It is not uncommon to find people look for words
and gasp for breath when they come across something genuinely amazing and
mammoth. Imagine how we would feel if we suddenly saw the Himalayas with the white snow smeared all around or the azure blue sea with the orange sun
rising from the horizon or the gushing Ganga
at Gangotri!
Something similar happened to Nammazhwar and Kamban,
two of the greatest Tamizh poets,
when they visualised something in their mental eye.
Let us first see the experience of Nammazhwar, one of the 12 vaishnavite saints when he ‘saw’ the Radiance of the Divine:
முடிச் சோதியாய் உனது முகச்சோதி மலர்ந்ததுவோ?
அடிச்சோதி நீ நின்ற தாமரையாய் அலர்ந்ததுவோ?
படிச்சோதி ஆடையொடும் பல்கலனாய், நின் பைம்பொன்
கடிச்சோதி கலந்ததுவோ?திருமாலே!கட்டுரையே.
Is
your face radiant because of the radiance of your hair(crown), or is your hair
radiant because of the radiance of your face? Does the radiance of your feet
get transformed as the lotus flower or does the radiance from the lotus-on
which you stand- transform itself as Your radiant feet? Are the ornaments that
adorn You spread the radiance around Your waist or is the radiance of the
ornaments due to Your radiant waist? Please tell me!
Kamban goes
even a step further.
This is the scene where Rama starts his journey to the forest along with Sita and Lakshmana. Normally, this should evoke sadness. But the Kavi chakravarti sees beauty even in
that sadness. First he looks at the sun rays. Compared to the brightness
emanating from Rama’s body, the brightness
of the sun matters nothing to him. He says ‘the former’s radiance obscures the brightness
of the latter’. The second line-though
poetically beautiful-is not relevant here and therefore I am not talking about
that now. The third line shows his
confusion. Confusion, not in the negative sense but in terms of looking for the
right word to describe Rama’s
beauty. He wonders, ‘Is it Kaajal’? (dark
hued) Or is it the ‘Emerald?’(green) Or is it the Ocean?(dark blue/black)? Or is like the rainy clouds?(dark-hued
again).
He gives up and says ‘Ayyo! His beauty is eternal’.
That ‘ayyo’
suggests –‘Leave me now. I cannot
describe such a divine beauty!’
வெய்யோன்ஒளி
தன்மேனியின் விரிசோதியின் மறையப்
பொய்யோ எனும் இடையாளொடும்
இளையானொடும் போனான்
மையோ மரகதமோ மறிகடலோ
மழைமுகிலோ
ஐயோ! இவன் வடிவு என்பதோர் அழியா அழகு உடையான்!!
If the Vaishnavite
saint from Azhwarthirunagari and
the poet from Karaikkudi ‘struggled’
to describe the radiance of Divine
Beauty, imagine the plight of us mortals when we attempt to describe the
beauty –which is of course Divine- in the music
of the gentleman from PaNNaippuram.
Should we talk about the mesmerizing tune or elucidate the beauty in the orchestration or expound upon the nuances and intricacies hidden in the composition?
Should we graphically describe the sound from each instrument-at times or even most of the times sounding different notes simultaneously- or should we
explain about the changing patterns in the rhythm?
Should we illustrate the raga and the way it is used or should we discuss about the taaLa?
Are all these practically possible? And even if we
attempt to describe, will it do full justice to the composition?
Most
importantly, can we describe the feelings we get and the emotional upheavals we
undergo while listening to his music?
And though it was me who raised all these
questions, my love for his music makes me attempt such improbable and
impossible things for reasons which are obvious. What these reasons are will
not be disclosed here and I am sure people who follow my posts know the reasons. So, rather than breaking our heads and
trying to find answers, let us celebrate
music on this grand occasion by
talking about one of his marvellous compositions
which I am sure, is loved not just by his loving fans but also by his
detractors.
There are infinite factors which makes ‘Aayiram
Thamarai MottukkaLe’ from ‘AlaigaL
Oyvathillai’(1981).
The composition
follows a unique structure and I have seen some conflicting versions about the raga it is supposed to be based on. Let
me give my views on this though I strongly believe and reiterate that it is not
the raga which is important as much
as the way it is used.
The composition
follows- sa ri1 ga2 ma pa ni3 Sa- if
taken as a scale. This is Dhenuka
minus dha and the Raga text gives the name as ‘BhogavaraLi’. However, considering the appearance
of the kaishiki nishadam(ni2) in some
phrases and most importantly considering the ‘pidis’ and the flavour, I would like to classify this as Sindhu Bhairavi.
It may be noted that Sindhu Bhairavi goes purely by the way the swaras are used and that it hates following a specific structure.
In any case, here it is a different Sindhu
Bhairavi and I would stop at that.
What makes this composition special is the way the Mridangam is used in the prelude. Yes, there are many more
specialities as well and let us try and see some of these.
The composition
starts with a clap. This clap which sounds the first syllable of tisram in keezh kaalam (slow speed) sounds 4 times and the magic starts. It is the magic of that great
percussion instrument called Mridangam.
It thunders and syllables flow like sparks from the forge. It sketches
variegated patterns in Tisram and in
a space of 3 aavartanas of aadi taaLam, one sees a ‘taaLa oil painting’!
With poise and grace, the veena enters the fray and plays giving an unmistakable Arabic flavour. All this while, the ‘clap’ continues in regular interval. The
momentum picks up as the chorus sings ‘tam ta na na’ which is haunting
without a doubt. The repartee from Janaki
is sensuous and romantic. The clap too
changes its speed and moves to the faster mode though it is subtle now. The
mellowed tone of the piano keys
which silently moves like a cascade, makes our heart jump!
Endowed with solid graces and charming phrases, the
Pallavi shines with luminescence in
the voice of Janaki.. The lower octave ‘ni.’ at the end of the first line and the last line and its occurrence after ‘ri’ in the second line
shows the musical mastery and the aesthetic sense of the composer.
The group of strings
plays with verve in the beginning of the first interlude.The flute glides
beautifully making the strings go on
a descent. The santoor serves a
delicacy now with the keys
responding with joy. The Shehnai
takes over..
And what a takeover it is! Tranquil, serene,
energetic and blissful.. The backing of the mridangam
surely adds to the unique experience. Of course, not to forget the repeat
melody from a string and the keys in the background albeit subtly..
The composer
who always believes that ‘Music is
Universal’ makes us turn towards the west
with the strings and the brass flute moving zestfully and
showering us with melody.
SPB joins with his honey-soaked voice in the CharaNam in which the lines are simple
and decorous at the same time. If the lower octave(mandra stayi) pa. and ni. in the second and the last line
give that sense of poignancy, the sudden occurrence of the kaisiki nishada(ni2)-again
in mandra stayi- gives a unique feel.
The ‘samaga’ and ‘sarimama’ phrases in the third and fourth lines show how spontaneously brilliant the composer is.
What to say of the flute which sings like a bird twice in the first line?
Imaginatively Beautiful!
The beautiful imagination continues in the second interlude with the solo violin taking us on a musical trip
to a place where space and time cease to exist. We feel no longer exist and yet
we continue to exist.
And that is what the humming of the chorus which follows to the backing of
the strings sans the percussion
seems to suggest. The short flute pieces
confirm this.
When we don’t exist and yet we exist, is it
possible to say anything?
That is the beauty of immortality..
Immortality granted by the Divine to soak ourselves eternally in Music!
