A very well known incident from one of the greatest epics.
The eyes of Rama meet the eyes of Sita..
What happens next?
Let us see how the great Kamban describes it:
பருகிய நோக்கெனும் பாசத்தால் பிணித்து
ஒருவரை ஒருவர் தம் உள்ளம் ஈர்த்தலால்
வரிசிலை அண்ணலும் வாட்கண் நங்கையும்
இருவரும் மாறிப் புக்கு இதயம் எய்தினர்
‘Their eyes drink each other, and they are attracted to each other- the ‘look’ being the thread that binds them together.’’
This is what he says in the first part.
Well and good! After all, isn’t it natural? So, what is so great about it except the ‘eyes drinking each other’ part which is of course poetically imaginative.
Now, look at the second part..
‘’The one with the bow and the other with the sword enter the other’s hearts.’’.
As we all know, Rama is known for his bow. In fact, the Bhratanatya mudra for Rama itself symbolizes the bow.
Therefore, there is no surprise in describing Rama as ‘varisilai annal’.
He could have then gone ahead and described Sita as ‘doe eyed’ or one whose eyes are like the fish and said ‘maan vizh nangai’ or ‘kayalvizh nangai’.
But ‘Kavi Chakravarti’ is different.
He thinks ‘how can I say that the bow of Rama defeated the eyes of Sita? By saying this, will I not be insulting Sita?’
Most importantly, can there be a victor( or vanquished) in the game of Love?
So, he decides to say ‘VaatkaN nangai’(the one with the eye which is like a sword!).
The Bow and the Sword meet, smile at each other with mutual respect and clear the way for Love.
This is what makes him a Master Craftsman.
ILaiyaraaja, who has been giving soulful music, is another Master Craftsman.
No doubt he has used innumerable number of classical ragas, but what distinguishes him from the rest is his brilliance, creativity, innovation and the sense of aesthetics.
The song of the day too has all these aspects ingrained in it.
It is ‘Jaaji Malli..’ from the Telugu film ‘Chinnabbayi’(1997).
The composition is based on Gowrimanohari ragam.
Gowrimanohari is the 23rd melakarta and invokes nostalgia in a very subtle manner.It is the Shuddha Madhyama counterpart of Dharmavati and is in the same grahabedam group as Vaachaspati, Charukesi and Natakapriya.
Its structure is sa ri2 ga2 ma1 pa dha2 ni3 Sa/Sa ni3 dha2 pa ma1 ga2 ri2 sa.
If the ‘ga’ variant is changed, it becomes ShankarabharaNam. This is a very interesting aspect since both these ragas are part of western scales-with the combination of notes of Gowrimanohari called as melodic minor and those of ShankarabharaNam called as Diatonic Major.
‘Jaaji Malli’ starts with rhythmic phrases in Chatushram(4-beat cycle) with first ‘ta ka dhi mi’ laying stress on the second syllable ‘ka’.
The stringed instruments and the ‘keys’ illuminate the TaLa and the Raga.
The TaLa starts after ‘Jaaji’ and as explained in the previous post, such a start is called as ‘ateeta eduppu’. The ‘samam’ (place where the TaLa starts) is in ‘mal’.
The Pallavi has clear enunciations rendered with aplomb by SPB and Chitra..
Not only is it emollient but it also structures the raga’s image with elegance.
The beginning of first interlude has the spunky percussion playing the ‘ta ka dhi mi’ four times. The mesmerising bass flute takes over soaking us in melody. The scintillating stringed instrument strikes us like an arrow and leads us to a musical swing where we swing along with the lustrous vocals. It is the resonance of the raga at the end of the interlude that makes us spell bound.
The CharaNams are melodically designed.
The first section has subtle romance with some special syllables ‘taga taga dam dam’ used.
The following section has immaculate leisurely phrases.
The last section with its inherent naughtiness is mellifluent.
The surfeit of sangatis as the Pallavi is rendered again at the end of the first CharaNam stands testimony to the crafting skills of the composer and the versatility of the singer.
The second interlude is a magic of sorts.
The guitar in the beginning of the second interlude glows with sheen.. The second guitar joins now and plays with élan showing the Arabian shades of the raga. The Brass flute gives the western classical contours.The Sax now takes over and eloquently shows the jazzy colours. It drips with honey.
The musically colourful combinations prove yet again that music after all is universal.
The ending of the song is another beauty with the absence of percussion as the Pallavi is rendered again with some new words added to it. It is sedate and tranquil.
The original Pallavi appears again this time in a slow tempo with the lilting flute sketching a beautiful silhouette of the raga.
‘Mee tho memu nadachi vastaamu yededu janmalaku..’
‘We shall follow you and your music forever..’
Sunday, 15 April 2012
Sunday, 1 April 2012
ILaiyaraaja-The Ultra-sensitive Musician..
It is generally said that creative people are highly sensitive.
It may sound a little odd but the fact is though all creative people are sensitive, most of them are selectively sensitive-that is they are sensitive only to certain issues that appeal to their sensibilities. Here too, the degree of sensitivity may vary from person to person.
