ILaiyaraaja and SPB- Musicians of the Millennium

One of the ubiquitously used terms in English is – Made for Each Other. This is more common in weddings where people use this even before the couple begin their journey. Is Made for Each Other real? Is it possible to one being made for the other? Is it fair? How can somebody made for the other? What happens to their individuality? Most importantly, is it not the contrast which makes life more beautiful?

Before commenting on that, let us see what Kavi Chakravarti says. 

 It is the ‘Sita Swayamvaram’ and Rama breaks the bow in a micro-second. The entire city of Mythila erupts with joy. A section of people make an effort to compare the beauty of the couple. 

 To see Him, she needs one thousand eyes. He needs one thousand eyes every time He sees her. 

 தம்பியைக் காண நங்கைக்கு ஆயிரம் நயனம் வேண்டும்;

 கொம்பினைக் காணுந்தோறும் குரிசிற்கும் அன்னதேயாம். 

தம்பியைக் காணீர் என்பார்; தவமுடைத்து உலகமென்பார்; 

இம்பர் இந்நகரில் தந்த முனிவனை இறைஞ்சுமென்பார். 

 At the face of it, the poem sounds very simple. But look at the second line closely and it will suggest one thousand meanings. If it was just ‘kaaNumpothum’(காணும்போதும்), it would have been just an ordinary line. But a subtle modification ‘kaaNumthoRum’(காணுந்தோறும்) changes the entire complexion. Every time He sees Her, He would need one thousand eyes! 

 And this is what is Poetic Beauty. 

 So, does Kamban suggest that Sita was more beautiful than Rama? Are they then not Made for Each Other? 

 Far from it. When somebody acquires one thousand eyes every time he looks at a particular person, who is greater? At the same time, if this is because of the other person, then who is greater?

 Kamaban makes us think and make us wonder in amazement.

 The relationship between ILaiyaraaja and SPB was like this, the only difference being that the role kept changing. At times, Raaja sir becomes Rama and SPB sir becomes Sita. And at times, the roles are reversed. Yet what this suggests is that one complements the other. If the composer knew what this singer is capable of, the latter knew what was in the mind of the former. The output is there for us to see. No other pair in the history of Indian Film Music has given the kind of compositions this pair has given. Needless to say, it is a matter of pride to all of us. With these words, let us look at one such composition.

 The film ‘Kaadal Oviyam’(1982) would have been a trend setter if only the story was good(that is if at all there was one) and the presentation was different. This did not happen. But each and every song is a gem and even after 4 decades the songs sound as if these were recorded yesterday.

 Take ‘Poovil VaNdu Koodum’ for example.

 Based purely on Mohanam, the composition is soft, sedate and subtle. It starts with the akaaram which has a catena of swaras. the facile movements combined with the tonal smoothness make and indelible impact. What follows is something incredible. The ankle bells sound the first line of the Pallavi, not in swaras but just in jatis. The two tarangs-Tabla and Jala- combine to create flowery musical expressions. The violin caresses us in Mohanam with the Laya Raaja nodding his head in appreciation and making the mrudangam sound only the ta and dhi of ta ka dhi mi and leaving the next ta ka dhi mi totally blank. Yes silence is musical! 

 With melodic finesse, the veeNa plays the first line of the Pallavi. 

 The finely etched Pallavi in the golden voice of the genius shows the glowing facets of that beautiful raga called Mohanam. The mandra stayi swaras towards the end shine like the reflection of the full moon on a river. It is a sawaal-jawaab between the mrudagam and the ankle bells-jalatarangam first and between the tabla and veena next which makes the first half of the first interlude scintillatingly brilliant. The aesthetic flourishes and the rhythmic nuggets give us images of a Goddess in a South Indian temple festooned with radiant jewellery and fragrant garlands. The flute which sparkles with brilliant patterns seems to adore the divine spectacle. The subtle change in the percussion- which first plays with kaarvais and then plays all the syllables- gives the spectacle a special aura. The veena plays briefly and leads us to the first CharaNam. 

 The plethora of different prayogas in the dulcet voice, make the elegant passages with tapering phrases look graceful. If the first segment has the spontaneous spirit, the second segment is exuberant. The third segment is rousing with the singer touching the higher octave with consummate ease. The second interlude is a distinct mix of colours. Yes swaras have colours and in the hands of a genius artist, the colours shimmer with an unmatched radiance and that is what happens here. 

The veena in combination with the bells sounds a set of swaras. The percussion responds in chatushram in melkaalam. This happens twice. After this, the veena sounds 4 times briefly and each time the percussion responds with ‘ta ri ki ta tham’. The tabla alone sounds now playing ta ka dhi mi four times. The violin enters and with the tabla in the background, moves with a calm demeanor. The veena interjects now and then. The serenity is ineluctable and it feels as if we are watching the flow of a river. Not only are we watching but we are also swimming. As if to drench us with this divine serenity, the twin-flute moves with poetic intensity. If one ambles across, the other skitters.

 It is transcendental rendering Time and Space meaningful and meaningless.

 One thousand eyes, one thousand ears and one thousand years- don’t we need all these to appreciate the two geniuses?

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