ILaiyaraaja – The Quick-witted Musician

 

What defines a great piece of work?

It should pierce the heart straight, prise it open, go further deep, search for the soul and stir it!

To a certain extent, this can be called subjective as appreciation- and therefore the experience- varies from person to person. But beyond a point subjectivity and objectivity merge and this depends purely on the conditioning, the upbringing and the exposure to great works, which help the person separate the wheat from the chaff.

As an example, look at the following verse:

தலை மேல தாள்- இணைகள் தாமரைக் கண் என் அம்மான்

நிலைபேரான் என் நெஞ்சத்து, எப்பொழுதும் எம் பெருமான்,

மலை மாட த்து அரவு-அணைமேல் வாட்டாற்றான், மதமிக்க

கொலை யானை மருப்பு ஒசித்தான், குரை கழல்கள் குறுகினமே.

 

The great poet Nammaazhwar describes the Lord at a place called Thiruvattaru. Considered to be the longest Vishnu idol in the country, with a length of 22 feet, the idol also follows the katu-sarakara-yogam, an ancient method of idol-making following very strict norms, in terms of the material, the admixture of river sands, the paste and so on. Most importantly, the idol at that temple is made of 16,008 shAligrAmas, a feat which is monumental. Just for information, a shAligraama is found on the banks of Gandaki river in Nepal and supposedly bears symbols associated with Vishnu naturally without any human intervention.

The great poet who was an erudite scholar. composed the verse(in fact, there are 11 verses composed on this deity and these are part of ThiruvAimozhi which in turn is part of the Naalayira Divya Prabandham!) in keeping with the esoteric elements in the idol.

The meaning of the verse goes something like this:

The lotus feet are on my head; the lotus-eyed one will never leave my heart. He is the One who reclines on the snake at this place which has huge buildings like mountains, the One who broke the tusk of the elephant which had gone mad. I worship his feat.

On the face of it, this looks like a normal verse which extols the virtues of the Lord. But scratch the surface and you will experience a scimitar breaking open your heart.

First and foremost, it talks about strength by talking about the fight with the elephant. Recall that the idol is made of 16,008 small stones bound by thick pastes.

Next, it talks about the lotus feet and the lotus eyes. Beautiful contrast- strength and softness!

Now, lotus is also the mind, symbolically. Mad elephant is the symbol of bad thoughts. Contrasts of course, but it suggests that to take bad thoughts away from your mind, you need to meditate. But the clincher is the connection between the first and the last line- His feet on my head and I surrender to His feet.

Life cycle- Starts with feet and ends with feet.

Visishtasdwaita philosophy in a nut shell!

Read the verse again and you will know why I said it will pierce one’s heart. Perhaps you might end up discovering more too in the process. After all, experience is subjective- or is it?

One gets a similar experience while listening to music in general and ILaiyaraaja’s music in particular. Raaga Deepam YetRum Neram from PayaNangaL Mudivathillai(1982) is a classic example.

In fact, it is a classical example too as it is purely based on a classical raga called Hamsaanandi. This popular raga is a shaadava raga with 6 swaras in the arohaNa and avarohaNa. The reason for my saying that this pierces the heart has to do not only with the tune and the orchestration but also with a hidden magic. This magic is too subtle and yet very powerful. We shall see this as we go along.

One should also understand the background. As per the sequence in the movie, an aspiring singer gets an opportunity to sing in a temple and as he starts singing, clouds gather and the crowd disperse. He does not give up and continues singing and the clouds relent by moving away. The crowd is back and that is the beginning. A beginning in terms of his career as a singer.

The composition starts with the akaaram of SPB. What starts as a free flowing akaaram starts following the chatushram pattern as the percussion joins. The akaaram itself is vibrant and vivacious, drawing the sketch of Hamsaanandi in a matter of seconds. The strings move in higher-octave with a ferocity matching the intensity of the rain.

The first line is conceived meaningfully. It starts with the descending notes and then goes to the ascending notes, indicating the travails of the aspiring singer in particular and also of any human in general. In fact, it defines Life itself.

The lines that follow touches the higher-octave swaras like the upper Sa, Ri and Ga, making it a plaintive cry.

The jalatarangam and the tabla tarang move with a sprightly gait in the beginning of the first interlude, perhaps to show the momentum- the rain and the fluttering of the singer’s heart – contrasting elements. The strings play a flood of melody in Hamsaanandi while the flute depicts the angst of the singer by sliding and gliding. The sitar which responds to the flute initially, moves independently after a while, playing a litany of swaras with ebullience.

