ILaiyaraaja - The Virtuoso

Why is Kamban considered as a genius?

After all, he ‘retold’ what was already written centuries ago in Sanskrit. Moreover, it is just a mythology about a form of God who is believed to have taken an incarnation as a human.  And did the poet not indulge in eroticism too?

Well, I am not going to get into these and many other points put forth by the so called rationalists to ‘prove’ that Kamban was just an ordinary poet. But what I can do it to quote just one of his verses and try and explain it. One can draw their own conclusions after that.

This sequence is well known. Soorpanaka, the sister of RavaNa sees that handsome man called Rama in the forest. Well aware and conscious of her (non- existent) beauty, she decides to take a form of a beautiful woman.

This is how the poet describes her:

பஞ்சிஒளிர் விஞ்சுகுளிர் பல்லவம் அனுங்க

செஞ்செவிய கஞ்சம் நிகர் சீறடியள் ஆகி

அஞ்சொலிள மஞ்சை என அன்னம் என மின்னும்

வஞ்சி என நஞ்சம் என வஞ்ச மகள் வந்தாள்.

Glossy hands in lustrous red, feet like the dark coloured lotus, body like a cool creeper, uttering words like a sweet-talking peacock, moving like a swan, here she comes, that loathly lady full of venom.

This is just the literal meaning. However, there is more to this poem than meets the eye and I am not talking just about the mention of the artificial red and the ‘sweet-talking peacock’.

People familiar with the language of Tamizh must have noticed the ubiquitous occurrence of the letter ‘ஞ்’ (pronounced as ‘inj’). For the benefit of non-tamizh people(and of course tamizh people too), I am rendering the poem now:

                   

                 

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Hope you have all noticed as to how that particular letter gives that nasal tone. Now, people who know the story of RamayaNa know that LakshmaNa cut off Surpanaka’s nose after her ‘proposal’ first to Rama and then to him. The brilliant poet suggests this even as she walks towards them. Moreover, ‘nasal tone’ is generally considered to be artificial. So, he symbolically shows her artificiality using that letter, which is part of the mellinam group in mei ezhuththukaL.

Isn’t this why Kamban is considered as a genius?

Time and again ILaiyaraaja too has hidden such intricacies in his music. His use of ragas is well known and one gets to see too many lists (sorry to say, many are wrong) of the ragas used by him. But as I have repeatedly been saying in many forums, the name of the raga is not as important as the way it has been used. In any case, my focus today is not on this, but on his brilliant use of a very rare raga in a romantic song.

By definition, the word ‘rare’ is too deceptive. The reason is because of the subjectivity factor. For example, recently while I was watching a live performance of a carnatic singer on You Tube, there was a volley of comments-not unexpectedly- and somebody mentioned about a particular ‘Javali’ being very rare. But this ‘javali’ is often performed in a Bharatanatyam recital. Therefore, ‘rarity’ depends on the context and the level of exposure of a particular person.

However, at the same time, ragas/pieces which are generally not heard or which are heard for the first time by a majority should definitely be classified under ‘rare’. ILaiyaraaja has used the most number of such rare ragas as far as I know in film music. Many examples have been quoted in this blog itself.

What makes the song ‘Nilladha VeNNila’ from ‘AaNazhagan’(1995) unique is not just that the raga is very rare but also the fact that it is a vivaadi raga. The concept of vivaadi has been discussed in the past in this blog and therefore I am not going to explain in detail again, at least in this post. Suffice to say that vivaadi means dissonance(as opposed to vaadi, which means consonance) and the use of vivaadi notes gives a kind of intriguing and even a mystical feeling.

The song under reference follows a pattern whose arohaNam and avarohaNam are – sa ri3 ga3 ma1 dha1 ni2 Sa/Sa ni2 dha1 ma1 ga3 ri3 sa. As per the raga text, this raga is called as ‘Swara Vardhini’ and is derived from the 32^nd Mela Ragavardhani. In fact, this is Ragavardhani sans the panchamam(pa). I am not aware of any other musician (classical and films) having used this raga.

To use such a vivaadi raga in a purely romantic situation calls for gumption, courage of conviction, and a firm grip over classical music. And yes, a genius mind!

This genius mind is seen not just in the use of the very rare raga but also in the use of percussion and we shall see this soon.

The prelude looks like a shirred fabric. The guitar rustles. One set of strings plays softly while the second set responds with intensity. Even as the second set responds, the third set plays delicately. Now, all the three join together playing different set of notes without in anyway sounding cacophonic. And yes, the vivaadi note ‘ri3’ is perceptible too but there is no dissonance here!

The Pallavi in the magnetic voice of the Maestro moves with poise and dignity showing some beauteous light and shades of the seldom heard raga. Swarnalatha follows and repeats the line in her own style. What makes the Pallavi more attractive is the use of the guitar-like instruments which sound off-beat literally and figuratively.

The purity of the first interlude is striking. It starts with the lucid long flute whose melody goes deep into our heart. The carnatic flute responds and it is like a luminous spiritual arc. The Shehnai pours its heart out with the melody moving with fluidity. The brilliant aspect here is that the vivaadi notes is totally avoided by the Shehnai giving a feel of Malkauns(hindolam)in the uttaraanga(ma dha ni Sa). The backing of bass guitar and a couple of very subtle instruments gives a totally different feel. So does the melody from the strings-first in the mid-octave and then in the higher octave. Doesn’t this give a WCM effect?

The short flute smirks and leads us to the first CharaNam.

Sometime back, I mentioned about one more speciality. It is time to reveal that now. Right from the prelude, through the Pallavi and the first interlude, the percussion is totally absent though the composition follows the tisram pattern!

I can hardly think of any other composition in this format.

Now, as if to compensate for the absence, there are two sets of  percussion with one set playing the 6^th beat with ebullience and then splitting the first beat of the next cycle into 2 and playing the following beats with passion. This pattern is repeated alternately.

Both the sets play all the three beats in the last line.

The lines in the CharaNams also bring the creative instincts to the surface with the judicious use of the vivaadi note gelling so well with the other notes resulting in a heady mix of intrigue and sobriety.

Creativity and innovation are seen yet again towards the end of the first CharaNam when the Pallavi is rendered again. The percussion takes a break and the vocals are backed by the pizzicato and the bowing sound and thus touching ecstatic realms of music.

The pizzicato continues in the second interlude and is joined by the bass guitar even as another group of strings plays with power and majesty showing some varied hues of the raga. The brass flute enters at the end of the piece changing the complexion. The strings then move in western classical style with another piercing instrument intruding and playing a different melody parallely. It is a kind of maze even as the two melodies scintillate and sparkle. A sudden stroke from a very different instrument towards the end says it all..

Isn’t it like the letter tamizh letter ‘ஞ்’?

Why is Kamban a genius?

Why is ILaiyaraaja a genius?

Answers lie within us!

                   

                 

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ILaiyaraaja-The Distinct Musician..

It is the City of Mythila.

Seeta is unable to take her mind off Rama. Their eyes had met just the previous day and they had fallen for each other instantaneously. Rama is about to break the bow in the main palace. But Seeta -quite unaware of the happenings in the palace – is restless. Her mind is clouded by only one thing-rather only one person.

She waits..hoping against hope that the ‘handsome man’ would certainly win her hands.

Waiting is painful.

We feel it more we expect certain things to happen..
We feel it more when we know we are in no position to control what we expect..
We feel it more when we doubt what we know..

And this happens to all of us irrespective of who we are, what we are and where we are.

But beyond this pain, there is beauty.

Kamban captures this beautiful pain.

He says,

“With her ‘life’ swinging here and there, she leaves the melting flower bed, goes towards a Lotus pond and sits on the flower bed made of ‘Chandrakantha’ stone”.

ஊசலாடு உயிரினோடும், உருகுபூம்பள்ளி நீங்கிப்
பாசிழை மகளிர் சூழப்போய், ஒரு பளிங்குமாடக்
காசில்தாமரையின் பொய்கைச் சந்திர காந்தம் ஈன்ற‌
சீதநீர் தெளித்த மென்பூஞ் சேக்கையை அரிதிற்ச் சேர்ந்தாள்.

