Greatness is one of the great things in this world
which cannot be measured not just quantitatively
but also qualitatively.
Though this may sound odd, the fact remains that
greatness too is subjective. At the same time, there are certain factors which make
a thing or a person great:
Creativity
Being
different
Lateral
Thinking
Innovative
Aesthetic
Value
Being
Radical
Offbeat
Multi
Dimensional
These are just some of the factors which occur to me
now.
Let us take the case of Bharati. He was born at a time when our Nation was suffocating under the oppressive rule and when caste
discrimination was at its peak. The language of Tamizh too was seriously looking for a saviour. He breathed new
life into the world. And this he did not by following the footsteps of his
predecessors – though he never had any disrespect- but by questioning
everything. He simplified the poetic
tamizh, rebelled against orthodoxy
(remember, he was born in a community considered to be the most superior those
days) earning the wrath of many in the process, viewed things differently and presented
these differently.
But what matters the most is his poetic sense and sensibility. I am saying this because it is not enough to be a
rebel, for there is a danger of presenting everything in a crude way which
would defeat the purpose. The young poet was able to put down his thoughts in a
presentable and pleasing way thus making his works shine with aesthetic value.
Take just one sample:
திக்குகள் எட்டும்
சிதறி-தக்கத்
தீம்தரிகிட
தீம்தரிகிட தீம்தரிகிட-தீம்தரிகிட
பக்க மலைகள்
உடைந்து-வெள்ளம்
பாயுது பாயுது பாயுது-
தாம்தரிகிட
தக்கத் ததிங்கிட
தித்தோம்-அண்டம்
சாயுது சாயுது
சாயுது-பேய் கொண்டு
தக்கையடிக்குது
காற்று- தக்கத்
தாம்தரிகிட
தாம்தரிகிட தாம்தரிகிட தாம்தரிகிட..
Now, this is just a description of the rain. We all enjoy the rain, at least
most of us do. Poets enjoy it more.
But tell me, how many can describe it so differently. He saw and felt the rhythm in the rain and just went on his
own trip without in anyway spoiling the syntax
of poetry. A new form and yet
beautiful.. Breaking the rules and yet staying within the confines of the
rules..
Aesthetics at
its best!
But such people and such works occur only once in a
while. It is a different matter that such rarity
has to be celebrated, because in my opinion, it is the rarity which makes this
world beautiful.
Without any doubt, ILaiyaraaja and his works will fall under the category of ‘Rare Occurrences’.
If the is a printed sheet paper and if
all the factors I mentioned in the beginning are listed in that, all boxes will see a tick mark when it comes to ILaiyaraaja.
In all my posts here, I have quoted reasons as to
why he is called as one of the greatest
ever music composers, with live examples. So, I do not want to repeat anything
today. I would rather discuss about a composition
and I am sure that is more than enough. After all, is it not true that action
speaks more than words?
What is great about ‘Vaare Waa Maanava’ from
the telugu film ‘Aa Okkati Adakku’(1992)?
First and foremost, it is based on a raga which has never been used by any
other musician-classical or otherwise. This is not something new as far as
people who know him are concerned (check my previous post in this blog). But
this is not all..
Let me go step by step.
The composition seems to follow a scale something like this- sa ri2 ga2 pa dha3 ni3 Sa.
That ‘dha3’
is a vivadi swara and I am sure
people who follow my posts, know what a vivadi
swara is, by now. This raga is
called as ‘Kamalaasanapriya’ and is a
janya of(that is derived from) the 24th meLa VaruNapriya.
The Master
does something unthinkable- that is unthinkable for mortals. He does Graha Bhedam just before the CharaNam and makes it a different raga, which again is a raga not used by any other musician.
Are you breathless now?
Well, there is more beautiful technique too related to Laya in this composition and since I care for your
breath, let me reveal it as I take you through the composition.
With an intensity which at best can be described as
musical, the strings gush in and
make an organic progression from mid-octave
to higher octaves. Just before the
end, the multi-layered flutes skate with passion. An aural treat not to be
missed!
The electric
guitar plays with sobriety with the flute
acknowledging and playing with an insouciant grace. The strings enter again and this time we have two sets with one set
moving like quick waves and the other set spreading serenity albeit in higher octave.
In fact, a closer look suggests that the entire Pallavi has been played by the electric-guitar-flute-strings!
There is a sudden clap and silence. How often has
he spoken about the value of silence and how often we have enjoyed this!
After a brief melody from the sympathetic strings, Janaki
starts the Pallavi with the pizzicato backing the vocals for every
second tisram in the first half. The second half is made to sound different and this is essentially
because of the bass flute which
plays different sets of notes along with the vocals. Can you define the feeling
when you hear those lines?
SPB joins
now and sings only the first half-with
the pizzicato backing- though the wordings are different.
The guitar sounds
in the beginning of the first interlude.
It is soft. Another guitar responds.
It is pleasant. The strings play
briefly. It is lively. Yet another guitar
plays now and the strings back it,
of course with a different set of notes. It is lilting.
Well, don’t all these prepare us for something
exciting?
Yes, if
we know Raaja well; if we know that
he is O’Henry Raaja.
That ‘exciting thing’ happens now. The taaLa suddenly shifts from tisram(1 2 3) to chatushram(1 2 3 4) and the stress is on the second and the fourth
beats. People who follow my posts closely here know that this is called as ‘usi’ and the Great Master is the only one composer in film music to have applied
this technique prolifically and with consummate ease.
One instrument(keys?)
is punched, the other one-bass guitar-
is plucked and the strings wander
around but not pointlessly. It is a melodic and rhythmic swirl, even a kind of
maze and yet we do not feel like getting out of it. Do we?
And now the Master
does the Graha Bhedam and shifts the raga to yet another little known raga.
This raga follows
a scale something like this- sa ri3 ga3
ma dha1 ni3 Sa- and as per the Raga
text it is called as Hema BhushaNi,
derived from the 33rd MeLa
Gangeya BhushaNi. In fact, Raaja sir had already used this raga in ‘Karaiyadha Manamum UNdo’
where again there is Graha Bhedam (more
details in this post : https://rajamanjari.blogspot.in/2010/12/ilaiyaraaja-alluring-musician.html ).
The CharaNams
have some charming phrases and what is striking is the plaintiveness which
pierces your heart especially in the first
segment and in the third segment.
The contoured delineation and the characteristic retinue of unique phrases mark
the second segment.
With this composer
who has a firm grip on all major forms
of music and who believes in variety, is it wrong on our part to expect
more?
Well, we don’t have to expect anything as he always
gives the unexpected. And to him ‘enough is never enough’.
Otherwise how can one explain his sudden shift to
the western classical style in the first half of the second interlude, after having used 1.an unknown raga, 2. usi and 3.graha bhedam to
shift to yet another little known raga?
The strings
play in higher octave with another
set playing a totally different set of notes. If the former is lilting, the
latter is delectable.
It is then time for a contrastive tone and which
other instrument other than the flute
can give that feel?
It is haunting..
In fact, the entire composition haunts us even
hours after listening to it.
That is where the greatness lies..
..Greatness of a composer who redefined music in
general and film music in particular!
