ILaiyaraaja-The Ocean!

‘The smoke from sugar cane bagasse goes up with fragrance and surround the place like dark clouds making the peacocks dance. Like a Sapphire on a Blue Mountain, You were reclining on the serpent on the great Ocean called ‘ThiruppaRkadal’ once upon a time. Now, you are inside my heart, Oh, the Lord of ‘Thiruvaali’!’

நீலத் தடவரை மாமணி நிகழக் கிடந்ததுபோல், அரவு அணை

வேலைத் தலைக்கிடந்தாய் அடியேன் மனத்திருந்தாய்,

சோலைத் தலைக் கண மாமயில் நடமாட மழைமுகில் போன்று எழுந்து, எங்கும்

ஆலைப் புகைகமழும் அணி ஆலி அம்மானே.

Thirumangai Aazhwar-about whom I had written in my post titled ‘ILaiyaraaja’s Music is Eternal’ while describing the song ‘Oru kaNam’- was a genius par excellence. He composed more than of 1200 paasurams out of the 4000 paasurams composed by the 12 Aazhwars. His works are considered to be the 6 angaas of the 4 vedas(note that Nammazhwaar’s works Thiruviruththam, Thiruvaasiriyam, Periya Thiruvantaadi and Thiruvaaymozhi, are considered to be the essence of the 4 vedas.

This gentleman was born as ‘Kaliyan’ in a tribal family in a small village called ‘Thirukkuraiyalur’ but went on to become one of the most learned during his period(8^th Century). He is also called as ‘Parakkalan’ (one who is beyond time) and ‘NaRkavi’ (a great poet). His verses sound simple but are very deep and enjoyable.

The verse quoted in the beginning stands testimony to his genius.  The concept of Maaya is explained in just one line by saying that the peacocks dance assuming the ‘fragrant smoke’ to be the real clouds. The rebel that he is, he also takes liberty with the Lord saying ‘Once you were in the PaaRkadal’, but now You are in my heart’.  Very deep meanings and open to interpretations.

If one ignores the spiritual angle, the poem still sounds great what with the description of the dance of the peacocks, the fragrant smoke from sugar canes and the Blue gem on the Blue mountain.

Of course, this is just a small drop from the Ocean called as ‘Thirumangai aazhwar’.

As you all know ILaiyaraaja’s music too is like an Ocean. The more one immerses into it, the more gems one discovers. Most importantly, one discovers new dimensions and gets new meanings from the gems already seen (heard)..

‘Saagara Sangamame’ from ‘Seethakoka Chiluka’ (1981) is one such gem .On this very special day, I am proud to present this beautiful gem of his. Based on Hindolam, the composition looks and sounds like a grand sea. The first interlude melts my heart while the second interlude where the raga undergoes a change by replacing one variant of a swara with another and where the instruments move with short pauses gives me goose bumps.

Hindolam- a janya of Nata Bhairavi and which has the swaras sa ga2 ma1 dha1 ni2- by nature is very romantic and as already mentioned in my post on ‘Sridevi en vaazhvil’, the pictorial representation of Maalkauns-as it is called in the Hindustani system- is Lord Krishna playing with the gopikas. But to bring the essence of this raga in film music without in anyway compromising on the classism or the melody calls for ingenuity and the Maestro comes up trumps as always.

The composition has a unique start.

The percussion sounds’ ta – dhi –‘. It is followed by ta ka dhi mi.It is then ‘ta ka - mi‘ twice and finally ‘ta ka dhi mi’ fully twice.

It follows the Chatushra eka taLam, which is a 4-beat cycle. The first cycle goes as 1 2 3 4 but only the first and the third syllable are played. In the one following this, all the 4 are played. How do we have two 1 2 3 4s in the next two cycles? It is because it is played in the ‘mel kaalam’(faster beats-double the speed of the two previous beats). Here too, in the first instance, the third beat is left as a gap.

Four variations in a matter of seconds!

The first line of the Pallavi now flows freely like a river ready to merge with the sea. The zestful strings move like the small waves even as the dazzling single violin and the cuckoo-like flute jump like big waves. The strings raise again followed by the dexterous veena. With the ‘ma ga sa’ and ‘dha ma’, we see waves of music. Or is it musical waves?

The Pallavi is in the anaagata eduppu starting after ½ beat. In the mesmerising voice of SPB, the entire Pallavi, that starts with the first 3 swaras of the aarohaNam(sa ga ma) has a succulent charm. In fact, the pause after the prelude and the ones after the poetic phrases-‘kalalo’,’ ilalo’- have an exhilarating impact. These and the ‘ga ma dha ni Sa’ of veena in just a matter of 1 and ½ beats and the subtle variations of Chatushram in the percussion give a moving projection of the musical value of the composition.