She then looks at the Lotus flowers and says,’Oh..Lotus Flowers..I know you like this girl.I see the colour of his body (green) through your leaves and his eyes in you (lotus-eyes).I am happy and my worry has disappeared..but only temporarily.You have not shown me his ‘inner colour’(mind).Therefore, you are all misers..’

'பெண்ணின் உற்ற' தென்னும் பெருமையால்,அருமையான‌
வண்ணமும் இலைகளாலே காட்டலால் வாட்டம் தீர்ந்தேன்!
தண்ணறுங் கமலங்காள்!என் தளிர்நிறம் உண்ட கண்ணன்
உண்ணிறங் காட்டி,நீர் என் உயிர்தர உலோவினீரே!

Look how beautifully Kamban describes a girl with a restless mind. It is not just the description of the girl but rather he goes deep into her mind and brings out the feelings wonderfully.

What do we do when we are restless? Change places? And don’t we not feel the heat? And don’t the things we see that time remind us of the person we are thinking about?And don’t we also praise and then curse the things we see that time?

Here, Seeta shifts places-from a Hot Bed to a Cool Bed. She looks at Lotus and is reminded instantly of Rama. But she still doubts if he too is in love with her. Therefore, she starts cursing the flowers..

Psychoanalysis?

But History says Sigmund Freud was born in the 19th century while Kamban was born in the 9th century.

And look how beautifully everything is described..

Maybe one could call this as ‘Poetic psychoanalysis’.

At the same time, one is also awestruck by the poetic beauty!

This is what makes Kamban a distinct poet..
Getting into the skin of the character (or is it the mind?) and describe things aesthetically.

If Kamban did this poetically, ILaiyaraaja does this musically.

He understands the situation as narrated by the Director grasps it in few seconds and composes in few minutes.
One is able to understand the character (in the movie) just by listening to his music.

Like Kamban’s poetry, we are also mesmerized by the beauty of the composition.
If Kamban is a distinct poet, ILaiyaraaja is a distinct musician!

Today, let us see yet another composition of his.

The composition is ‘PalliyaRaikkuL..’ from Bala Nagamma(1981).

The entire song is visualized by the villain.That is it is his imagination.


The Villain-a magician- takes the heroine as his captive and wants her to be his ‘wife’ while she is unrelenting.She is also protected by the Goddess of Snakes.The Villain in a kind of drunken state goes to sleep and the heroine comes in his dreams and sings.

The Maestro’s brilliance is shown (yet again) here.

The composition is erotic but at the same time we do not feel the Heroine’s passion (unlike say a song like ‘En degam’ or ‘Nila Kayudhu’).

The rather unusual and different prelude itself speaks volumes. Let us see this a little later.

The composition is based on Vakulabharanam.

Vakulabharanam is the 14th melakartha and its structure is

sa ri1 ga3 ma1 pa dha1 ni2 Sa/Sa ni2 dha1 pa ma1 ga3 ri1 sa.

The meaning of Vakulabharanam is- ‘decorated with the Vakula flower’.
Vakulam is the name of a flower also called as ‘magizhampoo’ in tamizh. This flower is known for its special fragrance.

This Raga is also unique and is very fragrant.
It has an intrinsic Arabic quality and flavour.

Let us look at the composition.

As I said, the prelude is very different.

The guitar strums.The Trumpet tweets. Suddenly ,we are reeled in by the violin. Unexpected Vistas..Musical glissades!
Pure Spanish music in full flow.

The sounds coalesce and we see the grandeur of the raga.

The Pallavi starts with the succulent tone of Uma Ramanan.

The first line is luminous with the dense bass guitar following it very closely. The second and the third lines-‘Ennai Vida innoruththi yen’ and ‘Ennidaththil aththanaiyum thaen’- give delightful sketches while the ending-‘En Rassa’ and ‘Poovo Ponno Yaaro Naano’ is gripping.

The first interlude has a delectable layout.

The Bass Guitar twinges and there is a beautiful pause. The percussion continues with gusto. The Bass Guitar now cruises easily and is joined by a host of Arabic instruments. The pattern of the beats change now -with stress on the first and the third beat. It is lucid and cohesive with the Bass Flute galvanizing us.

The CharaNam brims with beauteous phrases.

The gait becomes slow as if they are under a spell (remember..the villain is a magician).
The first line is mesmerizing and is encrusted with the Arabic instrument.
The second line is fluid.

The gait changes again in the following lines as they wend and bend.

The second interlude is like an intertwined garland.

The Guitar starts with a flourish.

It is elastic.

It is profound.

We see the glowing threads.It depicts the vast spectrum of moods.

The mellifluous Arabian instruments then take over carefully guiding the guitar.

The third interlude is meticulously arranged with beguiling layers of rhythmic patterns.

The beats of the Melody-Rhythm ensemble are:

1. Ta - - Ta - - Ta - - - Ta – Ta - -
that is only the 1st, 4th, 7th,11th and the 13th beats are played.

This pattern continues 5 times with the strings in the background..

We hear only the tuned percussion in the following patterns:

2.Only the even beats are played now: - ka – ka – ka - ka

3.The next pattern is : Ta – Ta - (12 times-played twice)followed by ta ka ta ka dhi mi ta ka twice in ‘mel kaalam’ (faster mode).

The first part (ta ka) is played in ‘Usi’ that is only the odd beats (ka) are played.

This pattern is played twice.

Note that the previous pattern (2.) has only the even beats while the next one has only the odd beats.

4. The next pattern is ta ka dhi mi four times with only the ‘ta’ and ‘dhi’ played in the fourth time(twice).

5.Fourth pattern –ta ka dhi mi ta – dhi mi (4 times)

6.The last pattern-ta ka dhi mi (4 times) followed by ta - - -.

It unravels the wonders of the raga and the tala beautifully..

It captures the entire gamut of human emotions..

It takes us to an ethereal world..

Now, who is the real magician?

உன் இசை அத்தனையும் தேன்..

Your music is full of honey..

ILaiyaraaja's Music- Subtle..and Graceful!

‘That month in that white moonlight,
We had our father and no one could take the hill.
This month in this white moonlight,
Kings with drums drumming victory have taken over the hill,
And we have no father’.

அற்றைத் திங்கள் அவ் வெண் நிலவில்,
எந்தையும் உடையேம்; எம் குன்றும் பிறர் கொளார்;
இற்றைத் திங்கள் இவ் வெண் நிலவில்,
வென்று எறி முரசின் வேந்தர் எம்
குன்றும் கொண்டார்; யாம் எந்தையும் இலமே!

(English Translation Courtesy-A.K.Ramanujan)

A very simple poem indeed! But there is something in this that gives us a very different feeling; a feeling that is difficult to describe..

Let us look at the background and see as to who wrote this.

This was sung by two small girls, Angavai and Sangavai who were the daughters of a King called Paari. They were just around 8 years old when they sang this.

Difficult to believe?

This poem is taken from ‘PuRanaanooru’, -a collection of 400 verses- part of the Ettuthogai of Tamizh Sangam literature(100 B.C.-A.D.250).

‘PuRanaanooru’ talks about kings, valour, war, death etc.,

Out of the 400 poems, 16 poems (105-120) revolve around the King Paari, a privilege not enjoyed by any other king.

Who was this Paari? What was so special about him?
A King who was magnanimous, giving, kind, charitable, benevolent, munificent and noble..

It is said that once when he was going around his kingdom in his chariot, he saw a jasmine creeper lying on the way without any support. So large hearted and compassionate was Paari that he offered his chariot to the creeper(for support) and walked all the way back to his palace!

His kingdom was the ‘PaRampu Hill’, very small compared to the other great kingdoms.

However, the Hill was as wide as the sky and the pools flashed like the stars. In his Hill, fruits were crammed with segments of sweet flesh and the rich tall hill would drip with honey. The Greenland knew no lack of rains and even the bushes would flower.

Hearing the beauty and the richness of the PaRampu Hill, the ‘Bigger Kings’ decide to acquire it. They scheme, plot and capture the Hill.
Paari, whose arms were strong, whose spears were sharp and whose chariots gleamed is killed by the cunning and crafty honchos.

Now, read that poem sung by the little girls.
Does it not have an indefinable tenderness and an irresistable appeal?
This is what great literature is all about.

Subtle and Graceful!

Great Music too has such an appeal. It takes us to a new plane; a territory that is beautiful and magnificent.

