J Jayant and Nandini Shankar’s flute and violin jugalbandi hit all the correct notes

J Jayant (flute) and Nandini Shankar (Violin) discovered the beauty of ragas in their essays. , Photo Credit: Akhila Ezavaran

To enjoy and appreciate a Hindustani-carnic jugalbandi, a rasika must almost be part of the individual and integrated styles of both schools. Here, more than literature or song, music, raga, phrases and their inherent attraction, scope for expansion, creativity, and above, are deep knowledge of the tunes chosen.

Integration provides immense and immense scope for the creativity of artists.

Jajayant (flute) and Nandini Shankar (Violin). , Photo Credit: Akhila Ezavaran

J. Jayant, who is from a magnificent music background, is a famous globe-trotting young flotist. Nandini Shankar’s grandmother Rajam is a famous Hindustani violin player. A little surprise, Jayant and Nandini worked with each other to showcase their music knowledge and expertise.

Jugabandi provided immense scope for both to find out the seductive depth of the elected ragas. Nandini began with Raga Bhippalsi, which was equivalent to Carnatic Ashri. Both artists put up the tender and soft notes and phrases of the raga in front. Once they begin powerful exchanges on the chosen restrictions, raised the speed and discovered innumerable colors of ragas. He supplemented and complemented his presentations, making him an attractive attraction of Palasi and Aari.

The second and main offering was Kalyani in Yemen in Hindustani and Kalyani in Karnataka. The raga provides huge scope for improvisation. The campaigns of the two talented players were notable – the Grand Finale appreciated a thunder from the audience.

His best prayer and fast, slow and difficult segments demonstrated his deep understanding of his respective styles.

Mridajam on Tabla and Personist NC Bhardwaj on Chandrajith were partners in the music journey. He exchanged a restrained but captivating rhythmic pattern during his Tani Avatarnam.

The closing portion of Jugbbadi showed two popular ragas after hymns. One in Hindustani, Raga Mishra Pilu in Hindustani and ‘Raghupati Raghav Rajaram’ in Kapi in Carnot, and the other in Bhairav ​​in Hindustani and Sindubairavi in ​​Carnatic with ‘Tamburi Meetidawa’ of Purandarasar.