ILaiyaraaja – The Mindful Musician

 

The propensity in human nature to either blindly believe things real or to refuse to believe anything is well known. Most of us see either black or white. The fact that there is something called grey eludes the human mind. This is less surprising given the fact that after all, human beings are designed that way. At the same time, we are also endowed with the ability to break this and the intelligence to see reality which leads to ultimate realisation.

I am not talking about theism or atheism which is one’s personal choice and which is beyond the scope of this post. What I am trying to bring out is the fact that blind faith on anything will do no good and is as good as not believing. This, in fact, is subjectivity at its best.

Now, look at this verse:

நட்ட கல்லை தெய்வம் என்று நாலு புட்பம் சாத்தியே

சுற்றி வந்து மொண மொண என்று சொல்லும் மந்திரம் ஏதடா

நட்ட கல்லும் பேசுமோ நாதன் உள்ளிருக்கையில்

சுட்ட சட்டி சட்டுவம் கறிச்சுவை அறியுமோ?

You worship a stone by decorating it with flowers and go around it chanting mantras. Can that stone ever talk? This is akin to saying that the vessel used to cook vegetables, knows the taste of the vegetables.

Well, if you assume that this was said by an atheist, you are thoroughly mistaken. This verse was written by Sivavaakkiyar, one of the 18 siddhars of the Tamizh land. A rebel who opposed the caste system, Sivavaakkiyar composed many verses with deep inner meanings. To go back to that verse, he says, ‘Can the stone ever talk when the Divine is inside?’

In fact, what is inside is outside and what is outside is inside. My idea is not to leave you confounded nor is it to sound cryptic. The relationship between the cosmos and the living beings is in fact a proven fact. On the face of it, can we live without the five elements- Earth, Water, Fire, Wind and the Space? Now, take the letters Na Ma Shi Va Ya. On the face of it, it just seems and sounds like a mantra on a God pertaining to a particular religion. However, each syllable pertains to one element- Na to the Earth, Ma to Water, Shi to Fire, Va to Wind and Ya to Space. NAMASHIVAYA also means ‘I bow to the inner consciousness’.

What is inside is outside and what is outside is inside. Within and Without.

This applies to Music as well. It is both inside and outside. When we listen to Music, it seems to be external. However, there is that Music which is always running inside us. When there is a match between these two, it strikes a chord. This is not dissimilar to the frequency match when we tune in to a radio station. Now, when there is a match between the external and the internal, we experience pure bliss. This is what happens when we listen to great musicians and composers. Needless to say, this happens frequently in ILaiyaraaja’s music.

On this special day, let us look at a song which is special as well because of many reasons.

The speciality of Koluvai Unnaade from the Telugu film Swarnakamalam (1988) is not just the fact that it is a ragamaalika. As I keep saying repeatedly in my posts, a raga is not as important as the way it is used. Secondly, this song was written by the Maratha king Shaaji sometime during the 17^th Century and this was part of an Opera which was even staged in the temple. ILaiyaraaja modified it to suit the situation in the movie. He also added Kuchipudi jatis.

The story of the movie revolves around a reluctant dancer who aspires for a glamorous life, the kind of life not possible if she became a classical dancer. That glamour and real art cannot thrive together is known to her, but the fact that an art form is much qualitatively superior to any glamorous form, eludes her. The song itself is composed as if to show her what real art form is and how it would look and sound.

Music, Expressions and Laya form the core of any dance form. And this is what the sloka from Abhinaya DarpaNa, a treatise on Indian Classical Dances, say.

The composition starts with the sloka from this text and as if to show how important these facts are, this is set in PantuvaraLi.

It is spiritual radiance all around with the drone of the tanpura permeating the atmosphere. The jatis are rendered with aplomb by SPB, just before the sloka. Kuchipudi is a dance form known for its fast jatis and the first two aavartanaas are full of fast jatis with no repetition whatsoever. The 3^rd and the 4^th aavartanaas show the grace of the dance form by slowing down the pace while the 6^th aavartanaa, which is also the last, has that teermanam. Is Mathematics not an art too?