Many compositions of one of the greatest musicians in the Film world are so subtle that at times they even sound very simple. At the same time, if one delves deep into it, one understands how beautiful, graceful and intricate they are.

This musician’s journey in pursuit of sublime depth of music has given us compositions that touch a very deep chord in us. This is precisely the reason for many of his songs sounding so fresh and yet every time we listen to them, we discover new hidden meanings.

Today, we are going to see one more composition of his.

It is ‘Konji Karaiyalle’ from the Malayalam film ‘Poomukhappadiyil Ninneyum Kaaththu’(1986).

The composition is based on Sindhu Bhairavi.

This Raga is special because of many reasons.
Let us look at the formal structure.
Derived from the 10th Melakarata Natakapriya,
its Arohana is sa ri2 ga2 ma1 ga2 pa dha1 ni2 Sa
and its avarohana- ni2 dha1 pa ma1 ga2 ri1 sa ni2 sa.

However, this is only on paper and it is one of the ragas that is defined more by the prayogas.All the 12 swaras can be used in this raga.

The Raga originates from Hindustani music-where it is known by the name Bhairavi. ’Bhairavi’ is one of the eight forms of the Devi.The meaning of ’Sindhu’is ‘born from the sea or the river.

Look how the name itself is very interesting.

The raga has the capability to attract even the uninitiated or the untutored.
So well has the Carnatic system adopted this Ragam that a Carnatic recital is incomplete without the rendering of Sindhu Bhairavi Raga(either as a Slokam or as part of a Ragamalika).

A subtle and graceful Raga, Sindhu Bhairavi evokes a very different feeling difficult to express.
It is not a surprise that this is one of the most favourite ragas of the Maestro. I say favourite because he has composed more than 100 songs in this raga alone.

Now, you would have understood as to why I called this a very special Raga.

Let us now look at the composition.

It has a rather unusual beginning. A plaintive violin in the higher octave joined by the viola in the lower octave and a very different and distinct whistle. Musical piece that is stirring and inspiring.

It is enlivened by the voices of Yesudass and Janaki.The pause(of 2-beats) is supple as our hearts miss a beat or two.The Pallavi brims with energy and has an evocative appeal.

The yearning continues in the first interlude with the vivacious flute etching vignettes of a beautiful sketch.It is a chiaroscuro as the zestful strings and the whistle give a discursive picture of Sindhu Bhairavi.

We see the delicate sensitivities of expression in the CharaNam.The first two lines are pulsating and at the same time delicate.Mellifluence splashes in the next two lines as the duo Yesudass and Janaki sing together.The following line sparkles in the voice of Janaki.

It is divine sound now as we hear the chiming of the bell.The strings whoosh through with the viola moulding the nuances of the raga.We see the myriad hues and the attractive flounces as the notes in sets of three are played in varying patterns.

The second CharaNam is dynamic and delectable.

The composition shows the artistic integrity.

It is an outpouring of creativity.

It traverses unexpected vistas.

Simple.. yet Attractive..
Subtle.. yet Deep..
Graceful.. yet Meaningful..

‘Moist Eyes..Melting Hearts..’

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ILaiyaraaja-The Inimitable Musician

9994 is the Post Box No. of the Australian Broadcasting Corporation in all the major cities in Australia.

Can someone guess the significance of the number 9994?

If one adds a decimal point after 99, it could make the guessing game somewhat easier..

99.94?

Does it have something to do with averages?

Maybe a batting average…

But can someone have a career batting average of 99.94?

I am sure Cricket aficionados would have got the answer by now.

Yes, it is the career batting average of Sir Donald George Bradman , the best ever batsman cricketing world has ever produced.

He played 52 tests scoring 29 hundreds..

Out of these, 6 centuries were scored in just single sessions.
He also scored a triple century on a single day in a Test match.

Some of his records have been broken but it will be an insult to the great Don himself if his greatness is measured just by the Records and Statistics.What is of more significance is his batting style, his ability to torment any bowling, his precise footwork, his balance and his timing.

In essence, Bradman is the epitome of Batting and Cricket itself.

Though many batsmen have come and have even succeeded in breaking some of his records, no batsman can even come closer to the Don stands tall among all of them and it is a fact that his name will exist as long as the game of cricket exists!

He is inimitable!

Australian Broadcasting Corporation has honoured itself by keeping his 'Average Figure' as its Address.

In a similar vein I feel that the Sangeet Natak Academy in India or any other Organisation of Music in India must keep its post box no. as 261943 or at least 1976.

I am sure all die-heard fans know the significance of these numbers in this community.The first number is the date of birth of one of the greatest geniuses the music world has seen and the second one is the year he entered the world of Film Music.

I find a lot of similarities between ILaiyaraaja and Bradman.

The records set by him-in terms of time taken to compose and many ‘firsts’-are known to all of us and need no elaboration.These records can never be broken by anybody else.

But again, it will be an insult if he is known just by the records.

His style of composing, his approach, his sense of timing(called as ‘kaalapramaNaa’ in Carnatic Music),his unique blending of many forms of Music make him a composer who cannot be compared with anybody.

During his days, Bradman was criticized by some ‘self-acclaimed denizens’of cricket whose only job was to find fault but the Don stayed clear of all these.

Similarly, Maestro is also being criticized by people who do not even know what Music is.

But little do they know that the Maestro is unassailable and that nothing will affect him.

I am reminded of a ThirukkuraL:

அகழ்வாரைத் தாங்கும் நிலம்போலத் தம்மை
இகழ்வார்ப் பொறுத்தல் தலை.

He is like the Mother Earth who bears with people who dig it.

He is also inimitable because he is a class apart!

Today, we are going to see a composition of his where he has woven his magic.

It is ‘Kattikkidalam’ from Poovarasan.

Though the composition is based on Sindhu Bhiravi, it has traces of Karaharapriya and Nata Bhairavi as well..

But more than the Raga, what is of particular interest is the Rhythmic Pattern..


As I have always been saying, he is not just Raga Raja but ‘Laya Raja’ as well.

The first thing that strikes us in ‘Kattikkidalam’ is the percussion underpinnings.
It is set to the 8 beat Adi talam.

The 8 beat is multiplied by 2 and this is divided as 3 2 3 and 3 2 3-Ta Ki Ta Ta Ka Ta Ki Ta in the first half and Ta Ki Ta Ta - Ta - -.

A Film Song with the pattern of - 3 2 3 -is not unusual.

But in the first half, the Tabla is played with the ‘Gumki’ sound giving a very different feel to the entire song.

And the beauty in the second half is the second ‘Ta a’ and the third-‘Ta a a’-where the ‘a’ s are left blank.

Silence means many things.

For him, even silence is Music!

This pattern is palyed twice for one cycle of Adi Tala.

It is a romantic song and who else can bring sensuality in just one cycle of Tala?

The composition opens with a very peculiar background of a synthesizer sounding just the ‘sa’.

The Violin orchestra appears slowly but with panache. Then it is that wonderful Tabla beats.

The Pallavi thrums with life with the voices of Chitra and SPB with the long flute adding to the romantic mood.

The interlude has the electronic instruments and the traditional instruments playing with flourish and dash creating the right ambience.

The Charanam is sensuous and has an insidious magic. The vocals wallow with glee and zest. One does get to hear the alien Swaras here and there but they are used very subtly.

The second interlude is sequined with gems and jewellery celebrating Love and Romance.

Any composer would have easily got carried away by the situation and would have given a blitzkrieg of sorts but here this composer whose Music is dignity personified gives a very soft effect with the strings and the violins and reels us in.

As mentioned earlier, the sheer beats of the Tabla give the requisite effect.

Delicate, Graceful and with Poise!

அவர் பூவரசந்தானே..இசை என்னும் பூவிற்கு அரசன்தானே!

Is he not the King of that Flower called as Music!

ILaiyaraaja's Music is Eternal!

Not all things we see or hear are eternal in this ever changing world. In other words, only few things in this world are everlasting.

Take the sea for example. Waves come, waves go, but it lives forever.

Trees grow, trees fall..but the Mountains continue to exist.

Some more examples can be given but in any case these are part of nature.

What about man-made things?Is it true that only God’s(or nature’s) creations are everlasting?
Not exactly. Human beings are also part of the Creation but are we immortals?