But the focus, empathy and most importantly the ability to make us empathise with the work separate the great from the ordinary.
Look at this poem from ‘PuRanaanooRu’, part of the Sangam Tamizh literature.
It is supposedly sung by a young widow:
‘Oh poor little white lilies!
I wore their tender leaves as my dress when I was young
Now my husband is dead
And I eat at very odd hours..
The seeds of the same little lily flowers.’
‘அளிய தாமே சிறுவெள்ளாம்பல்!
இளையம் ஆகத் தழையாயினவே; இனியே,
பெருவளக் கொழுநன் மாய்ந்தெனப், பொழுது மறுத்து,
இன்னா வைகல் உண்ணும்
அல்லிப் படுஉம் புல் ஆயினவே.’
This poem written by ‘Okkoor Maasaaththanaar’ conveys a lot.
Apart from the status of women, and the tribulations of a young widow those days(not that things have changed much in the last 2000 years), what is to be appreciated is the way white lily has been used as a symbol.
White denotes purity. Lily flower also denotes purity and enlightenment.
Within her heart the young girl cries. She also feels for the little lilies-her only companion- as the life cycles seem to be similar. But at the same time she is mature enough to take things in her stride.
But what is striking is the way the poet empathises and makes us all empathise with the character(s).
This ability to be ultra sensitive to things that happen around us is what separates the greatest from the greats.
ILaiyaraaja has composed music more than 4000 songs and these songs pierce our hearts and become one with the soul.
Why? It is because he is ultra-sensitive and goes deep into all the characters and situations. He does this with precision but like the water drops on the lily leaves, he does not get involved. Might sound mystical but it is the fact.
A ‘Amma Endrazhikkatha’ or a ‘Janani..’ is composed with the same mental state as ‘Nila Kaayudhu’ or ‘Neththu Raathiri’ though he empathises fully with the characters.
That is why, we cry, laugh, fall in love, feel sad, feel happy, romance, be devout.. when we listen to his compositions.
The song of the day- ‘Vaazhkkai odam sella’from ‘AvaL Appadiththaan’(1978) set in the Hindustani Raag Lalit- too gives us a very different feeling.
Raag Lalit is a raag with a unique structure:
ni3 ri1 ga3 ma2 ma1 ma2 ga3 ma2 dha2 ni3 Sa/ Sa ni3 ri1 ni3 dha2 ma2 dha2 ma2 ma1 ga3 ma2 ga3 ri1 sa.
It is unique not just because of the devious structure but also because of the consecutive use of both ma2 and ma1 making it chromatic.
Some schools use ‘dha1’ instead of ‘dha2’-the former being derived from the ‘Poorvi’ that and the latter from ‘Maarwa’ that.
The ‘pakad’- which is what gives the raag its flavour is ‘ni3 ri1 ga ma2 ma1 ma2 ga3 ma2 ga3 ri1 sa.
The prelude of ‘Vaazhkkai odam’ itself gives the essence of the raag.
The uniquely textured guitar is followed by the succulent bass flute with the sarod giving a melancholic melody. The poetically expressive bass flute moves like a soft breeze.
Beguilingly beautiful portrait of Raag Lalit.
The Pallavi starts before the TaaLam with ‘kai’ in ‘Vaazhkkai’ being the Samam(start).Such a start is called as ‘Atheeta Eduppu’.
We see the superb array of the swaras-ma1 and ma2 in particular- in the first two lines.
The lines that follow give us an ineffable mixture of emotions and feelings.
The first interlude is full of melodic phrases.
The finely distilled sound from the Santoor is tantalizing while the bass flute moves with verve and vigour with the percussion playing the Tisram pattern in ‘mel kaalam’ as ta ka ta ka dhi mi. It is intense and piercing.
The Sarod gives the import and intrinsic emotional beauty of the raag while the Santoor at the end enunciates the happy face of the raag.
The CharaNams have well aligned phrases.
The first two lines are serene and meditative.
The line that follows is magical. The Shruti undergoes a shift..Please note that there is no graha bedam here. Though the 3 swaras Sa, ni3 and ri1 are used, it somehow gives a feel of SubhapantuvaraLi.
There is more to follow.The last line, which is in the same Shruti as the previous line has alien swaras ri2 and ga2.Since it has pa, dha2 and ma2, the raga can be called as ‘Vijayanagari’.
The second interlude is punctuated with phrases of exceptional quality.
The sympathetic strings and the bass flute swirl.
The violin glides with sensitivity.
It is repeated but this time the violin plays in the next octave.
The guitar gives the western contours.
The bass flute finally leads us to the next CharaNam.
Aesthetic and educative!
நமது வாழ்க்கை ஒடம் செல்ல, இந்த இசையாற்றின் நீரோட்டம் எப்பொழுதும் உண்டு.
It is this musical river that guides us in our life..
