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

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

To enjoy and appreciate a Hindustani-Carnatic jugalbandhi, a rasika should almost become a part of both schools’ individual and integrated styles. Here, more than the sahitya or lyrics, what matters are the music, raga, phrases and their inherent charm, scope for elaboration, creativity, and above all, a profound knowledge of the melodies chosen and presented.

The integration provides immense and boundless scope to the creativity of the performers.

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

JA Jayant, who hails from an illustrious musical background, is a noted globe-trotting young flautist. Nandini Shankar’s grandmother Rajam is a well-known Hindustani violinist. Little wonder, Jayant and Nandini vied with each other to exhibit their musical wisdom and expertise.

The jugabandi provided immense scope for both to explore the enticing depths of the ragas chosen. Nandini began with raga Bhimpalasi, equivalent to the Carnatic Abheri. Both the artistes put forth the supple and gentle notes and phrases of the raga. The pace picked up once they started powerful exchanges on the bandish chosen and explored the myriad shades of the ragas. They supplemented and complemented their presentations, creating an enticingly enchanting portrait of Bhimpalasi and Abheri.

The second and main offering was Yaman in Hindustani and Kalyani in Carnatic. The raga provides enormous scope for improvisation. The two talented players’ expeditions were remarkable — the grand finale saw a thunderous applause from the audience.

Their choicest prayogas and fast, slow and tricky segments demonstrated their deep understanding of their respective genres.

Percussionists NC Bharadwaj on the mridangam and Chandrajith on the tabla were partners in the musical journey. They exchanged restrained but captivating rhythmic patterns during their tani avartanam.

The concluding part of the jugalbandhi showcased two popular ragas followed by bhajans. One, with raag Misra Peelu in Hindustani and Kapi in Carnatic through the popular ‘Raghupathi Raghava Rajaram’, and the other in Bhairav in Hindustani and Sindhubairavi in Carnatic with Purandaradasar’s ‘Tamburi meetidava’.