The caressing flute backed by the subtle guitar smiles in Hindolam in the beginning of the first interlude. A ‘Tarang’ of sorts ensues with the Tabla Tarang asking questions and the Jalatarangam replying with ‘ma dha ni’ and ‘ma ga sa’. The musical dialogue continues with strings that join with palpable fervor and the flute. The latter charts a graceful course of Hindolam smoothly and melodically with the veena nodding its head in appreciation and with pinpoint precision. It is now the turn of the Veena to ask questions to the Tabla tarang and the Jalatarangam which jointly answer with great flourish and élan. The tonally pleasing strings take us to the first CharaNam.

The first CharaNam is marked by exquisite expressions with the soothing akaaram with a matrix of dynamic sanchaaraas that last or 5 taLa cycles. The line that follows this touches the higher octave and is joined by the sweet voice of Suseela. The romantic musical meeting is complete now.

Or is it?

We get the answer in the second interlude. ‘How can it be complete without me’, it seems to say.

Starting with the aesthetic flourishes of the veena and the guitar, it is a journey into the realms of emotions. The coming together of Jalatarangam, ankle bells, veena and the guitar is scintillatingly brilliant. With fascinating fecundity, the strings replace the ‘ni2’ with ‘ni3’ and it is Chandrakauns now. SPB follows the strings and it elevates the ambience to stratospheric levels.

The strings get back to Hindolam.It is all sparkle and dazzle with the strings and veena  caressing us and taking us on a fleeting melodic trip which is interspersed with musical ‘slaps’.

The pause at the end says it all..

Waves of emotions give way to stillness..to tranquility..

Saagara sangamam..

 

http://www.divshare.com/download/24171075-579

ILaiyaraaja- The Metaphysical Musician..

Who or what is God?

To some, it is a form. To some, it is without a form. To some it is definite. To some it is indefinite. To some it is finite. To some, it is infinite. To some it is non-existent. To some it exists in the form of Love.

Well, the argument or debate continues and will continue forever.
Whether God exists or does not exist, the very fact that there is always a debate about Him speaks volumes about Him and finally He emerges victorious.(can there be victory or defeat for God?-point to ponder).

Let us look at this verse written by Appar (also called as Thirunaavukkarasar which literally means the one who is the King of the Tongue or Words)

விரிகதிர் ஞாயிறல்லர் மதியல்லர் வேத விதியல்லர் விண்ணு நிலனுந்
திரிதரு வாயுவல்லர் செறுதீயு மல்லர் தெளிநீரு மல்லர் தெரியில்
அரிதரு கண்ணியாளை ஒருபாக மாக அருள்கார ணத்தில் வருவார்
எரியர வாரமார்பர் இமையாரு மல்லர் இமைப்பாரு மல்லர் இவரே.

viri kadhir nyaayiRallar madhiyallar vedha vidhiyallar vinnm nilanum
thiritharu vaayuvallar cheRutheeyumallar theLi neerumallar theriyil
aritharu kanniyaaLai oru baagamaaga aruL kaaNaththil varuvAr
eriyara vaara maarbar imaiyaarumallar imaippaarumallar ivare


He is not the radiant sun nor is He the moon; He does not rule the Vedas; He is not the earth, He is not the sky, He is not the wind that moves around; He is not the glowing fire nor is He the water. He- whose garland is the fierce snake, appears with His consort on one side of his body- is neither a Deva nor a man.

This is one of the beautiful verses that gives the meaning of God in just four lines.

He is not the elements, the poet conveys that He cannot be measured or defined. At the same time, He can take any form-Man or a Woman or both(in fact this particular concept or form of the Masculine and Feminine is called as the Ardhanareeshvara. He was not born. He does not die.

Divine-The one with a form and without a form.

The essence of spirituality.

ILaiyaraaja’s spiritual outlook is well-known. His compositions exude divinity.His music is an external dimension of his spirituality.

As a matter of fact, if one scratches the surface of many of his compositions, one can discover many hidden gems not just in terms of musical value but also in terms of spirituality.

On this very special day as he steps into his 70th year, I am taking up a composition of his that symbolises the Saiva Siddhanta( or the concept of Shiva).

