There is some similarity between people who are
daringly different.
Such people do not follow the beaten track.
Such people not only have the ability to question
but also provide their own answers convincingly.
Such people know the rules of the game thoroughly
and though it seems as if they have broken the rules, in reality they don’t.
Such people have the courage of conviction.
Such people are also called as geniuses.
Such people’s works are immortal.
Take AruNagirinaathar
for example. Despite having a very bad past which almost claimed his life,
he started a new chapter totally different from his previous chapter, set his
own metre in terms of rhythm and composed thousands of songs
, each with eight cantos and each one
ending with the same word. Now, these rhythmic
cycles are called as ‘Sanda taaLams’
and though these are not part of the classical
taaLas, these are exclusive taaLas
and occupy a unique place in classical music.
He also gave a new dimension to the language of Tamizh using a mix of simple and tough
words and liberally borrowing from Sanskrit
too. He never hesitated to talk about his past life in his works , at times
even giving graphic descriptions of what is generally considered a taboo.
Apart from thousands of Thiruppugazhs, he also composed other works like ‘Kandar Alankaaram’, ‘Kandar Anubhooti’,
‘Kandar Andaadi’, ‘Mayil Viruththam’, ‘Vel Viruththam’ etc., and each one
of these shine with spiritual and linguistic luminance. The fact that all these
are recited and performed even after 600
years , shows the immortality of his works.
Now, here is a verse from his ‘Kandar Alankaaram’ in which he questions superstitions associated
with things considered to be auspicious and inauspicious:
நாள் என் செயும்? வினைதான் என் செயும்? எனை நாடி வந்த
கோள் என் செயும்? கொடுங்கூற்று என் செயும்? குமரேசர் இரு
தாளும் சிலம்பும் சதங்கையும் தண்டையும் ஷண்முகமும்
தோளும் கடம்பும் எனக்கு முன்னே வந்து தோன்றிடினே.
What
can Days do to me? What can my past karma do to me? What can the planets do to me? What can the
messenger of Death do to me?- if the two feet of Muruga adorned with anklets
and His six faces and the twelve shoulders appear before me?
On the face of it, this may appear to be a
devotee’s ecstatic cry or plea, but scratch the surface to understand the
meanings. In my view, this shows the face of a rebel who refuses to believe in superstitions like bad omens and astrology and who has a firm belief on just one Divine Force. It shows the fearlessness
of a person who has seen it all in life and who never hesitates to question the
firmly held beliefs of others.
Questioning mindsets has also been the hallmark of
a gentleman who with his rebellious
streak coupled with his propensity to do different things differently,
revolutionized the world of film music,
bringing in new sounds and redefined
the word film music itself with his
blend of all major and minor forms of music.
It is an undeniable fact that ILaiyaraaja is a phenomenon. One major factor which distinguishes
him from others is his ability to go off the beaten track , at the same time
staying within the rules of grammar.
Since much has been written about him by many-with
‘yours truly’ also making a small contribution
of around 500 posts in different
online forums- and therefore let me take up a wonderful composition of his, on
this day when the entire world is celebrating his 76th birthday.
I consider ‘Vaan MegangaLe’ from ‘Pudhiya VaarppugaL’(1979) as very
special for the simple reason that it has a touch of poignancy despite being a
romantic duet. By poignancy, I don’t mean sadness, but something beyond that.
This is where I feel that rebellious streak of the composer.
It is not unusual or uncommon to use Raag Pahaadi in films. In fact, in my
opinion, this must have been the most widely used raag in Indian films. The versatility of this raag is striking and I am sure film music composers (all legends)
have used this raag for the kind of
variety and options it provides. The raag
is also very flexible as it does not follow a particular aroh/avaroh pattern and goes more by the prayogas. Many times, it uses only the notes of a raga called Mohanam (Bhoop in Hindustani Music) and yet has its unique identity.
Simply put, Pahaadi
itself has contours of rebellion!
The raag has
different dimensions and one of the dimensions is the liberal use of alien
notes. In a way, the poignant feel of the raag
is because of these alien notes.
So, what is it that which makes the Pahaadi in ‘Vaan MegangaLe’ special?
Let us see it now.
The santoor
, the very first piece in the composition, imperceptibly surrounds us giving a
serenading effect. The flute which
follows, is spontaneous and instinctive without any pretensions. The strings play with exactitude and
precision while the bell which
chimes twice , elevates us to an exalted state making us feel the rarefied air.
And yes, this is just the beginning!
The phrases in the Pallavi take some interesting and intriguing glides. What starts
off with mid - octave notes- riga rigasari- goes to lower octave- dha.- goes to mid- octave again, touches lower octave notes and finally ends with
the lower octave pa..
Unusual?
Well, in the hands of a genius, nothing is unusual.
And this is proved yet again in the interludes.
The veena
plays with caressing softness but there is an unmistakable impishness in the
way it leaves a gap after playing once. This impishness is responded to in kind
albeit briefly by the keys. The strings follow with equanimity and the keys follow with dexterity. This has an
effect of a beautiful contrast. The flute
plays tenderly, mimicking a bird call in the end.
The beautiful mix of mid-octave and lower- octave
notes continues in the CharaNam as
well, but what makes the CharaNam more
beautiful is the sudden appearance of the alien note-ga2- in the second line. It continues to appear in the third line
too , at times even pairing with the other ga,
giving a chromatic effect. The last phrase-garigarigarisadha.pa.-
is a clincher simply because of the repetition of the paired swaras and because of the glide in the
end.
Creativity meets expression in the second interlude in which the strings first play with heightened
enthusiasm even as the bells back
them subtly. The single string of the veena
, which follows this, gives a sense of calmness. Yet another veena follows with the single string and the kanjira in the background and plays
passionately. It is serene, subtle and tranquil.
We see the beauty of contrast yet again in the third interlude with the Shehnai playing with astonishing vigour
and elegance after the auspicious sound of the bells. The veena weaves
melodic threads giving the quintessence of Pahaadi.
Simple, powerful and beautiful without crossing
into the realms of flamboyance..
Nothing can stop this genius..not even the days,
not even the planets..
..and not even the gossiping detractors!