At the same time, some of the works of human beings continue to exist for many years.They may not be everlasting but they give us an everlasting or eternal feeling.

Picasso’s or Ravi Varma’s..

Ellora or Mahabalipuram..

Shakespeare’s or Thiruvalluvar’s..

Talking about Literature, one of the everlasting works in terms of the quantity and the quality is a work called ‘Naalayira Divya Prabhandam’.Quantity, because there are 4000 verses sung by 12 different poets.

Quality?

After all it was sung by 12 devotees of Lord Vishnu.So what is special about it?

It is because of the variety and the range and the way these poets handled the tamizh language.

I have seen and heard many of the so-called rationalists quote from this work without any inhibitions.

Composed independently by the 12 Vaishnavite devotees-called as Azhwars- this work is unique.

The verses were an outpouring from devotees whose sole intention and objective was to attain Moksha(the divine status).

Many verses are erotic as the Azhwars considered the Lord as their lover.
In fact, I have written about some of the Azhwars and have alsoquoted some verses from their work in this thread.

The story of each Azhwar is as unique and interesting as their poems.

Let us take Thirumangai Azhwar.

He was a trusted and an efficient Lieutenant in one of the Chozha’s kingdoms.Because of his dedication, loyalty and efficiency the King offered him a small part of his kingdom. Parakalan-as he was called then fell in love with a lady called Kumudavalli.It was on her insistence that he took to Bhakti and started feeding 1008 Vaishnava devotees everyday.

Having had to spend a lot of money for this ,he took to stealing money and it is said that one day he stole from the Lord himself who was disguised as a man and that he found it impossible to carry the sack that had the bootie.

The transformation happened.

Parakalan became Thirumangai Azhwar.

The 1253 verses sung by him are real gems.

His poems abound with love and eroticism. I feel this has to do with his earlier love for Kumudavalli because of whom he took to Bhakti.His thoughts were channelised and the romantic in him became a devotee.But the romantic streak continued to exist.

Look at this poem:

ஊழியில் பெரிதால் நாழிகை என்னும் , ஒண் சுடர் துயின்றதால் என்னும்
ஆழியும் புலம்பும், அன்றிலும் உறங்கா, தென்றலும் தீயினில் கொடிது ஆம்,
தோழி!ஓ!என்னும்;துணை முலை அரக்கும்;சொல்லுமின், என் செய்கேன்?என்னும்;
ஏழை என் பொன்னுக்கு என் நினைந்திருந்தாய்? இடவெந்தை எந்தை பிரானே!


‘A moment stretches longer than an aeon, she says
The bright sun is dead she says.
Friend, the ocean too is crying; the Anril bird will not sleep;the southern breeze burns worse than fire.
O, how terrible, she says.
She looks as if she would pluck from their roots her two breasts.
What shall I do?Tell me, she says.
What did you mean to do, lord and master of Idaventhai
About my poor girl, my golden girl?’

(Translation-A.K Ramanujan).

The deity addressed is Adivaraha PerumaL at the Temple at Thiruvidavidanthai, about 30 kms from the present day Chennai. The voice is the foster-mother’s who describes her daughter’s frenzied passion for the Lord.

While each and every word in this verse is beautiful, a special mention must be made about the last line ‘Ezhai en ponnukku en ninainthirunthai’.

‘Ezhai’ means poor and ponnukku means gold.PoN also means a girl.
Poor and gold-how is it possible?

What the poet means is that the girl who is poor without you will become rich if only you shower her with your love.
The use of ‘Pon’ conveys a lot of other meanings as well..
Without getting too deep into the philosophical contours, let us enjoy the beauty of the poem.

Verses like these last even after 1300 years because of this beauty element giving us an everlasting eternal feeling.

All Saint Thyagaraja’s compositions have this element and therefore are everlasting.
He too considered Rama as his lover.

In one of the songs, he says, ‘Oh..beautiful and handsome Rama..I Love you’

(‘Mohanarama Mukhajitasoma!!Mohamu neepai Monasiyunnathira).

He brilliantly chose Mohana Ragam for this.Mohana itself means beauty. In fact, Mohanan is one of the names of Lord Krishna.

One can go on and on about Thyagaraja and the beauty element.

In a similar vein, one can go on and on about the beauty element in ILaiyaraaja’s compositions.

In this thread, we have been seeing as to how he weaves swaras, ragas and talas in the fabric called music.

What is of particular interest is his choice of ragas.

It is a fact that the ragas in his compositions truly reflect the situation in the movie. One classic example is ‘Idhazhil Kadhai Ezhuthum’(Unnal Mudiyum Thambi) where he used the Lalita ragam, Lalita being the name of the heroine.

His speciality lies in the way he handles the ragas. While choosing a raga for a particular song, he does not strictly go by the book.For example, he has used a raga like Subha Pantuvarali- that is supposed to give sad feeling- in romantic and humorous situations.
And an auspicious raga like Kalyani in sad situations.

But what amazes me is the way the raga is made to sound..

Maybe that is why his compositions sound so great giving us an everlasting feeling.

Today’s composition is also one of his special compositions.

I made a mention about the Mohana ragam that is supposed to give us a very happy feeling.

Raaja has used this happy ragam in sad situations and also to depict Viraha.

‘Raasave Unnai Naan Enniththaan’(Thanikkattu Raja) and ‘Oru Ragam Paadalodu’(Ananda Ragam) are based on Mohanam but sound so differently.

But my first preference is for a duet that appears in the movie ‘Nadodi Thendral’.

The song is ‘Oru KaNam Oru Yugamaga’.

Before we take up the song, let us look at Mohanam.

It is a pentatonic ragam derived from the 28th Melakartha Harikamboji and the structure is:

sa ri2 ga3 pa dha2 Sa/Sa dha2 pa ga3 ri2 sa.

The raga is considered to be one of the oldest raga.The notes of this raga are found in almost all forms of music.
The Hindustani counterpart is called as Bhoop or Bhoopali.
The Mohanam scale is found in the South Eastern Music and in gypsy music as well.

In Carnatic music, it is a very special ragam because generally pentatonic(ragas with 5 notes) are not Gamaka laden.(Gamakam is the oscillation of notes and is unique to Carnatic music).But Mohanam is an exception and is full of gamakams.

Let us look at today’s composition. The composition depicts Viraha-the pangs of separation wonderfully. It indeed needs a lot of guts to compose this kind of a song in Mohanam.I have hardly come across a better Viraha song.

The song starts with lucid humming of Janaki.It breathes graciousness and is majestic.

The first two lines are sung without any percussion adding to the beauty. The vibrancy is palpable as the strings and tabla take over.The shrill flute at the end of each line is serenely luminous.

The first interlude moves with tenderness. The feather-touch repartee of the bass flute shows us the sensitive nuances.
The violins move languorously as the shrill-flute shines with radiance.

The Charanam shows us the world of ethereal beauty.The first two lines are sketched with flourish as we see the star studded sky.The cogent melodic progression is amazing and even the alien swara(‘ni’) sounds beautiful.

The sangatis in the last line are lively and lend a quiet glow.

The atmosphere gets enlivened by the succinct and clear voice of the Maestro. The pause here makes us feel want more and more.

We see the variegated pattern unfold before us in the second interlude as we hear the lively violins and the soft and gentle flute. The subtle hues of the raga are shown with a delicate touch.

The second Charanam is also beautifully chiselled.The first two lines have depth and resonance while the other lines are embellished by the notes that shine like diamonds.

The entire composition is built on a grand edifice and it encompasses the entire range of the raga.
It is tender, direct and is deep.

The mellow aspects and the musical effervescence send us into a reverie.

A moment or an aeon-his music is everlasting!

ஒரு கணமாயினும் ஒரு யுகமாயினும் நிலைத்து நிற்கும் இசை..

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ILaiyaraaja-The Delightful Musician!

Lotus is a very beautiful flower. It is also a very interesting flower.

It is a friend of the Sun but enemy of the moon.

Lotus petals are considered to be very soft.

The shape of the flower is also very unique.

The Bahá'í Temple in Delhi is in the shape of a Lotus.I have meditated there and it is not possible to descibe the vibrations and the blissful experience I had there.

It is also said that the Sahasra Chakra on our Head - as per the seven chakra theory-is shaped like a Lotus.

