JA Jayant and Nandini Shankar’s flute and violin jugalbandi hit all of the excessive notes

JA Jayanth (flute) and Nandini Shankar (violin) explored the beautyr of ragas of their essays.
| Photograph Credit score: AKHILA EASWARAN

To take pleasure in and admire a Hindustani-Carnatic jugalbandhi, a rasika ought to virtually change into part of each faculties’ particular person and built-in kinds. Right here, greater than the sahitya or lyrics, what issues are the music, raga, phrases and their inherent attraction, scope for elaboration, creativity, and above all, a profound information of the melodies chosen and offered.

The mixing gives immense and boundless scope to the creativity of the performers.

J.A.Jayanth (flute) and Nandini Shankar (violin).
| Photograph Credit score:
AKHILA EASWARAN

JA Jayant, who hails from an illustrious musical background, is a famous globe-trotting younger flautist. Nandini Shankar’s grandmother Rajam is a well known Hindustani violinist. Little surprise, Jayant and Nandini vied with one another to exhibit their musical knowledge and experience.

The jugabandi offered immense scope for each to discover the attractive depths of the ragas chosen. Nandini started with raga Bhimpalasi, equal to the Carnatic Abheri. Each the artistes put forth the supple and delicate notes and phrases of the raga. The tempo picked up as soon as they began highly effective exchanges on the bandish chosen and explored the myriad shades of the ragas. They supplemented and complemented their displays, creating an enticingly enchanting portrait of Bhimpalasi and Abheri.

The second and predominant providing was Yaman in Hindustani and Kalyani in Carnatic. The raga gives huge scope for improvisation. The 2 proficient gamers’ expeditions had been exceptional — the grand finale noticed a thunderous applause from the viewers.

Their choicest prayogas and quick, gradual and tough segments demonstrated their deep understanding of their respective genres.

Percussionists NC Bharadwaj on the mridangam and Chandrajith on the tabla had been companions within the musical journey. They exchanged restrained however charming rhythmic patterns throughout their tani avartanam.

The concluding a part of the jugalbandhi showcased two widespread ragas adopted by bhajans. One, with raag Misra Peelu in Hindustani and Kapi in Carnatic by means of the favored ‘Raghupathi Raghava Rajaram’, and the opposite in Bhairav in Hindustani and Sindhubairavi in Carnatic with Purandaradasar’s ‘Tamburi meetidava’.