The Pallavi and anupallavi in the mellifluous voice of SPB and Suseela give the ornate and the indescribable images of the Divine. Set in a raga called Latangi, which literally means the creeper, it says, ‘ The God of Gods is in a great assembly. Shining like a million suns, He is the enemy of the cupid and women get mesmerised by his form’.

The contrast cannot be missed here. He is the enemy of the God of Love and yet others fall in love with him!

The flute continues with melodic charm in Latangi in the first interlude. The mrudangam sounds with pulsating vibrancy. The finely etched melody of the flute traverses with an air of softness while the mrudangam sounds a fusillade of jatis.

Beauty of contrasts yet again!

There is a sudden twist in the first CharaNam as the raga seamlessly changes to Hamsanaadam. Hamsanaadam is a pentatonic raga and like all pentatonic ragas, it has a beauty of its own.

The CharaNam goes on to describe Shiva and says, ‘He is adorned by the bracelet of snakes on the wrist, the crescent moon on the head and the deer on the hand’. Contrasts yet again to the fore. Snake and the Moon are contrasts as well because it is eclipse when the snake consumes the moon.

Natana Laya Raga Raaja too shows the contrasts with Suseela rendering the lines and SPB rendering the lines parallely. The akaaram in Hamsanaadam is steeped in tranquility and is simple as well as intricate.

Hamsanaadam continues its journey in flute which wafts in and soaks the atmosphere with luminosity. Not to be left behind, the mrudangam sounds with panache, playing some powerful syllables with heightened resonance. It is indeed the monsoon showers from the heavens. Probably, manna from heaven.

O’Henry Raaja continues to enthrall in the second ChraNam by changing the raga to Dharmavati. ‘The gems sparkle and shimmer on the One who wears the tiger skin and who drives away the enemies with His Trident’, says the second CharaNam. Gems, tiger skin and the Trident/ Akaaram, Jatis and Sangatis – Contrasting words, Contrasting meanings, Contrasting sounds.

Contrastingly similar. Similarly contrasting.

And that is what Life is all about. Look for contrasts in similarities and similarities in contrasts.

You will realise the Ultimate Truth!

PS: This post and the previous post in Tamizh were written exclusively for the Raaja Deepam session on Zoom held on the 2nd of June 2021 to celebrate ILaiyaraaja's birthday. It may be noted that though both the posts are about the same song, I have taken two different perspectives.

ILaiyaraaja- The Cosmic Musician..

It is without a form; and yet many forms are part of it. It does not move; and yet a lot of movements happen on it. There is nothing in it; and yet everything is on it.

What is that?

Well, before we find an answer, let us look at this Tamizh verse:

வாளவரி கோளபுலி கீளதுரி
               தாளின் மிசை நாளும் மகிழ்வர்
ஆளுமவர் வேள் அநகர் போள் அயில
               கோள களிறாளி வர வில்
தோளமரர் தாள மதர் கூளி எழ
               மீளி மிளிர்தூளி வளர்பொன்
காளமுகில் மூளுமிருள் கீள விரி

            தாள கயிலாய மலையே.

How does this poem sound to you? What are the things that strike you the most?

Rhythm? Metre? Sweetness? Tamizh? Beauty?

Beyond all these, there is something else also. But let us first see the meaning of this verse:

‘The one who wears the skin of the tiger which has bright lines; The one who is always blissful; The one who blesses people; The one who is blemish less; The one who killed the elephant which had huge tusks; The one who carries a powerful bow on his shoulders; The one who dances to the rhythm of the Bhootas; the one who smears His body with the shining white ash; the one who resides on the Mountain whose white golden rays dispel the darkness caused by the clouds.’

Sounding rather simple now. Or does it?

Look at the contrasts. ‘Tiger’ and ‘Elephant’; ‘One who blesses’ and ‘One who killed’; ‘Darkness and ‘Shining light’(note that the words indicating ‘shining’ appear thrice in the poem).

Apart from these contrasts, what should not be and cannot be missed is the fact that the Dance of Shiva is mentioned in the middle part-that is the 4^th line- of the poem.

This verse was written by one of the greatest Tamizh poets Thirugnansambandhar.

Now, let us go back to the riddle asked in the beginning. The answer is ‘the cosmos’. The verse also indicates the same.