Poets have also been intrigued by the Lotus Flower. Quite often we see the beautiful eyes being compared with Lotus.

One of the 12 Aazhwaars, Pei Azhwaar(பேய் ஆழ்வார்) goes a step further and says Lord Krishna’s hands, feet and eyes are nothing but Lotus Flowers:

கண்ணும் கமலம்;கமலமே கைத்தலமும்;
மண் அளந்த பாதமும் மற்று அவையே....

Shri.Muthuswami Dikshitar-one of the greatest Caranatic Music Composers- sang what is called as Nava Avarana Krithis on Devi and all these Krithis start with ‘Kamalamba..’(Kamalam –lotus).

There is also a beautiful Raga called Kamala Manohari and Dikshitar composed ‘Kanchadalaya thakshi Kamakshi ‘ in this Raga.

Lotus is a delightful heavenly flower.

Similarly, ILaiyaraaja’s music is delightful and heavenly.
It is as soft and beautiful as a Lotus.

It is as interesting as a Lotus.

It is as complex as a Lotus.

In the composition we are going to see today, he has given the sketch and colourful shades of Kamala Manohari-the ‘Lotus’ Raga.

It is ‘Poonkathave Thaazh Thiravai’ from NizhalgaL(1980).

Many people consider this as Mayamalawagowla Raga.
Yes, the swaras used are from Mayamalawagowla only.

But when observed closely, one can understand that the composition is unique.

At the same time, one cannot strictly say that this is Kamalamanohari since there is a very sparing use of ‘Ri’, a swara that is non-existing in Kamalamanohari.

Some people also say it is based on Jaganmohini, another Raga with ‘ri’ in the avarohanam.

But repeated listening to the entire composition makes me feel strongly that except for the sparing use of ‘ri’(in the higher octave) and ‘dha’ in the arohanam once, it more or less follows the pattern of Kamala Manohari.

Let us look first at the structure of Kamala Manohari and then the composition:

Sa ga3 ma1 pa ni3 Sa/Sa ni3 dha1 pa ma1 ga3 sa.

The composition starts with the breeze blowing gently across as if to open the beautiful petals of the lotus.

We see a slender silhouette that becomes a chiaroscuro. We see the flowers in harmony as the violins play counterpoints.

The Violins reach a sweeping crescendo, the Veena imparts vim and vigour and the flowers nod their heads smiling at us as the Flute plays.

The Pallavi is a clear stream of exposition with the fresh voices of Deepan Chakravarthy and Uma Ramanan.

The Laya pattern-the speciality of the Maestro-is as interesting as ever.

The composition is set to the 8 beat Adi Talam.

He has divided the cycle into two mini cycles and within each mini cycle there are 16 micro beats.

It is:Ta – Ta Ta Ta – Ta Ta Ta – Ta Ta Ta – Ta –.

As already explained in some of my previous posts, ‘– ‘ is a blank space left alone while playing.

The last 4 beats ‘Ta– Ta –‘ is played more robustly to give a special effect.

Each beat is a lotus petal and I feel the pattern is an effort to unravel the mystery of Lotus Flower..

Not just Lotus Flower but also of Human Life..

After all, don’t we know that Life itself is a Palimpsest?

The first interlude is a real beauty.

As the strings make overtures the first time, the violin sallies forth.

The second time, it is effusive.

The third time, it comes out with a flourish.

The fourth time, it pulses with energy.

And the fifth time, it lets out a romantic cry and joins its lover…

We see the beauteous facets of Love, Music and the Life as the violins play.

The Flute does an interpretative dip and we hear the soul stirring phrases of Nagaswaram.

As the Tavil indicates a new beginning and realization, the Charanam starts.

The phrases in the Charanams are constructed with stirring emotional intensity and we see the colourful sequence.

The first two lines are passages of exceptional beauty while the other lines are packed with brilliance.

The second interlude is festooned with beautiful flowers.

We move gently with the flowers accompanied by the dazzling strings and the vibrant Flute.

Suddenly we come across curves and twists.

It is like a convoluted loop as the Violins play and we reach a nook.

We ruminate.

We explore intriguing territory..

We reach the depth and we feel the inner tranquility..

We bask in complete and absolute serenity..

We realise the meaning of life and the Lotus within us blooms..

பூங்கதவு தாழ் திறந்தது..
சுவர்க்கத்தை நமக்கு காட்டியது..
(Ponngathavu Thaazh Thiranthathu..Swargaththai Namakku Kaatiyathu!)

The Flower Decked doors open and it is Heaven!

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ILaiyaraaja-Musician without Boundaries..

Plus a change, plus c’est la meme chose’.

This is a French term and it means ‘The more things change, the more they remain the same’.

Sounds paradoxical..

But if we delve into this we find that it does make sense.

Let us take Music.

New discoveries and inventions have taken place in the last so many years. But has there been an instance of a new Note or Swara being discovered or invented?

What is amazing is that these seven notes are universal and are present in all forms of Music though they are called by different names.

More than anything else, what this means is that Music cannot be bound by anything.

It has no boundaries.

And more importantly, Music cannot be the preserve of some people or a section of people.

Can the air present in the atmosphere be the sole property of just a few people?

Depending on its character, air takes various forms like the wind, breeze, storm etc.,
Can we say that one form is a copy of the other?

It is very unfortunate to note that certain Musical forms tend to get identified with certain communities/class.

Going back to where I started, lot of innovations and improvisations have taken place in Music but still Music is Music. It has not changed.

We are very fortunate to have one composer who is literally a living legend and who has done many innovations without in anyway spoiling the flavour of Music.

The kind of innovations he has done is not simple-though some people think it is too simple-and needs years and years of research.

One such innovation was ‘Paadariyen Padippariyen’ from Sindhu Bhairavi. I call this an innovation not without any reason.

Let us now look at the sequence in the movie.

A very popular classical musician is performing on stage.A section of the audience is not attentive and this is spotted by a lady in the audience .

She gets up and requests the musician to sing songs in familiar language to hold audience interest .The great Musician ridicules this and goes to the extent of denigrating Folk Music.

He also challenges her to sing a folk song .

The lady responds and sings ...

What should also be of particular interest is the ‘Kirtana’ rendered by the Musician just before this altercation takes place.

The Kirtana is ‘Mari Mari Ninne’ which was originally set to Kambhoji Ragam by Saint Thyagaraja.

This Kirtana and the song that follows have been set in ‘Saramati’ ragam by the Maestro.

A section of the media did not want to waste this opportunity and tried its best to provoke classical musicians saying 'Raja has insulted Thyagaraja and has brought disrepute to Carnatic Music'.

Ironically enough , another section of the people who say they want a casteless society but still cling on to the caste factor whenever it favours them hailed Raja as theone who conquered the bastions of upper caste by 'tampering' with the classical structure.

Both the sides missed a point.

'Classical Music is not the preserve of one community or religion'.

Let us first see if it was in deed a crime or a sin to change the Raga of a song from that of the original?

Annamacharaya-who lived at least two centuries before Saint Thyagaraja-composed thousands of songs in various Ragas. The Great Legend of Carnatic Music, Smt.M.S.Subhulakshmi has rendered many of these songs in completely different ragas.

So can one say that Smt.MSS insulted Annamacharya?

Songs penned by Gopalakrishna Bharathi from the ‘Nandanar Charithram’ are sung in different ragas totally at variance with the Ragas mentioned by the composer. In fact, I have heard one particular song ‘Vazhi Maraithirukkuthu’ being sung in three different Ragas.

So is it possible to conclude that the Carnatic Musicians do not respect the Musical skills of such a great composer like Gopalakrishna Bharathi?

Subramaniya Bharathiyar had great knowledge in Music and he tuned all his songs. The song ‘Chinnanchirukiliye’ was tuned by him in Bhairavi ragam.The great film Music Composer Shri.C.R.Subburaman changed it into a Ragamalika and people identify ‘Chinnanchirukiliye’ only by this tune now.

Did CRS mean any offense to Bharathi?

The Thyagaraja Kirtana ‘Manasuloni Marmamulu Telusuko’is sung in Hindolam by some people and in Varam by some others.

Does anybody know as to which one is the correct version?And are these people insulting the Saint?

The answer to all these questions is a big NO.