The first CharaNam is structured beautifully and like the Pallavi, this too shows the genius of the composer. The first two lines touch the higher-octave swaras, with the second line even touching the upper ‘Ma’, a rarity even in normal classical concerts. The sound of the bell in the background makes it auspicious. It is clairvoyant too, a fact we will see in a bit!

The last two lines have the mid-octave swaras going up and down, with the last line ending with the ascending notes- the mark of a genius yet again!

The second interlude conveys myriad expressions. The strings bellow out feelings with impeccable precision. Suddenly, there is magic. The solo-violin plays rather happily. What makes us feel the happiness is the raga, whose name is Mohanam.

How did the raga change?

Hamsaanandi is one of the ragas from where the pentatonic ragas like Suddha Dhanyasi, Suddha Saveri, Hindolam, Madhyamavati and Mohanam can be obtained by keeping one of the swaras as the base. This technique is called Gruha Bhedam, a fact known to people who follow my posts here.

The Master keeps the swara ‘dha’ as the base here and it shifts to Mohanam. The reason for this has to do more with the sequence and less to show one’s capability. The rain stops and gradually the crowd starts gathering again. Mohanam is considered to be a happy raga and is there any better way of showing emotions and feelings?

The backing of the keys carries meaning too as it symbolises the rain drops!

The sitar plays Hamsaanandi now and the feeling of joy is ineluctable.

The second CharaNam is structured differently with the third and fourth line touching the lower-octave ni, the line that follows showing the arohana(ascent) and the following line reaching a crescendo with the dominant upper Sa.

Piercingly beautiful..

As beautiful as the little stones found on the banks of the Gandaki river and as magnificent as the 22 feet idol which reclines with inherent meaning!!

 

 

ILaiyaraaja – The Simple Labyrinthine

 

Things which appear easy, tend to become complex. Things which seem to be complex, turn out to be uncomplicated.

Are things really simple? Or are they seriously complex?

How do we then define anything? Are things definite or indefinite?

As if to give an answer to these complex questions, a poet composed this verse nearly 13 centuries ago:

  நின்றனர் இருந்தனர் கிடந்தனர் திரிந்தனர்,

நின்றிலர் இருந்திலர் கிடந்திலர் திரிந்திலர்,

என்றும் ஓர் இயல்வினர் என நினைவு அரியவர்;

என்றும் ஓர் இயல்வொடு நின்ற எம் திடரே.

 

He stood; He sat; He lay down; He wandered.

He does not stand; He does not sit; He does not lie down; He does not roam around.

Forever unstable; Forever stable.

 

Confusing? Contradictory?

Probably, yes; Probably, no. ‘Yes’ because it does sound complex. ‘No’, because this is how the Divine is.

Composed by Nammaazhwar, the four-lines define Life itself. Does this mean that Life cannot be defined? While I would prefer to answer this a little later, say towards the end, at the same time I would like to say that all great things have that duality and that once we see the duality, decipher it, comprehend it and assimilate it, Life gets beautiful. In fact, to put it the other way, we see the beauty in Life. After all, it is the way we see which matters.

These thoughts came to me while listening to ‘Nannu Nannuga’ from his most recent ‘Rangamarthaanda’.

For starters, it is based on a raga called Hamsanandi, a raga known for its classical contours. Secondly, it is fast paced, a quality not usually associated with that raga. Thirdly, the orchestration is totally in western style. There is a fourth factor too, but it is better that we see this a little later, not without a reason.

With bass guitar starting the proceedings, the akaaram in the voice of Gayathri starts on the third beat of the chatushram cycle. Generally akaaram does not follow time signature, but there are exceptions, this one being a perfect example. There is a touch of nonchalance in the way the bass guitar sounds and it adds to the experience. The drums join now and then even as the colours in Hamsanandi glow in the akaaram like a luminous light brightening as it charts a path.

With melody wrapped by the alluring swaras that are woven with silken threads, the Pallavi starts after 16 cycles of Chatushram. Rather unusually long, it sails like a ship on azure blue waters with the waves moving like the cradle and the silvery reflection of the full moon glistening on them. The ‘nidhamagari’ phrase in the end gives the quintessence of Hamsanandi, proving the fact that complexities are after all simple.

