A book of Lalgudi Jayaraman’s compositions

Besides being a celebrated violinist, Lalgudi Jayaraman was a reputed composer. After Veena Seshanna, he was probably the only prolific instrumental performer who also actively composed. Notably, Jayaraman’s pieces were widely performed in his own lifetime not just by stalwart musicians like Nedunuri Krishnamurthy, D.K. Jayaraman, Voleti Venkateswarlu and M.L. Vasanthakumari but also by leading dancers. Jayaraman’s compositions have featured regularly on dance and music platforms ever since.

A version of this article appeared in The Hindu dated March 4th, 2022. This was written as part of the Kalpalata Fellowship for Classical Music Writings for 2022.

His children, violinists G.J.R. Krishnan and Vijayalakshmi, have just released Lalgudi’s Creations, a compilation of the compositions of Jayaraman and his father V.R. Gopala Iyer. This book consolidates an earlier two-volume paperback edition into one hardbound version. Vijayalakshmi explains that the earlier books had two versions – one in Tamizh and the other in English. They were, therefore, effectively dealing with four books. The family was distributing it themselves to music bookstores in the city. Obviously, that led to issues such as only specific volumes running out of stock etc. Krishnan, she says, thus suggested coming up with one consolidated book.  “Our father composed many pieces after the original editions had come out. Most of these new ones are also incorporated in this book, along with fifteen compositions of our grandfather’s,” say the siblings.

Vijayalakshmi draws attention to the ‘Samarpanam’ in the book which is Jayaraman’s dedication to his father which is followed by a succinct foreword from 1992. Here, Jayaraman says that these compositions were creative musical forms inspired by divine grace, in purposeful moments of life.  

Krishnan adds that this new volume is a ‘Lalgudi 90 Edition’ – part of the siblings’ tribute for their father’s 90^th birthday which fell two years ago. The photograph used to announce the release shows the book on a pAi (traditional reed mat) bringing to mind the in-person pAttu (music) classes of yesteryear where the student would sit with his/her book in front of them. “We wanted to respect those who felt there was no substitute for an actual book,” says Krishnan.

The lyrics of the compositions, in Tamizh, Telugu and Sanskrit, are presented in their respective scripts along with English transliteration. They include tillAna-s, tAna varNam-s, pada varNam-s, kriti-s, jatiswaram-s and a pushpAnjali too. Krishnan says that Jayaraman initially composed only for the music circuit but then received many requests from dancers for suitable compositions. Some pieces were written, and at least one restructured, for dance, by Jayaraman himself.

While the earlier versions of the books were facsimiles of handwriting, this book is lucidly printed in thick paper, with English notations, in Jayaraman’s bi-colour system – one for swaram (notes) and another for sAhityam (lyrics). The Lalgudi bANi is so rooted to faithful reproduction of vocal that all instrumental students have to learn to sing the compositions first, prior to playing them. This intertwining of vocal proficiency and nuanced depth of instrumental adroitness is vividly reflected in Jayaraman’s compositions and their notations.

Unlike Western classical music, notating Carnatic music to be actually reproducible by others is no simple task, due to the intricate and integral gamakam-s. Most available notations are, therefore, either rudimentary or require a complex legend of symbols to interpret. Vijayalakshmi explains that Jayaraman visualised sound both as elements from nature and from dance as well, using actual movements of the note in the notation. She adds that this was the reason the cassette of his tillAna-s was called The Dance of Sound – it did not have to be danced to; the sound itself would dance. Krishnan adds that it was important for his father that whatever he did was understandable to the receiver. Jayaraman’s notations are, indeed, comprehensive, using pictorially intuitive diacritical marks to indicate the tiniest detail. One should take especial note of vainika and vocalist S.P. Ramh, Jayaraman’s senior student, who skilfully notated and learned many of the pieces on the spot, right as Jayaraman composed them. Vijayalakshmi particularly remembers Ramh’s association with the operatic ballet, Jaya Jaya Devi, for which he would come every morning and learn and notate as Jayaraman composed and tuned.

Jayaraman belongs to the small subset of lyricists who also tune their compositions – the definition of a vAgayEkkAra. Marveling at his methodical documentation, one wonders if Jayaraman honed these skills to pass on the bANi without alteration and aid his numerous students. That he was an effective teacher of both vocal and violin is indisputable, borne out by accounts from his many protégés who are reputed vocal and instrumental performers and teachers too.

Krishnan says Jayaraman derived inspiration from nature, requests from artistes and laypeople and other music he heard. Vijayalakshmi narrated an interesting anecdote about his nIlAmbari varNam which was initially a tAna vaNam on Goddess Saraswati with lyrics in Telugu. A close family friend had requested Jayaraman to compose a varNam especially for the dance arangetram of his daughter, Rajashri Gautam, with the stipulation that it be on Lord Muruga and portray sringAra rasa (romantic love) but slanted towards bhakti (devotion).  Jayaraman found the nIlAmbari vaRNam evoking the appropriate sentiment and without changing a single note, wrote a completely new set of lyrics for it in Tamizh, including for the muktAyi swaram-s and the cittaswaram-s, thus making it a pada varNam. Subsequently, this varNam was performed by the famous Kumari Kamala as well. Krishnan mentions Jayaraman composing the tillAna in Durga after hearing Ajoy Chakraborty’s rendition of that rAgam live in Chennai and the rAgavardhini kriti after hearing Ilaiyaraaja.  As to why Jayaraman never used a signature, Krishnan says, “He felt that the musical style was distinctive enough to render a mudra superfluous.” 

The book, ideally, could have been accompanied by, or have offered access to, recorded renditions of the compositions to make it even easier for music and dance lovers to learn from. Additionally, as collectible and endearing as the tangible book is, one wishes it had an electronic avatar too. Besides portability, the instant purchase feature would allow for immediate access and dissemination. These add-ons would aid in the works of this consummate musician reaching further and more widely, particularly among the younger demographic.

Digital notation transcription was by Rangaswamy Venkataperumal and printing by A.S. Diwakar of Compuprint. The book costs Rs. 1,500 and is available at Saptaswara Musicals and Karnatic Music Book Centre in Chennai. Enquiries can be directed to lalguditrust@gmail.com.

Related Links:

Lalgudi Jayaraman – A teacher par excellence

Quarantunes: Lalgudi Vijayalakshmi – A Podcast