the essence of the raga alapana, ready responses to Neraval, and the swara prastana of each Krithi sung by the main vocalist. Lalgudi on violin, and Palghat Raghu on mridangam accompanying the ever-great G N Balasubramanyam was a divine experience. GNB fondly referred to Lalgudi and Raghu as his right and left eye.

I was privileged to be in the audience on numerous occasions that the legendary violinist accompanied the great MD Ramanathan. He could play for slow-tempo musician MD Ramanathan as well as faster-tempo vocalist Maharajapuram Santanam, who was said to have commented that the vocalist should sing like Lalgudi played the violin.

It was when he was just 12 that he first played the violin as an accompaniment at a concert. Soon he made a name for himself as one of the most-sought-after violinists by noted Carnatic musicians. He said that was because whenever he played for an artist, he merged with him and never tried to make his violin stand out in any of the concerts.

As a boy, he used to listen to the radio all the time. "I still remember listening to the shehnai of Bismilla Khan and nadaswaram of Rajaratnam Pillai and getting fascinated by both. And I wanted somehow to play the violin like they did the shehnai and nadaswaram. I tried, tried and tried, and finally I could play like them."

The biggest moment in his life was playing violin for Chembai Vaidyanatha Bhagavathar, and that too at the tender age of 16 or 17. But he said he was not tense or scared at all. That was because he had listened to Chembai on the radio a lot and he knew every minute detail of his singing by heart.

"Chembai was very happy with the way I played and he blessed me. He said, 'you play like Malaikottai Govinda Swamy! You will be great one day.' Malaikottai Govinda Swamy was the ultimate as far as violin was concerned in those days. That was periya aasirvadam (a big blessing)!So, comparing me with him was beyond my wildest dreams. Not everyone would get blessed by Chembai like that. I feel I was honoured to receive such blessings from a great man like Chembai swami."

Another legend with whom Lalgudi played violin was with Semmangudi Srinivasa Iyer. "I played the violin for Semmangudi for 40 years! He appreciated my very first concert with him. That day he sang for five hours. He couldn't believe how I, a teenager, played with him for so long."

Not many know that from the time Yehudi Menuhin gifted him with an Italian violin in 1965, till his last kacheri, he had only used that violin. "He told me, 'You play the violin so well, and I feel extremely happy. I will give you an Italian violin.' When he gave it to me, I said I don't have the money to pay for it. 'No, you need not pay anything. Just continue playing the violin, and play this violin,' was what he said then.

That was when I asked him about Lalgudi Baani, his unique style of playing violin for Carnatic music. "When you are playing as an accompanying artist, you should not dominate the concert as yours is only an accompanying instrument. After playing the violin for so many great musicians, I don't know how I developed a style of my own. It just happened. After playing violin as an accompaniment for several stalwarts for around ten years, people started calling my style Lalgudi Baani."

His wife explained to me then, "Not only Carnatic musicians but even the listeners also started asking for him. They used to ask, is Lalgudi playing for GKB? Is Lalgudi playing the violin for Semmangudi? People came to listen to Lalgudi playing the violin. If the main artist sang for 10 minutes, he used play violin for four minutes and the performance used to be magical and that was when people started describing his style as Lalgudi Baani. His style used to be one with that of the musician."

That was when I asked whether music was like meditation for him, and he said with a smile, "Music is not like meditation, it is meditation for me. When I am playing the violin, I don't think of anything else; no sleep, no food, nothing. I only think of what I should play and what I should create. Music is the only thought in my mind then."

Celebrated violinist and composer Lalgudi Jayaraman, who carved out a niche for himself in the Carnatic music with his unique style, died in Chennai on Monday at the age of 82 after brief illness.

He was survived by his wife, one son and one daughter, both of whom are violinists.

His family said he was not keeping good health for quite some time after he suffered a stroke.

Born into the lineage of a disciple of saint-composer Thyagaraja, Jayaraman inherited the essence of Carnatic music from his father V R Gopala Iyer, who played veena, violin and flute.

Jayaraman, who began his music career at the age of 12 as an accompanying artist, later achieved fame as a solo violinist and also had success as a composer in four languages- Telugu, Tamil, Kannad and Sanskrit.

He had travelled extensively around the world and gave performances at various countries.

Considering his contribution to the field of music, he was conferred with several awards including Padma Shri in 1972 and Padma Bhushan in 2001.

He was also feted with state Vidhwan of Tamil Nadu and also fellow of Sangeet Natak Akademi.Published By: AtMigration Published On: Apr 22, 2013--- ENDS --- 006ab0faaa