As per Saiva Siddhanta, the Supreme in constantly involved in 5 deeds:

1.Srushti- Creation
2.Stiti- Protection
3.Tirobhava-To obscure/hide (also test)
4.Samhaara- Dissolution
5.Anugraha-To grace

The song ‘Andela Ravamidi’ from the Telugu movie ‘SwarNa Kamalam’(1988) symbolises Saiva Siddhanta.

1.Srushti-

‘My Salutation to such a Guru, who is the Supreme Being’.

The sloka gives an introspective touch and raises our level of consciousness. The raga is Lataangi whose structure is sa ri2 ga3 ma2 pa dha1 ni3 Sa/Sa ni3 dha1 pa ma2 ga3 ri2 sa. The akaaram at the end of each phrase in the clear voice of VaNi Jayaram adds sobriety.

The veena flows like a clear stream. The tabla tarang(melodic percussion) that appears for exactly 4 beats at the end of each avartanam symbolises the smiling buds ready to blossom.

There is a pause.

It is then a panoramic sweep as the raga changes to Dharmavati-whose structure is sa ri2 ga2 ma2 pa dha2 ni3 Sa/Sa ni3 dha2 pa ma2 ga2 ri2 sa- and the TaLa pattern changes to the 3-beat cycle Tisram.

It is Creation as the sloka on Shiva is rendered with clarity and coherence by SPB and VaNi Jayaram. The sloka as well as the percussion follows ‘ta ka/ta ka dhi mi’.

The Tala pattern now changes to Chatushram as we see the beauty of Creation in the Veena that plays the silken strands of Dharmavati.

The ‘ta ta/ ta ri ki ta ta aam’ is played by the mridangam and the ghatam leading us to the Pallavi that has a ‘anaagata eduppu’ with the song starting after the Tala (at 3/4th place).

‘The melodious music from my anklets-is it from my dance steps or is it from the heightened state of my mind’?

‘Does this divine song emanate from my lips or is it just the natural flow of happiness’?

‘This is the fruition of yaagas and the yoga’.

‘PraNava Naadam- the Life’.

Though these are the words of the lyricist( Shri.Sitarama Sastry), the swara patterns themselves convey the meanings.

The entire world reverberates and jumps with joy as the flute and the veena gleefully show a myriad of melodic phrases. The violins move with delicacy and dexterity.

The solo flute shows vivid vistas and the percussion leads to the first charaNam.

Ta ta ri ki ta thom ta ka ta thom thom ta ki ta

2.Protection:

‘Ankle bells sound like the thunder and the movements are like the lightning’

‘I am like the cloud that brings the rains happily, I move like the wind’

‘It is the flow of the Ganga River, expressions like the myriad hues of the sky, True meanings to the art (of life)

‘It is the Dance of the Universe, Song of the water-falls, greenery all around. It is Parvati Devi’

The swara structure in the first line is majestic and beautiful.

The swaras amble across in the second line while the third line shows flexible movements-breezy and reposeful.

The last line shows the classical depth of the raga.

3. Tirobhava:

The chorus sings with an yearning with the sitar going around looking for answers. The search for the ‘hidden’ continues with the flute and the violins tugging at the heart strings.

4.Samhara:

The percussion plays the korvai
Ta ka ta ki ta/ ta ka ta ki ta/ ta ka dhi mi ta ka dhi mi ta ka dhi mi( twice with the one shown in bold played in ‘mel kaalam’)

Ta taangu (5)/ta ka tham(4)/ta ki ta thaam(5)/ta ka dhi mi thaam(6)/ta ka ta ki ta thaam(7)/ta ta thaam(4)/

/ta ta thaam (4)/

ta ka ta ki ta (5)/ ta ri ki ta ta ri ki ta thom (5 in keezh kaalam)/

ta ka ta ki ta(5)/ ta ri ki ta ta ri ki ta/thom (5 in keezh kaalam)/

ta ka ta ki ta(5)/ta ri ki ta ta ri ki ta thom((5 in keezh kaalam).


5.Realisation and Grace:

The glowing eyes -Na
Determination of mind- -Ma
Movement of Breath -Shi
Desire -Va
Thought -Ya

Naadam, Mantram, Stotram,Vedam, Yagyam-

Namashivaya!

At the basic level, meaning of Namashivaya
At the next level, the range of Dharmavati ragam.
At the highest level, salvation.

It is the TaaNdava, Ananda TaaNdava.
It transcends Time, Space, and Form.

It is the Ultimate Truth!

Brathuku pranavamai mrogu kadha..


PS: This is my 100th post in this Blog.I thank all the people who have been supporting and encouraging me.My aim is to make at least 500 posts and I am sure it will be possible with His blessigs!