The world of poetry and therefore that of the poets is very
interesting.
One may not even believe in what is being said but will love the poem because of the way it is said. Take ‘Love at first sight’ for example. Personally, I am not sure if this is possible. Love has to happen and for it to happen, there has to be perfect chemistry between the two. Why only chemistry, a little bit of Physics(remember Newton’s law), some Mathematics, History & Geography and Languages also play a role. Will all these subjects act instantly, find that there is a match and send out the signal? Somewhat difficult to believe. But when one reads it in a poetic form , one likes it not because he/she believes what is being said but because of the love for poetry( see, whether one likes it or not, there is love here too!).
One may not even believe in what is being said but will love the poem because of the way it is said. Take ‘Love at first sight’ for example. Personally, I am not sure if this is possible. Love has to happen and for it to happen, there has to be perfect chemistry between the two. Why only chemistry, a little bit of Physics(remember Newton’s law), some Mathematics, History & Geography and Languages also play a role. Will all these subjects act instantly, find that there is a match and send out the signal? Somewhat difficult to believe. But when one reads it in a poetic form , one likes it not because he/she believes what is being said but because of the love for poetry( see, whether one likes it or not, there is love here too!).
Looking at how Kamban describes the first meeting of Rama
and Sita, one cannot but help feeling, ‘Oh, if only this was true!!’
Sita,
the incomparable Beauty, is standing and
watching a male swan play with its mate. Rama passes by. The two pairs of eyes
meet, clamp, and devour each other. Their feelings merge and they become one. He
sees Her. She sees Him.
எண்ணரு நலத்தினாள் இளையள் நின்றுழிக்
கண்ணொடு கண்ணினை கவ்வி ஒன்றையொன்று
உண்ணவும் நிலைபெறாது உணர்வும் ஒன்றிட,
அண்ணலும் நோக்கினான்,அவளும் நோக்கினாள்.
Wonder what made Kamban choose
his words and use them most appropriately. Though it is very clear that they
meet each other, Kavi Chakravarthy chooses
to mention this only in the end. ‘Eyes’, he says through his poem, ‘Eyes speak
the language and that is more than enough for my Hero and Heroine,’.
And why wouldn’t we fall in love
instantly with such poems?
Same is the case with ILaiyaraaja’s
music. Like a great poet who knows where and how to place the words, he knows
where and how to place the swaras. This comes to him naturally without his
having to waste time thinking about all this. Because of this, the music too
does not waste its time and gets into us instantaneously leaving us stumped.
The Kannada song ‘Modalane baari’ from ‘Naanavanu’(2009)
is no exception. Based on KiravaNi, the song enters our ears and pierces our
hearts. The synth instruments speak with love in this composition rendered with
aplomb by SPB and Bela Shende. Technology in sound has also been applied as and
when required enhancing the experience.
The prelude gives a brief sketch of
the entire composition what with the keys jumping with love, the brass flute
interjecting with succulent charm and the female voice singing the brief
akaaram in KiravaNi.
The Pallavi is a delightful fare
with the superimposed voices appearing at the end of first line and the
discerning bass flute which after showing up in the middle of the second line continues
it love journey along with the voice.
Backed by its brothers and
cousins and with a touch of delicacy, the violin gives some quiet and exquisite
expressions in the first half of the first interlude. The soft synth instrument
that follows is graceful and gentle like love itself. The keys and the flute-that
appeared in the prelude- complete the interlude but not before stealing our
hearts.
The CharaNams are comely with some
beautiful passages. The inter lacing of instruments with the vocals in the first
four lines and in the last two lines make it an exhilarating experience. The
sharp percussion at the end of each line and the guitar like sound just towards
the end make elevated musical statements. One gets to see insights into the
niceties of the raga too in all the lines with higher octave touched in the
fifth line.
Laya Raaja comes to the fore in
the second interlude. The composition is set in the 4-beat Chatushra ekam. The
second interlude starts with some soft, melodic and zestful beats of two synth
instruments that seem to go on a free trip not following the TaLa pattern. But
a more careful observation suggests that though it does go ‘freely’, it is
bounded by the tala. After 2 cycles, a sharp sound prompts the synth VeeNa to
take over which it does but only at the second beat. Chatushram is on now even
without a percussion instrument aND the VeeNa plays softly with a fervent plea
even as the two synth instruments continue their free fall.After exactly 5
cycles, the VeeNa shows its exuberance and moves vivaciously backed by the
percussion. The synth flute and the strings give some quick artistic strokes to
this beautiful musical painting.
Love at first sight! Why not….