In a similar vein, ILaiyaraaja whose respect for Saint Thyagaraja knows no bounds will be the last person to insult the Saint.

The problem is that Music is being wrongly identified and considered as a social issue and because of this the Classical Form is being associated with a particular Religion/Community.

The Bravado of such people is ludicrous. These self styled torch- bearers of society have their own agenda and most of their arguments are nebulous.

If they feel that Raja sir has hurt the sentiments of music lovers and in the process a particular community, they are thoroughly mistaken.

And if they continue to identify any form of Music with any community, it is them-and not Raja sir- who insult Music.

Let them understand that the Music of the movie was widely appreciated by many
well-known musicians including the great legend Maharajapuram Santhanam!

And let these people also understand that Music cannot and should not been seen with a coloured glass and that it is a sacrilege to give communal and caste colour to Music.

I am writing all these because though it is easy to ignore comments made with mala fide intentions, it also becomes necessary to tell the truth so that people are not misguided unnecessarily.

Let us also get some facts right.

The tune of the song ‘Paadariyen Padippariyen’ was not lifted from any folk song.

Only the lyrics –and that too the first two lines- have been used. The original tune has traces of Karaharapriya ragam.

Raja was looking at a Kirtanam with a start (eduppu) after one and half beats and he found ‘Mari Mari’ fitting the bill.

The original raga of ‘Mari Mari Ninne’ was changed because Raja felt that Saramati would suit the sequence.

He is a Musician without any boundaries and that is why his Music is being appreciated all over the world.

Now let us look at the composition-Paadariyen Padippariyen.

As mentioned earlier, it is based on Saramati(and not Charumathi as some people choose to call it!).

Saramati is derived from the 20th Melakartha Natabhiravi and its structure is sa ri2 ga2 ma1 pa dha1 ni2 Sa/sa ni2 dha1 ma1 ga2 Sa.

The arohana is the same as that of Nata Bhairavi and the avarohana is that of Hindolam’s.

This Raga is relatively new and does not find a mention in many of the older texts. Among the Trinity, only Saint Thyagaraja has used it in ‘Mokshamu Galadaa’

‘Paadariyen..’ begins rather imperceptibly.

As the Mridangam starts in folk style, we get hooked on to it. The Pallavi itself gives a wonderful sketch of the Raga.

The Violin interlude plays the Arohana and Avarohana pattern of the Raga just to indicate the simplicity!

Words without expressions and Swaras without meaning will lead one nowhere and this is what is conveyed in the first charanam.It also says that ‘Music is from the sound of Nature’.

The sangathi following the line ‘Ellame Sangeetham thaan’ is without any frills and at the same time is gripping.

The Second Charanam pleads the Musician to also think of layman and asks him if there is anything wrong with this.

The flavour of Todi Ragam after the line ‘Sonnathu Thappa Thappa’ is Brilliant.This simple usage has layers and layers of meanings!

The Kalpana Swaras are part of a classical Music Concert and shows the creativity of the Musician and his knowledge of Talas.

Here the Folk style song has the Kalpana Swaras neatly hemmed.

It reflects the expertise and the sensitivity of ILaiyaraaja.

Swaras are corralled and are sung with gusto.

It slowly gathers momentum and it is a slew of Swaras rendered in a very fast pace indicating chockablock of emotions.

‘Mari Mari Ninne’ is rendered in pure Classical Style in the end proving the fact that Music is in deed universal and is omnipresent in a mottled form.

Yes, Music is an experience that transcends formal parameters. It has no boundaries or any divisions.

I am an illiterate..I do not know any grammar..All I know is to appreciate music in its full form..

பாடறியேன் படிப்பறியேன் பள்ளிக்கூடம் தானறியேன்
இசையை இசையாக ரசிப்பதை மட்டும் அறிவேன்!

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ILaiyaraaja-The Unpretentious Musician!

‘’I go down to their level and then try to take them along with me to a higher level. It sounds easy but is difficult in practice.’’

‘’The setting does not matter. It is the intent that matters’’.

These are the words of Rahat Fateh Ali Khan, one of the popular Sufi musicians.

Rahat and his uncle, the great legend Nusrat Fateh Ali Khan were accused by the ‘purists’ of taking the Qawwali and Sufi Music to Marriage Halls and films.

This throws up lot of questions.

Should Classical arts be confined to the closed walls?

If yes, why?

If no, then should the form change?

Should it be too simplified?

In the name of ‘simplification’, should the artiste stoop to ‘conquer’?

Where does one draw a line?


Let us look at the questions one by one.

Classical Arts can never be the preserve of certain class of people. No single community can claim to be the owner of any Art Form.In fact, I discussed this at length in my post on ‘Paadariyen..’ sometime back.

All forms must reach the masses and only then can they grow.

But the danger is that in the name of ‘simplification’, some artistes –musicians and dancers- make it too simple that the classical essence itself is lost.

Instead of raising the bar, these artistes lower it finally ending up with gimmickry.
What starts off as ‘taking to the masses’ and ‘playing to the gallery’ takes the shape of (at times taking no shape!) a ‘Mass Product’.

What is shown and demonstrated then is the ‘capability’ of the artiste to perform gymnastics in fine arts.

It is here that the words of Rahat -‘It is the intent that matters’- assume significance.

If the intent is good, the mission will be successful.

Therefore, whether it is Music in Films or Music in a typical Classical Platform, what matters is the objective of the artiste, the way he/she is able to execute and most importantly the ability of the artiste to take the audience/listeners to a higher plane.

Though purists frown as soon as a mention is made of ‘Film Music’, it is an accepted fact that Films have played a very big role in propagating classical arts.

And the man hailing from a very small village called Pannaippuram in Madurai district has strived hard to popularize Classical music.And he did this without any pretentions.

He has simplified the form without in anyway tampering with the aesthetic values.

He has used very popular Ragas giving us the essence.

He has used very rare Ragas(some of the ragas were not known or used by the classical musicians until he brought them out-examples being Sallapam, Rasika Ranjani, Samudra Priya etc.,)

He composed using only the ascending notes- a new and novel concept- but not at the cost of classicism.

He composed using just three notes.

He applied the concept of Sruti Bedam .

He used very intricate Tala(rhythmic) patterns.

The point here is that the layman would not have understood many of these concepts.
But they enjoyed (and continue to enjoy) for the sheer happiness and pleasure the music gave (gives).

But I also know many people who got interested in classical music after listening to his compositions( a classic example is ‘yours sincerely’!).

Today, we are going to see an interesting composition of his.

Contrary to what is believed (of course by people who have not listened to many of his compositions), he has composed lot of songs in Hindustani Ragas.

Today’s Composition is also based on a Hindustani Raga.

The Raga is ‘Shudhh Saarang’ and the composition is ‘Oru Devathai’ from the Film ‘Naan Sonnathe Sattam’.

‘Shuddh Saarang’ is a very melodious Raga and it uses both the variations of ‘ma’ like many Hindustani ragas.

The Structure is:

sa ma1 ri2 ma2 pa ni3 Sa/Sa ni3 dha2 pa ma2 pa dha2 pa ma1 ri2 sa.

Now, let us look at the composition.

The Chorus voice spreads, swarms and warps. Suddenly, the violins loom into view.
The Flute and Strings stir to life and we get to see the Angel..

The intricately carved Pallavi sounds stunning with the voices of SPB and Asha Bhonsle. The line ‘En Manathil Puthiya RagangaL’ is exotic.

The Flute then plays with lucidity while the Guitar undulates gently with a satiny texture. In fact, one gets a taste of Hamsanadam- a Ragam very close to Shudhh Saarang.
The Violins give some unique touches mesmerizing us.

The Charanam can be divided into three parts.

The first one ‘Kaattinil Poo Vaasam’ and ‘Kadalinil Mazhai’ is scintillating with the sweet voices of Asha and SPB.

The second one ‘Anbenum..’ is tender.

The third one ‘Naan seitha..’oozes with zest.

The second interlude is caparisoned with beautiful orchestration.

The vivifying Flute is followed by the chorus voices singing with insouciant grace.

It is then the encompassing sweep of the violins as the Guitar plays with stylized musical fervour.

The composition is a continual rain of honey.

It is built on the edifice of beauty.

It gives us an exquisite image of the Raga.

It is a delightful treat.

It is the song of the angel….It opens our Hearts and pierces inside..