The enticing bass guitar takes over in the first interlude. It is beguilingly beautiful as the drums sound intensely and with an intent. The synth instruments enter even as the bass guitar sounds in the background and plays a tantalising melody. The bass guitar and the drums interject and does it seem tenebrous? Well, not at all. It seems like a bright light passing through a tunnel. Like a sudden lightning, the electric guitars glimmer and disappear. The keys play a soft melody. But there is more to this than meets the eye.

Remember the fourth factor mentioned in the beginning?

The keys play in Mohanam, a raga not usually related to/with Hamsanandi, but the key word here is ‘usually’.

The concept of Gruha Bhedam is complex. If one takes a raga like Hamsanandi, considers just the swaras- ni ri ga ma dha- and keep each swara as the ‘sa’, one gets the five popular pentatonic ragas- Madhyamavati, Hindolam, Suddha Saveri, Suddha Dhanyasi and Mohanam respectively.

So here the Master takes the ‘dha’ of Hamsanandi as the base and the raga gets transformed to Mohanam in a jiffy. The keys sound in Mohanam and this continues in the CharaNam. The third line reverts to Hamsanandi and this happens when the ‘ga’ of Mohanam is kept as the base. It is Hamsanandi all around till the end of the CharaNam even as the phrases follow the ‘ta ki ta/ta ki ta/ ta ka’ pattern.

Subtle and powerful. This is how one can define the electric guitar in the beginning of the second interlude. Covering the entire gamut of the raga, it bespatters nectar in its inimitable way. But here too, the fourth factor comes into play. Keeping the ‘ri’ of Hamsanandi as the base, the raga shifts to Hindolam- when its sounds the melody the second time. The synth guitar gets back to Hamsanandi and skitters through with a flourish.

With the Gruha bhedam just before the end of the second interlude, the second CharaNam straddles between Mohanam and Hamsanandi, the former in the first four lines and the latter in the second-half, but there is more to come..

Drenching us in a quick shower, the synth instrument plays a melody in Hamsanandi ending it in the swara ‘ri’. Keeping this as the base, Gayathri sings the swaras, and needless to say, it is in Hindolam. The swaras swing and rock touching the ecstatic realms of music. Just towards the end, it gets back to Hamsanandi, but this time without the swara ‘ri’, which as per Carnatic music, is a raga called Sunaadavinodini.

Hamsanandi, Mohanam, Hindolam, Sunadavinodini..

Same swaras, but different ragas..

Same colours, but different complexions..

Complex?

Nammaazhwar gives the answer!

Laya Raaja- 7

ஐந்தும் ஐந்தும் ஐந்தும் ஆகி அள்ளவற்று உளாயுமாய்,

ஐந்தும் மூன்றும் ஒன்றுமாகி நின்ற ஆதி தேவனே!

ஐந்தும் ஐந்தும் ஐந்தும் ஆகி அந்தரத்து அணைந்து நின்று,

ஐந்தும் ஐந்தும் ஐந்தும் ஆய நின்னை யாவர் காண வல்லரே?

அஞ்சிலே ஒன்று பெற்றான் அஞ்சிலே ஒன்றைத் தாவி

அஞ்சிலே ஒன்று ஆறு ஆக ஆரியர்க்காக ஏகி

அஞ்சிலே ஒன்று பெற்ற அணங்கைக் கண்டு அயலாரூரில்

அஞ்சிலே ஒன்றை வைத்தான் அவன்  எம்மை அளித்துக் காப்பான்.

What is this? Is it a word play? Or a number play? Or both?

The first one is from the Thiruchchandaviruththam of Thirumazhisai Azhwar and the second one is a Kamban verse.

Before we find an answer, let us look at the meanings first.

As per Sri Vaishnavite philosophy, the Lord governs 24 thathvaas. The great poet  Thirumazhisai azhwar poetically splits these  as four 5 s two 3s and one 1. The five elements comprise the first 5. The second 5 are the Gnaanendriyaas. The third 5 are the karmendriyaas while the fourth 5 has the subtle tanmaatraas. Ego, Mahaan and the avyaktam are the 3 while the single most thing is the mind. Finally, he says ‘who can unravel the mystery?’

If the Azhwar used the 5 to describe the mystery of creation, Kavi Chakravarti used the 5 to praise Anjaneya with just the five elements.