How?

It is a well-known fact that the cosmos comprises of atoms. Electrons, Neutrons and Protons revolve around the nucleus which is at the centre of an atom. The Dance of Shiva indicates this only. I must mention a couple of things here. Shiva and the concept of Nataraja go beyond any religion. These are symbols and my effort here is to try and explain the symbolism and place the scientific facts. There is absolutely no religion involved here. Atheists, agnostics and people practising different faiths can look at this from the science angle.

So what does the Nataraja symbol tell us?

The circular flame surrounding the icon represents the Universe, the consciousness and the cycle of birth and death. The four arms represent the 4 directions. The ‘damaru’ on the upper right hand symbolises the sound from Creation and also Time. The agni on the upper left hand is symbolic of Destruction. The lower right hand showing the ‘abhaya mudra’ indicates blessing. The lower left hand is held across the chest like a trunk of an elephant and this symbolises liberation from ignorance. Snakes that uncoil from his head, arms and legs are symbolic of the Ego while the snake which is tied to his waist indicates the KuNdalini Shakti. The dwarf under his right foot represents the confusion, forgetfulness and the ignorance. Note that it is bound to the Earth. While the right foot represents the victory over ignorance, the raised left leg represents the grace and the upliftment of the soul. The icon rests on a lotus pedestal which is the symbol of the creative forces of the Universe. Inner peace-that is the lotus- countered by aggression-which is the Vigorous dance.

This is what this dance-which is also called as the cosmic dance- signifies.

Now read the verse, think of the atoms, the Universe and then look at the Nataraja icon. You can correlate the three.

Each and every particle in the cosmos is interconnected as they are made of atoms. This is the reason for something called Telepathy. This happens when two souls are in the same frequency.

Music is also a group of atoms. In some of my previous special posts, I had mentioned that it is music which makes even agnostics and atheists realise the divine. Music is omnipresent in the Universe. However, only some humans are able to get and give the right combination of atoms. When this happens, melody multiplies. Others tuned to this frequency get attracted to it; make them forget themselves. One such human who does this spontaneously is ILaiyaraaja. That is why, his music makes many happy. We laugh, cry, dance and sing.

The special song of the day too is one such composition.

‘Nataraazu nayanaala jeevinsaga’ from the film Aalapana (1986) is yet another special composition which unravels the mystique of raga and taaLa. The Maestro has brilliantly tuned it in Dharmavati, a raga known for its spiritual powers.

Let us now try and look at the hidden beauties of the composition.

It is a stately setting with the drone of the tanpoora surrounding us for 6 seconds. These 6 meditative seconds prepare us for the divine shower which follows.

The prelude is interesting and is different too. It starts with a viruththam rendered by SPB in a voice laden with devotion. It talks about the all pervasiveness of the divine force and finally about the Naatya.We see the contours of Dharmavati in the last phrase ‘Naatyaatma’. As if taking a cue from that word, natya jatis start flowing now.

These jatis are not only classical but also symbolise something.

The first half of the first two aavartanaas is in ‘keezh kaalam’, the next half and the third aavartanaa are in the next kaalam and the last one is in the third kaalam. Doesn’t this signify the ‘Tri kaalam’ and also the ‘Three eyes’?

Let us now see as to how the Laya Natana Raaja has divided the syllables.

In the first two aavartanaas, 16 is divided as 3, 3, 3,1, 2, 2, 2(the second half is taken as keezh kaalam and therefore the total maatras of that part is divided by 2).

In the third one, it is divided as 4, 3, 5, 4 for one half (note that in literal terms it is in vilomam  and has one misram and one sankeerNam). The total count in this kaalam is 32.

The last one goes as 3, 3, 3, 4/ 3, 3, 3, 4 but as it goes in the highest speed, the total is 64.

The raga now starts dancing with the repetitive jatis- ‘ta dhi ta ri ki ta thom ki ta nam ki ta’ as the jatis are superimposed on the akaaram. After a while, swaras ascend in groups of three and finally descend even as the jatis continue .In fact it is an ascent to heaven.

It ends with ‘taaam-‘ in the last half avartanaa and the Pallavi starts.