தேவதை வந்தது.மனச்சிறைக் கூண்டைத் துளைத்துச் சென்றது.

ILaiyaraaja's Music is Omnipresent and Omnipotent!

‘There's music in the sighing of a reed;
There's music in the gushing of a rill;
There's music in all things, if men had ears:
Their earth is but an echo of the spheres.’

Said Lord Byron .


Subramaniya Bharati went one step ahead.

Listening to the song of a cuckoo, he wants to become a cuckoo himself . The cuckoo inspired him so much that he dedicated one of his works to the bird.
Titled ‘Kuyil Paattu’(Song of the Cuckoo), this work of his is one of the beautiful works ever with Philosophical contours in Tamizh language.

‘It seems that
The breeze is mixed with nectar,
With the lightning showing its face,
The Beauty Queen from the Heaven
Descending in the form of music.
I am in a state of ecstasy
Listening to this song of Cuckoo
And I want to become a Cuckoo
To say many unknown things to this world!’


இன்னமுதைக் காற்றினிடை எங்கும் கலந்ததுபோல்
மின்னற்சுவைதான் மெலிதாய் மிகவினிதாய்
வந்து பரவுதல்போல் வானத்து மோகினியாள்
இந்த உரு எய்தித் தன் ஏற்றம் விளங்குதல்போல்

இன்னிசைத் தீம்பாடல் இசைத்திருக்கும் விந்தைதனை
முன்னிக் கவிதைவெறி மூண்டே நனவழியப்
பட்டப் பகலிலே பாவலர்க்குத் தோன்றுவதாம்
நெட்டைக் கனவின் நிகழ்ச்சியிலே கண்டேன் யான்
கன்னிக் குயிலொன்று காவிடத்தே பாடியதோர்
இன்னிசைப் பாட்டினிலே யானும் பரவசமாய்
'மனித உரு நீங்கிக் குயிலுருவம் வாராதோ?'
குக்குக்கூ என்று குயில் பாடும் பாட்டினிலே
தொக்கப் பொருளெல்லாம் தோன்றியதென் சிந்தைக்கே
அந்தப் பொருளை அவனிக்கு உரைத்திடுவேன்.

People like Byron and Bharati worshipped nature. They saw music everywhere. They knew that Music is omnipresent and omnipotent.

That is why their works continue to exist.

Coming to think of it, can there be anything in this world that is not musical?
If only we realise this fact, there would be no quarrels, squabbles, fights, wars and the world would be a better place to live.

Let us celebrate music on this special day.A day when Film Music acquired a new dimension.

Like Byron and Bharati, this gentleman saw music everywhere.
Not only did he see music, but also that he understood it.

Not only did he understand it, but also that he improvised it.

Not only did he improvise it, but also that he made it sound simple.

Not only did he make it sound simple but also that he made it sound very different.

Not only did he make it sound different but also that he made it sound very melodious.

In this thread, we have been seeing the classical and finer elements in his music.

This special day’s composition is also very special befitting the occasion.
Special because it talks about music itself. Can there be a better way of wishing a special person on this special day?

The composition is ‘Vaana Mazhai Pole Varum GaanangaL’ from ‘Ithu Namma Bhoomi’(1992).

It is based on a raga called Raageshree.

Raageshree is a Hindustani Raag derived from the Khamaj thaat(equivalent to Carnatic Harikamboji).
Its Aroh is ni2 sa ga3 ma1 dha2 ni2 Sa and Avaroh Sa ni2 dha2 pa ma1 ga3 ri2 sa.

‘pa’ is used very sparingly and the phrase ‘Sa ni ni dha ma ga sa’ adds beauty to this Raag.

As per the texts, this Raag is sung in the night and is majestic and meditative.

The song starts with the distinctively mellifluous humming of Yesudass.
The Pallavi woos us with its simplicity.It is reposeful and has a sense of quietude. Very soft framing of the Pallavi. The tabla beats evoke a focussed ambience of a Gazal.

‘Music pours like the rain from the heavens.The clouds sing melody. This music lasts forever’.

In the first interlude, the flute brimming with vim and vigour plays with undulating energy to the accompaniment of modern percussion instruments. The tender but deep Sitar gives the Flute and angelic strength as the Flute elegantly sings like a cuckoo.

The CharaNam is deftly framed giving us an enchanting harmony.

The first two lines are exquisite while the next two lines have liquid glides. The last line gives a sparkling finish.The icing on the cake is the sympathetic strings(resonance or auxiliary strings found in the Hindustani instruments like Sitar and Sarod).

‘The mind and the heart are relaxed in the night with music.It gives a healing touch. Flower blooms in the Dry rock and the Steel becomes moist with music’.

It is ‘Hop, skip and jump’ in the second interlude as we see the shades of western music with modern instruments that play with insouciance. The exquisite Sitar appears now with grace and style. We now enjoy the moments of beauty as the swaras are sung.

Free flowing expressions at its best!

The malleable phrases continue in the CharaNam.

‘Who has soaked honey in the voice of the cuckoo?
Who has made the heart so light-as light as the music?
I do not need the Stage..I can sing in a small room.
Do the cuckoos sing to attain name and fame?
I am happy to sing and this is enough!’

The composition caresses us gently like a breeze.

We see the Snow-capped Mountains and the Dollops of snow.

We see the ripples of melody as the droplets of rain furrow down.

We see the emerald green valley and smell the fresh grass and the flowers.

We see the serene blue translucent lake and we see ourselves there.

We are in communion with nature.

His Music is omnipresent and omnipotent.

நிலைக்கும் கானம் இது..நெடுநாள் வாழும் இது!

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ILaiyaraaja-The Spontaneous Musician!

’Music and silence combine strongly because music is done with silence, and silence is full of music’’

said Marcel Marceau.

Marcel was a French mime artiste and was the world’s most famous mime who created ‘Bip’, the white-faced clown.

Marceau has performed all over the world and spread L'art du silence meaning the ‘Art of silence’.

He respected silence and considered it as an art.

Is silence full of music?
I am not sure if many will agree with this.

For a moment, think of trees; think of mountains; think of snowfall; think of sculptures; think of a painting.

Do these speak? Do these make sounds?

But can we not agree that all these are musical?

Most of us read books(hopefully!).
What happens when we read?
Are we not in our own world full of silence?
Don’t we enjoy those moments?
Are'nt those moments musical?

Silence is poetic.

Silence is musical.

Silence gives us eternal happiness.

Silence is blissful.

Mahatma Gandhi said, ‘’In the attitude of silence, the soul finds the path in a clearer light, and what is elusive and deceptive resolves itself into crystal clearness. Our life is a long and arduous quest after Truth’’.

Gandhiji’s quest for Truth and his experiments with Truth are well known (though J Krishnamurthi would say that we do not ‘experiment’ with Truth and that we only experience it).

In the Hindu philosophy, there is a concept of ‘Dakshinamoorthy’.Dakshinamoorthy is one of the forms of Lord Shiva and is called as the Mouna Guru(Guru of Silence!).

He is supposed to be the Guru of the ultimate knowledge and understanding.
Dakshinamoorthy is in the form of abstract yogic meditation brimming with eternal bliss.

Symbolically, it means we acquire eternal knowledge when we are in a state of silence.

AruNagirinaathar-who has composed many verses/songs on Lord Muruga like Thiruppugazh, Mayil Viruththam, Seval Viruththam and whose work Kandar Anthaathi was quoted in the post on ‘Nam thananam thana’(ILaiyaraaja-the beautiful musician), sang about this silence in two different works of his.

In ‘Kandar Anubhoothy’, he says ‘The Lord asked me to shut up and not to talk, but I do not understand what it means’- சும்மா இரு சொல் அற என்றலுமே, அம்மா பொருள் ஒன்றும் அறிந்திலனே .

while in ‘Kandar Alankaaram’ – a later work he says ‘You let me lose everything and let me go into the boundary of silence.’
எல்லாம் இழந்து சும்மா இருக்கும் எல்லையில் என்னை செல்ல விட்டவா!

All these people realised the importance of silence and celebrated silence.

One of the best music composers in the world also celebrates silence.

He loves silence. He reveres silence. He worships silence.

We see this not only in most of his songs but also in his BGM in movies.
He would leave meaningful pauses and moments of silence that would convey more than what an instrument or voice would have conveyed.