He was born to Vaayu, or the wind. He crossed the water - the Indian Ocean- taking the aerial route(aagayam), to see the lady  who was born to Bhooma Devi(the Earth), and set fire(  agni) to that place(Ashoka Vanam in Lanka).

The world revolves around numbers. Our life revolves around numbers. Is there anything in this world which is not governed by the numbers? Time, Place, Event, Procreation, Death..In fact, our life is a zero without numbers and there too we have a number. Now, all these apply to yet another thing in this world.

Rhythm!

Our life resonates with this. The ticking of the clock, the sound of the train, our laugh, our crying, our walk…in fact, scientifically it is proven that our body follows what is called as the circadian rhythm.

Numbers and Rhythm..Our life will be non-existent without these.

In the verses quoted, we saw that the numbers acquired different meanings when they were split. In the first one, 24 was split as 5,5,5,5,3,1 while in the second one the number 5 itself was used to denote a different element each time.

In Carnatic Music, numbers and rhythm are organised so well that not only do the compositions sound good but they also make us think and work, thus activating our grey cells. Our thinking becomes organised and our mental faculties are fine tuned. It is the meeting of the mind and the matter. Where the brain meets the heart.

That is why, the word Laya which in Sanskrit has multiple meanings like focus, togetherness, to cling on to something and peace, is aptly used to denote rhythm or taaLa.

In the previous six posts, we saw certain basic things and features of taaLas, the syllables and how a taaLa follows calculations and how the syllables are split .Most importantly, we saw as to how and why ILaiyaraaja is the true Laya Raaja with his imaginative, creative and innovative usage of the TaaLas and the patterns. We saw two different taaLas in the same composition simultaneously,  then one following the other and we saw how he constructed Pallavis and CharaNams using very unusual patterns.We saw the composition following a free flowing pattern and yet following a taaLa and saw how two taaLa patterns alternated very quickly leaving us with amazement.

The series comes to an end today with yet another special composition in another dimension. Nothing encapsulates and articulates Laya better than the classical dance in our system. Therefore, it will not be a surprise if the special song of the day is a dance composition of his.

The song ‘Naatya Kalaapam Navarasa Roopam’ from the Telugu film ‘Kunti Putrudu’ is one of his many classical dance songs which uses the dance syllables in accordance with the classical art and where the syllables are split and calculations done adhering to the rules of Carnatic Music.

The composition follows the 8-beat aadi taaLam and starts with the mridangam and the ankle bell drawing some beautiful patterns for 4 aavartanaas.

The Pallavi starts with the mridangam pausing for a moment and then playing ‘ta ri ki ta taam’ in the mel kaalam thrice and then continuing with the ‘ta ka dhi mi’ following the words.

In the first interlude, the dance syllables are uttered and are split thus:

Thajjonutha thathimitha tajjam is ta ka ta ki  ta/ta ka ta ki  ta/ta ka dhi mi-that is 2 khandams and one chatushram.. Therefore we have 5+5+4 which is equal to 14. To complete this half avartanaa, there is a pause for 2 maatras and this completes the 16.The orchestra repeats the same syllables melodically and the aavrtanaa is completed. This happens twice. In the following aavartana ‘taam’ and ‘ta ki  ta’ are added as prefix to ‘tajjonutha thaththimtha’ without the ‘tajjom’ and this is done twice to make it 32 in one aavrtana.

‘thom tha ri ki ta ta ka ta dheem ta’ –that is 16 maatraas are repeated 4 times and therefore we have 64 maatras in the next aavartana.

In the following aavartanaa which completes the teermaanam, we have ‘thom thari ki  ta ta ka taa’ twice and ‘thom ta ri ki ta ta ka’ once in the first half-which is 12+12+8 and in the next half ‘thom ta ri ki  ta ta ka taa’ thrice making it 36. Now, it is 32+36 which is 68 while as per simple arithmetic it should be a figure divisible by 8 and therefore 64 only.

This is where the beauty and brilliance in a composition lie. The Pallavi starts in samam and until the last aavartana, all calculations are from samam to samam. But here, the first line of the first CharaNam ‘Aadi umapati’ starts in the second beat of the taaLam and the first beat has the ‘taaa’ which is a count of 4 in mel kaalam!

The first charaNam however ends with the last beat of the taaLam and the Pallavi when repeated again starts in samam as before.