The short Pallavi glimmers with beauty showing the graces of the raga. The sound of the bell at the end of each line makes the experience more divine.

The jatis appear again with the violins responding briefly to each group of syllables. In the first avartanaa, the jatis appear for 8 micro- beats followed by the violins. This happens twice. In the second avartanaa, the jatis go as 6 micro-beats and the violin is played for 2 micro-beats. This happens thrice and then the last jati has 8 micro-beats. The violins take over playing some melodic phrases. A touch of poignancy is added with another group of violins joining and showing some very different dimensions of the raga.

 The twin- veena joins to the backing of tabla tarang and shows illuminating facets of Dharmavati.The violin group which appears very briefly  at the end of each avartanaa, plays ‘ta ri ki ta taam’ melodically at the end of the interlude and leads us to the first CharaNam.

The CharaNam has sequentially interesting phrases. The first part has depth and sensitivity while the second part which starts with ‘gada seema’ picks up pace. The akaaram for half avartanaa is beauty personified. The last part moves with a sense of purpose finally culminating in ‘tadheengiNathom’.

The first half of the second interlude sees the dialogue between the violins and a host of percussion instruments. It also shows the versatility of the composer. The violins sound for 2 beats and the percussion group replies in the next 2 beats..This pattern repeats in the next half avartanaa. The violins then sound for one beat, a group of percussion for two beats and yet another percussion for one beat. After one avartanaa, the violins and the percussion alternate for each beat. The two finally merge. 

It is the merger of creativity and expertise.

The solo violin then gives slices of silkneness with the flute repeating the nuances caressingly. The two join together giving classically delicious music. It is then the turn of the tarangams with the jalatarangam and tabla tarang glimmering with beauty.

A unique pattern follows then. The jatis are rendered and each line is followed by description of Nataraja. Feelingly expressed by SPB , this entire segment resonates and takes us to spiritual heights. The composition takes a breezy complexion with the violins and the percussion moving with ferocity. After 2 avartanaas, the jatis take over again but this time these are ‘magaNa jham’ ‘ragaNa jham’, which are classical jatis mentioned in the ancient texts. The patterns ooze with passion, are stoic and sturdy and are regal.

At the end of the jatis, the gait changes to khandam with the higher octave violins and the resonant percussion dancing with intensity. SPB continues in khandam but this time the invocation is on Durga as if to indicate ardhanareeswara. The violins then continue the dance with percussion underpinnings and we reach empyrean heights.

Logical transcendence which defies logic..

Yes, that is what is cosmic dance all about!

PS: This post and the previous post in Tamizh were read out to an invited audience on the 9th of August 2015 as part of an Event dedicated to ILaiyaraaja. Incidentally, this post happens to be the 150th post in this blog!

Check this out on Chirbit

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!

ILaiyaraaja's Music is Poetic..

There is poetry in everything.

If only we are able to understand and appreciate the poetry in what we see, what we feel and what we experience, our life will be more beautiful.

One need not be a poet to do this. In fact, one does not have to be even a writer.All it requires is an objective view with a sense of aesthetics.
This does not mean that if one takes a poetic view, the problem will be solved automatically. Or that one can take an escapist route, live in a Utopian world and let things pass. One will certainly have to deal with a problem, and find a solution.

At the same time, there are things in the world that are beyond our control. Events that happen just like that. Episodes that unfold before us without our being prepared for them. Happenings that make us strongly believe that Life is very unfair to us.

Now, think!

The things, events, episodes, happenings cannot change. But the way we look at them is in our hands and this can definitely change.

What happens if we look at the hidden poetry in an event?

The cause or the effect would remain. But we become more refined. More mature. More affable.

One finds such happenings in Literature.

In my previous post, I mentioned as to how two small girls sang a poem when they were confronted with a personal tragedy.It is not that this emotive outflow directly helped them tide over the crisis.But it did give them solace.

It is also a fact that the poem brought them a lot of laurels.(as per history, they were later married off to King Deiveegan in a place called Thirukovilur and lived happily ever after!).