Like Marceau, he believed that music and silence combine strongly and that silence is full of music.

And this is the reason for his being a spontaneous musician because silence leads to tranquility and tranquility leads to spontaneity.

It is ‘Mounamaana Neram’ from ‘Salangai Oli’(1983).

Interestingly, it is based on a raga called Pahaadi.
I am saying ‘interestingly’ because Pahaad in Hindi means the Mountain and can there be any better place for silence than the Mountains?

Pahaadi is a Hindustani Raag and is very close to the Maestro’s heart.
The structure is : sa ri2 ga3 pa dha2 pa dha2 Sa in the Arohanam and Sa ni3 dha2 pa ga3 ma1 ga3 ri2 Sa ni3 sa.

Another version is-pa dha2 sa ri2 ga3 pa dha2 Sa/Sa ni3 dha2 pa ma1 ga3 ri2 sa ni3 dha2 pa dha2 Sa.

Please note that there are many versions of the structure and I have given just two versions.

Like most of the Hindustani Raags, alien swaras are widely used in Pahaadi.
In fact, the use of such swaras add to the beauty of the Raag.
To be more specific, the ga2 and dha1 give a beautiful flavour to the Raag.

This Raag-esp.in film music-is confused with Sankarabharanam or Mohanam and at times Sudhdha Saaveri also.
If Sudhdha Saaveri is sung in madhyama Shruti, we get Raag Pahaadi.

This Raag is romantic, gives a sense of longing, is joyful and is painful!

So many emotions in one Raag?

As mentioned earlier, Maestro has used this Raag prolifically and has given all the emotions mentioned (in fact even more!).

Let us now look at the composition of the day.

We see the niceties of silence in the prelude and the pallavi.

As we hear the bells and the guitar we feel the soft, gentle breeze. This gathers impetus as we hear the humming of Janaki that sounds serene and stirring.We discover the real meanings of quietude and tranquility.

The Pallavi emerges from the silence with splendour. It is mellow, exquisite, and imperial conjuring up a silhouette of silence.

In the first interlude, the piquant flute crisscrosses the spoken and the unspoken. It traverses through the arc of the raga’s deliciousness.
It is like the birds chattering their ditties.

The beginning of the Charanam is like a mild fountain.It becomes a lovely musical fountain that gathers momentum finally flowing like a quiet stream.

We see the nuances of the Raga in this stream.

The second interlude is ornate. It shows the varied textures of the raga. The flute interspersed with the other musical instruments plays with sensitivity.
It shows us the contrastive colours of the raga.

It is weighty and zestful. It is innocent and sharp.

It is languorous and lucid. It is straight and circumfluent.

The composition gives us an admixture of feelings-Joy,Pain,Romance,Longing.
What is elusive and deceptive resolves into crystal clearness.

Music full of silence and silence full of music.

That is Tranquility !

மெளனமான நேரம் அவர் இசை இருந்தால் போதும்!

ILaiyaraaja-The Wonder!

Out of the 12 Vaishnavite saints-called as Aazhwars- Nammaazhwar is considered to be very special.

The 12 Aazhwars composed verses in Tamizh totaling 4000 in number and this compiled work is called as the ‘Naalaayira Divya Prabhandam’. This treatise is considered to be very sacred..

But is not the Bhakti element alone that attracts Literature lovers to this work. The Language and the Description make this a poetic work making even Non believers read and appreciate.

Let us go back to Nammaazhwar now.

Out of the 4000 verses, he composed 1296 verses-about 32%.
He composed these under four different headings-Thiruviruthham,Thiruvaasiriyam,Periya Thiruvanthaathi, Thiruvaaimozhi- and these are considered to give the essence of Rig, Yajur, Sama and Atharva Vedas respectively.


In one of his verses, he says, ‘He is present here if we believe He exists.He is present here without any form if we believe He does not exist.’ Being’ and ‘Not Being’ are his characteristics.’

உளன் எனில் உளன்,அவன் உருவம் இவ் உருவுகள்;
உளன் அலன் எனில்,அவன் அருவம் இவ் அருவுகள்;
உளன் என,இலன் என,இவை குணம் உடைமையில்,
உளன் இரு தகைமையொடு ஒழிவு இவன் பரந்தே.


It does sound philosophical but what is life without philosophy?
And reading this gives one pleasure whether one concurs with this or not.

It is even said that after Nammaazhwaar was born, he was like a still- born baby for 16 years after which he started composing the verses.

He was a Wonder!

If Nammaazhwar composed the maximum number of verses, Madurakavi Aazhwaar composed the minimum no.of verses-just 11.

And these 11 were not on the Almighty but on the person he considered as his Guru, Guiding force, and leading light.

Yes, he considered Nammaazhwar as his Guru and propagated the verses of Nammaazhwaar.

In one of his verses, Madurakavi Azhwaar says ‘Talking about my Guru gives me immense pleasure. I shall roam around singing his verses. I do not know anything else.’

நாவினால் நவிற்று இன்பம் எய்தினேன்.
மேவினேன் அவன் பொன்னடி மெய்ம்மையே!
தேவு மற்று அறியேன் குருகூர் நம்பி,
பாவின் இன்னிசை பாடித் திரிவேனே.

On this auspicious day, it gives me immense pleasure to talk about a person whom I consider as my Guru.

He is divine like Nammaazhwar and is a wonder.

Luckily, for this Nammaazhwaar, there are lots of Madurakavi Aazhwaars..


He made me realise what music is..

He made me understand Music.He made me appreciate Music.

He taught me the nuances through his compositions.

He made me develop interest in many good things in life.

One of my objectives in life is to propagate his compositions (many unknown) and try and analyse the finer elements in his music. My real journey began more than one year back when I started sharing my observations with like- minded people.

Today, I am taking up a composition that is very special to me. Not just to me but to many of my friends who have listened to this song.

I consider this composition as one of his masterpieces.

It is ‘Engengo Sellum’ from ‘Pattakkathi Bhairavan’(1979).

This composition is based on Sudhha Dhanyasi.

The structure is:
Sa ga2 ma1 pa ni2 Sa/Sa ni2 pa ma ga2 sa.

Since the interludes are in Western Classical style, the Ragam tends to deviate but this makes it more beautiful!

Let us now look at this marvel.

The Composition starts with the Guitar giving feather like touches. The Violin Orchestra now gives the melodic stimulation. The Music that follows fondles us!

The Pallavi is full of deft phrasings and is ingeniously structured.
What does one say about the voices of SPB and Janaki. Sweetness personified.

The first Interlude pulses with energy. The Violins play with vivacity and suddenly we see the magic. The Double Bass makes its entry as the Violins change track and continue to play. It is the beautiful blending of delicate and sonorous sounds.

We are wonder- struck by the potency, intensity and the glow!

But this is only the beginning.

The Charanam is ornate with subtleties.

It starts with a long sojourn in ‘Aaaa..’ followed by ‘Naan KaaNbathu Un Kolame..’.As we begin to lose ourselves, it is magic again.
’Angum.. Ingum… Engum… ‘ reverberate.

The echo-like effect is produced by using three different pairs of Swaras continuosly- gapa.. nipa… Sapa..

As if this is not enough, we see the same effect in the last line ‘Nee..Nee..Nee’ .

Raaja-The Magician!

Raaja-The Wonder!

The second interlude has relishable twists and turns.

We see the beauteous landscape with the sun painting the sky at dawn.

The Sun now slowly spreads its golden rays.

We see the small raindrops falling from the heavens.

We see the iridescent Rainbow hues.

As the Guitar is played, we see the delectable converging of a cadence of colours.

The Stones in the Mountains turn into beautiful Flowers.

It is thrilling.

It is spectacular.

This composition has purposeful innovative phrasings laced with clarity.

It is exotically redolent and aesthetically linked.

It is a veritable feast.

எங்கெங்கோ செல்லும் நம் எண்ணங்கள் இங்கே நாம் கண்டோம் அவர் வண்ணங்கள்.
நம் வாழ்க்கை வானில் நிலாவே..
அவர் அன்றும் இன்றும் என்றும் ராஜாவே!

Our thoughts go here and there..
We get to see his colours now..
He is the Moon in our Life.
King-then, now and forever!

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