The second interlude mostly has the dance syllables and it starts with

‘ta ta ri/ta ja Nu/ta dhi  mi/ta ki ta/ taam/ tadheem/ ta ki  ta/ dheem/ dheem’ which is 32 split as

4 , 4, 5, 3, 2, 3, 3, 4, 4.

This is repeated twice. The orchestra repeats this twice too showing how melody and rhythm go hand in hand.

The very brief swara segment follows and swaraas  are rendered in one full aavartana.

The next segment follows joyously..

First it is ‘ta dheem/ tatadheem/ ki ta ta ka/ ta dheem ta’ which is 3, 5, 4, and  4 rendered twice in one aavartana.

Then we have typical dance syllables which go as 4, 4, 4 in keezhkaalam and 8 in melkaalam at the fourth and the 8^th beats.

It is mesmerizingly magical from then on with the ‘na dhin dhin naa’ being used brilliantly.

In the first aavartana, this appears in each beat for 3 beats with the ‘thom ta ri ki ta ta ka’ appearing in the last beat making it 16.

In the next aavartana, which is the last one before the second charaNam, ‘naa dhin dhin naa’ alternates between ‘thom ta ri ki  ta ta ka’  and ‘ta ri  ki ta ka’ with a small pause for 2 micro beats before ‘ta ri ki ta ka’. If this is the first half, in the second half we have ‘ta ri ki ta’ 7 times. It is finally wound up with the ‘ta dheem ta taa’ with the last ‘taa’ again in the samam of the second charaNam. So, it is 32+36 yet again.

The second part of the second charaNam is structured differently and follows

Ta ki  ta/ ta ki  ta/ta  ki ta /ta ki  ta/ta ka dhi mi-3 , 3, 3, 4 for two aavartanaas.

The last line completes the teermaanam with ‘4, 4, 4, 4, 6, 6, 4’.

Let us now look at the melody part.

The composition is based on Hamsaanandi, a shaadava raga with 6 swaras in the arohaNam and avarohaNam.

The lilting veeNa and the stirring Sitar join together in the prelude followed by the violins sketching the raga eloquently.

The serenity of the raga is shown in the imkaaram of Chitra while its vibrant contours raga are shown by the Sitar in the Pallavi. The navarasa roopam towards the end shows all the rasaas of the raga.

With melody wafting all over, the first interlude moves with the Sitar, VeeNa, Flute and the Violins. The clear voice of SPB adds lustre to the already shining composition. The VeeNa and Sitar echoing the dance syllables with agility in Hamsaanandi in the second half speaks volumes of the creativity of the composer.

Both the CharaNams are woven with imagination and are full of entrancing classical contents with the melodic instruments repeating the syllables with grace and unsullied dignity.

Rhythmic aesthetics with fluent patterns…perceptively pervasive brilliance.

Magic of numbers. Magic of rhythm..

Magic of Raaja.. Magic of ‘ee laya raaja..’

PS: The previous Tamizh post and this post were read out to an invited audience on the 24th of Aug 2014.

ILaiyaraaja-The Divine Alchemist..

Enraptured by the beauty of Kaveri, the young poet sings, 

‘Adorned by the aromatic herbs, colourful shrubs, ivories and the pearls, Kaveri looks like a golden river. And on its northern bank resides the Lord of Manthurai. Let us pray at his feet’.

செம்பொன் ஆர்தரு வேங்கையும் ஞாழலுஞ் செருந்தி செண்பகம் ஆனைக்

கொம்பும் ஆரமும் மாதவி சுரபுன்னை குருந்தலர் பரந்துந்தி

அம்பொன் நேர் வரு காவிரி வடகரை மாந்துறை உறைகின்ற

எம்பிரான் இமையோர் தொழு பைங்கழல் ஏத்துதல் செய்வோமே.

That he was so attracted to the river is known by the fact that nearly 3/4^th of the verse is dedicated to the description while only 1/4^th is devoted to his favorite Lord.

Thirugnansambandar, the child prodigy is capable of converting a river with white foams to gold with his poetic description. We also see the hand of the divine here which chose to bestow this golden poetic power to a child-just around 3 years old- by giving white milk of knowledge.

It is a fact that some are chosen by the Divine with a reason. These chosen few utilise it fully and not content with what is already given to them, explore, discover and innovate. With their ‘Hand of Gold’, they turn even a small tiny thing to gold.