Now have a look at this poem from KuRunthogai written by MiLaipperum Kandhanar :

சுடர் செல் வானம் சேப்பப் படர்கூர்ந்து
எல்லறு பொழுதின் முல்லை மலரும்
மாலை என்மனார் மயங்கியோரே
குடுமிக் கோழி நெடுநகர் இயம்பும்
பெரும்புலர் விடியலும் மாலை
பகலும் மாலை துணையிலோர்க்கே

‘Only the dim witted say it’s evening when the sun goes down
And the sky reddens when misery deepens
And the mullai begins to bloom in the dusk
But even when the tufted cock calls in the long city and the long night breaks into dawn
It is evening; even noon is evening to one who has no one’.

The girl waits for her lover to return.And she pours out saying ‘to me everything looks like evening in the absence of my lover’.

Look how poetically she describes her misery.

There is poetry in waiting. There is poetry in longing. There is poetry in misery.

There is of course poetry in music.

In this Blog, we have been seeing the hidden beauties in ILaiyaraaja’s music.
All of us know his natural ability to compose melodious tunes.
But what sets him apart is the way the he deals with human emotions in his compositions.

Though each raga has an emotion attached to it, it is not the ragas alone that matter here.It is the way, they are used and applied (especially in film music).
ILaiyaraaja is a Master in this art and this makes his compositions sound more poetic.

The composition we are going to see today is about a complex relationship. It is sung by a woman who is caught between two worlds-one that gives her pleasure and the one that gives her pain. A case of pain being a pleasure and pleasure being painful. She is driven by an overriding sense of guilt, but still she seems to revel in the situation.

The composition is ‘Ennullil Engo’ from ‘Rosappoo Ravikkaikari’(1979).

It is based on Dharmavathy, a raga known to evoke nostalgic feelings and a sense of yearning.

It is the 59th melakarta and its structure is
Sa ri2 ga2 ma2 pa dha2 ni3 Sa/Sa ni3 dha2 pa ma2 ga2 ri2 sa.

If one changes the variant of ‘ga’, it becomes Kalyani, a totally different raga in terms of the emotions it invokes.

That is the beauty of music..

I had mentioned about the way the Maestro’s uses the ragas.
Just to quote an example, the same Dharmavathy was used in ‘MeeNdum MeeNdum Vaa’(Vikram)- a very romantic song.

In ‘Ennullil Engo’, he avoids the use of ‘ri’ and ‘dha’ in many phrases making it sound like Madhuvanti(loosely the Hindustani counterpart of Dharmavathy).
He does apply one more technique to depict the character and we shall see this later.

Let us look at the composition.

The rich tone of Sarod surrounds us and the Violins surge forth with energy.The Santoor now smiles the flute exuding sensitivity.

This prelude prepares us for the feast waiting for us.

The pallavi in the crystal clear voice of Vani Jayaram is redolent with melody.
The first part is simple until the words ‘En KetgiRathu’.It then oscillates gently giving us a very different feeling.

The pause between the Pallavi and the first interlude is brilliantly conceived and executed.

The violins then play with a yearning tone. They become enticingly energetic when the Flute joins and takes glittering flights. It is height of ecstasy as we hear the violins, the swirling flute and the succulent tone of the Santoor.

The CharaNam is delightfully layered.

We see and hear the melodic tint in the first two lines.This is followed by a plethora of sangatis giving the nuances of the raga with wonderful shades of musicality.

The second interlude is a masterpiece.
The Flute gives an array of arresting patterns.As we begin to lose ourselves in the lightning flashes, we are led to a world of sheer magic.

The Shruti changes and the ‘ri’ is taken as a base to give a completely different ragam-Chakaravagam.We have discussed this concept of Gruha Bedam in this thread.
The Maestro has used it extensively in many compositions and I think he used it for the first time in this song.

I also feel he must have used it to depict the emotional upheaval of the character.

Sparks of ingenuity!

Dharmavathy is back with the puissant sound of the sitar followed by the dazzling santoor.

It is a composition captures the entire gamut of human emotions with unfettered musical acumen.

I yearn to hear more and more of your poetic music..

என்னுள்ளம் எப்போதும் ஏங்குவது உனது இசையினைக் கேட்டிடத்தான்..

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