It may sound a little odd but the fact is though all creative people are sensitive, most of them are selectively sensitive-that is they are sensitive only to certain issues that appeal to their sensibilities. Here too, the degree of sensitivity may vary from person to person.
But the focus, empathy and most importantly the ability to make us empathise with the work separate the great from the ordinary.
Look at this poem from ‘PuRanaanooRu’, part of the Sangam Tamizh literature.
It is supposedly sung by a young widow:
‘Oh poor little white lilies!
I wore their tender leaves as my dress when I was young
Now my husband is dead
And I eat at very odd hours..
The seeds of the same little lily flowers.’
‘அளிய தாமே சிறுவெள்ளாம்பல்!
இளையம் ஆகத் தழையாயினவே; இனியே,
பெருவளக் கொழுநன் மாய்ந்தெனப், பொழுது மறுத்து,
இன்னா வைகல் உண்ணும்
அல்லிப் படுஉம் புல் ஆயினவே.’
This poem written by ‘Okkoor Maasaaththanaar’ conveys a lot.
Apart from the status of women, and the tribulations of a young widow those days(not that things have changed much in the last 2000 years), what is to be appreciated is the way white lily has been used as a symbol.
White denotes purity. Lily flower also denotes purity and enlightenment.
Within her heart the young girl cries. She also feels for the little lilies-her only companion- as the life cycles seem to be similar. But at the same time she is mature enough to take things in her stride.
But what is striking is the way the poet empathises and makes us all empathise with the character(s).
This ability to be ultra sensitive to things that happen around us is what separates the greatest from the greats.
ILaiyaraaja has composed music more than 4000 songs and these songs pierce our hearts and become one with the soul.
Why? It is because he is ultra-sensitive and goes deep into all the characters and situations. He does this with precision but like the water drops on the lily leaves, he does not get involved. Might sound mystical but it is the fact.
A ‘Amma Endrazhikkatha’ or a ‘Janani..’ is composed with the same mental state as ‘Nila Kaayudhu’ or ‘Neththu Raathiri’ though he empathises fully with the characters.
That is why, we cry, laugh, fall in love, feel sad, feel happy, romance, be devout.. when we listen to his compositions.
The song of the day- ‘Vaazhkkai odam sella’from ‘AvaL Appadiththaan’(1978) set in the Hindustani Raag Lalit- too gives us a very different feeling.
Raag Lalit is a raag with a unique structure:
ni3 ri1 ga3 ma2 ma1 ma2 ga3 ma2 dha2 ni3 Sa/ Sa ni3 ri1 ni3 dha2 ma2 dha2 ma2 ma1 ga3 ma2 ga3 ri1 sa.
It is unique not just because of the devious structure but also because of the consecutive use of both ma2 and ma1 making it chromatic.
Some schools use ‘dha1’ instead of ‘dha2’-the former being derived from the ‘Poorvi’ that and the latter from ‘Maarwa’ that.
The ‘pakad’- which is what gives the raag its flavour is ‘ni3 ri1 ga ma2 ma1 ma2 ga3 ma2 ga3 ri1 sa.
The prelude of ‘Vaazhkkai odam’ itself gives the essence of the raag.
The uniquely textured guitar is followed by the succulent bass flute with the sarod giving a melancholic melody. The poetically expressive bass flute moves like a soft breeze.
Beguilingly beautiful portrait of Raag Lalit.
The Pallavi starts before the TaaLam with ‘kai’ in ‘Vaazhkkai’ being the Samam(start).Such a start is called as ‘Atheeta Eduppu’.
We see the superb array of the swaras-ma1 and ma2 in particular- in the first two lines.
The lines that follow give us an ineffable mixture of emotions and feelings.
The first interlude is full of melodic phrases.
The finely distilled sound from the Santoor is tantalizing while the bass flute moves with verve and vigour with the percussion playing the Tisram pattern in ‘mel kaalam’ as ta ka ta ka dhi mi. It is intense and piercing.
The Sarod gives the import and intrinsic emotional beauty of the raag while the Santoor at the end enunciates the happy face of the raag.
The CharaNams have well aligned phrases.
The first two lines are serene and meditative.
The line that follows is magical. The Shruti undergoes a shift..Please note that there is no graha bedam here. Though the 3 swaras Sa, ni3 and ri1 are used, it somehow gives a feel of SubhapantuvaraLi.
There is more to follow.The last line, which is in the same Shruti as the previous line has alien swaras ri2 and ga2.Since it has pa, dha2 and ma2, the raga can be called as ‘Vijayanagari’.
The second interlude is punctuated with phrases of exceptional quality.
The sympathetic strings and the bass flute swirl.
The violin glides with sensitivity.
It is repeated but this time the violin plays in the next octave.
The guitar gives the western contours.
The bass flute finally leads us to the next CharaNam.
Aesthetic and educative!
நமது வாழ்க்கை ஒடம் செல்ல, இந்த இசையாற்றின் நீரோட்டம் எப்பொழுதும் உண்டு.
It is this musical river that guides us in our life..
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