Who should we, the mortals thank- the Divine which gave them these powers or the chosen ones for delighting us with this power and acquired knowledge?

If Tamizh acquired new meanings in the words of Thirugnanasambandar, Film Music acquired a new dimension in the swaras of ILaiyaraaja.

We have been seeing his use of popular, familiar ragas and very rare ragas in film music.

The song of the day-‘Neelakkuyile’ (Magudi-1984), is based on a raga which falls under the latter category.

The ‘sa ri ga pa dha Sa’ scale is one of the most popular in Carnatic Music. The different combinations of the variants of these swaras give us ragas like Mohanam, Shivaranjani, BhoopaLam, Vaasanti and Revagupti.

In the year 1981, ILaiyaraaja came up with a composition that had the same combination but with a new permutation- sa ri1 ga3 pa dha2 Sa. Let me clarify that this was new only in the Carnatic System as the Hindustani System has a raag pertaining to this scale called Vibhas (which again has two versions).As far as Carnatic Music or Tamizh Film music is concerned, this raga was never used until then.

Some texts define the name of this raga as ‘VarNa RoopiNi’ while some others call it as Rasika Ranjani. But since the Maestro himself has very recently clarified that it is Rasika Ranjani, let us stick to this name. Thus ‘Amude Tamizhe’ from Kovil PuRa happens to be the first composition in Tamizh Film Music based on this ragam.

He again composed a song in the same raga three years later and this is the song I am taking up now. While ‘Amude Tamizhe’ more or less stuck to Rasika Ranjani (excepting for the use of ‘ni’ in a couple of lines in the charaNams), ‘Neelakuile..’ follows Rasika Ranjani scale completely.

Did I say completely? Yes, but there is a hidden magic in the second interlude and we shall see that soon.

The composition starts with a great delicacy of feeling as the swaras are rendered with mellow tonal depth by Janaki and SPB. With energetic briskness, the Violins enter the fray as the upper Sa is touched by the male voice. The Sitar soothes the heart while the radiant Veena highlights the beauty of the raga with finesse.

The composition is set in Chatushra ekam tisra gati(cycle of 4 with a speed of 3)taaLam and has the ‘anaagata eduppu’ with the Pallavi starting after 2 aksharaas.

The Pallavi is crisp and is dominated by the mid-octave notes (it starts with the ‘sa’ just like ‘Amude Tamizhe’).The last line is a beauty with the phrase ‘paamaalai’ consisting of the combination of swaras in the arohaNam( dhaSa padha gapa).Note that the first swara in the preceding group becomes the second in the one that follows.

The higher octave violins that back the lines rise like the huge waves with the sitar that says ‘dhapa dhapa dhapa dhapa dhapa dhapa’ moving like a small wave.

Swaras blossom again with a fragrance in the first interlude as the Sitar and the Violin smile at each other with ‘ga pa dha pa’. The lilting flute joins and pairs with Sitar. There is more to follow after the strings flow like a stream.

Basic and advanced lessons in Violin plucking, fingering and bowing are on display. Harmony at its best!

The CharaNams have succinct but powerful phrases. The first half is dominated by the higher octave swaras like the ‘Sa, Ri and Ga with the last line have all the ascending notes. It is rounded off with a short and sweet akaaram.

The second interlude (remember the hidden magic I mentioned in the beginning?) shines with manifold beauties.

First the ‘dha2’ is substituted by ‘dha1’ and the raga becomes Revagupti. The strings play this and during the course of the journey adds two more swaras- ma2 and ni3- making it Pantuvarali. The Master then drops the ‘ri’ and ‘pa’ and substitutes ‘dha1’ with ‘dha2’ making it Sunaadavinodini, a pentatonic raga called as Hindol in  the Hindustani system. The flute and the Veena have a rendevouz with ‘dha ma ni’ with the former fondling ‘dha ma dha ni Sa’ and the latter caressing ‘ma ga ma ga Sa’. The magic happens yet again in the second time the Veena plays. It plays chromatic notes-ma2 ma1 ma2 ma1 ga3. Though it has only 2 swaras, the chromaticism and the contours suggest Lalit, another Hindustani raga.

The strings then play Hamsanandi( Sunaadavinodhini plus ri1) with the Lalit pattern peeping in again at the end.

Illuminating spectacle!

நாதப்புனலில் என்றென்றும் நாம் நீராடுவோம்..

Makes us bathe in the fountain of Naada forever..