Of all the beautiful and interesting things in this world, colours are very special. Colours give us energy, enthusiasm, peace and tranquility.
Who is not fascinated by colours?
Enthralled by the beauty of the colourful sky, Mahakavi jumps with joy:
Oh..How beautiful the colours are!
How many shapes!How many mixtures!
Lotions of Fire..Streams of molten gold..
Golden Pools!Golden Islands!
Pools of Blue..Oh..How many varieties of Blue..
White and Black..
Golden Boats float on Blue Pools..
Golden light on the black peaks.
Golden whales float all around..
It is a repository of colours!
என்ன இந்த வண்ணத்தியல்புகள்!
எத்தனை வடிவம்!எத்தனை கலவை!
தீயின் குழம்புகள்!செம்பொன் காய்ச்சிவிட்ட ஓடைகள்!
வெம்மை தோன்றாமே எரிந்திடும் தங்கத் தீவுகள்!
நீலப் பொய்கைகள்!அடடா நீல வண்ணமொன்றில் எத்தனை வகை!
எத்தனை செம்மை! பசுமையும் கருமையும் எத்தனை!
நீலப் பொய்கையின் மிதந்திடும் தங்கத்தோணிகள்
சுடரொளிப் பொற்கரையிட்ட கருஞ்சிகரங்கள்
ஆங்கு தங்கத்திமிங்கிலம் தான் பல மிதக்கும்.
எங்கு நோக்கிடினும் ஒளித் திரள் ஒளித் திரள்
வண்ணக்களஞ்சியம்!
He sees the colours as divine.
Another poet sees the Divine with the colours.
The great Vaishnavite saint and poet Thirumangaiyaazhwar says, ‘Ridding the colours of falsities, I saw Him here in Thiruvarangam in colours of radiant black hue, the dark cloud and Emerald and realized His true colours’.
பொய்வண்ணம் மனத்தகற்றிப் புலனைந்தும் செலவைத்து,
மெய்வண்ணம் நினைந்தவர்க்கு மெய்ந்நின்ற வித்தகனை,
மைவண்ணம் கருமுகில்போல் திகழ்வண்ண மரதகத்தின்,
அவ்வண்ண வண்ணனையான் கண்டதுதென் னரங்கத்தே
Here, the poet very intelligently talks about different shades of black and also the shade of Green. As we all know, black is the colour of darkness and green the colour of fertility. ‘Dispel all negative thoughts. Your mind becomes fertile and you see the Divine.’
Here, colours are used symbolically to depict many things.
Coming to think of it, there are a lot of similarities between colours and music.
The basic swaras are 7 while the basic colours are also 7.
There are different variations in each swara. There are different shades in each colour. The different combinations of swaras take the shape of ragas while the different shades of colours become a beautiful painting in the hands of a great artist.
Just like the hidden gems, there are also some hidden colours and ragas and only great artistes/musicians bring these out.
In a period spanning three decades, ILaiyaraaja has used a lot of colours as swaras and ragas in his palette resulting in a painting as beautiful and marvelous as the evening sky. With his music, he has made us shed the falsities and the negativities and move towards the Ultimate Truth and has made us feel the divine.
Not only has he used very familiar colours but has also shown us some very new colours hitherto not shown by many.
We have seen his use of very rare ragas like Hema Bhushani, Makaranda Priya, Doorjati Priya, Mrigakshi, VarNa RoopiNi etc.,
On this special day, we are going to see yet another rare raga in a beautiful composition.
This raga like the other aforementioned ragas were not used by any other musician (classical or cinema) before him.
The raga is Mallika Vasantam and the composition is ‘Saavira JanumagaLu’ from the Kannada film ‘Nyaya Gedditu’.
Mallika Vasantam is derived from Mayamalavagowla and follows a audava sampoorNa structure-that is 5 notes in the ascending and 7 in the descending:
sa ga3 ma1 pa ni3 Sa/Sa ni3 dha1 pa ma1 ga3 ri1 sa.
Though the structure sounds rather simple, the raga sounds unique while rendered.
Please note that the swaras in the arohaNam are common to another grand raga ShankarabharaNam which for all practical purposes sounds very different from Mayamalavagowla because of the other ‘ri’ and the other ‘dha’.
This arohaNam pattern is almost similar to Kedaram(a raga derived from ShankarabharaNam).Of course Kedaram’s arohanam is ‘sa ma ga ma pa ni sa’ while the swaras go straight as ‘ sa ga ma pa ni Sa’ in Mallika Vasantam.
However, this raga sounds so unique and different that one can be misled to think that it is a mix of Kedaram and MayamaLavagowla.
Let us now look at the composition.
It starts with the aalaap in the caressing and felicitous voice of SPB. The akaaram has winsome variations touching the higher octave towards the end of the prelude. The haunting charm is further accentuated by the musical elegance of the strings and the subtly integrated laya pattern.
The composition follows the Chatushra Eka talam that follows the 4-beat cycle. The 4 is further subdivided into 8 small beats in pairs of ‘ta ka’ and ‘dhi mi’. The last ‘dhi ‘mi’-that is the 7th and the 8th beats- are made to sound sharper giving a very special colourful effect.
The Pallavi unfolds with great zeal. It has grace as well as sensitivity with the dulcet tone of Janaki giving a soothing touch.
The first Interlude has spectacular passages.
First, the Synth Violin glides in rather quietly without any percussion. The stringed instrument lights up in short colour glints. And the percussion joins.. Unmatched in spirit, the Violin continues its journey with its other friends following it closely.
Mesmerised by this, the Flute plays with unfettered imagination melting our hearts. The Guitar now welcomes its musical friends with a unique rapier cut and thrust. The playful Violins follow it in a zig zag pattern. The mellow flute channelises the energy, shows us the unique melody of the raga and lead us to the CharaNam.
The CharaNam moves with coherency and fluidity.
The first part spreads gentle fragrance.
The second part is a dazzling delineation touching the higher octave with the Flute showing alluring depths of the raga.
The last part sways gently.
The second interlude is dotted with rhythmic patterns of skill with abundant melodic phrases.
The ‘ta ka dhi mi’ in mel kaalam(faster pace) responds to the melody in a friendly banter.
The Veena shows the hidden ecstasy. We see the aura as the Flute plays intensely and powerfully. The pulsating Santoor and the rich Violins coalesce with the Flute.
The glow of the raga seeps into our consciousness.
Colours come alive as Swaras. Swaras-in the form of his music- come alive in multi hues, bond together and bond us all together.
A musical bond that will continue for 1000 janmas.
Saavira JanumagaLu, ee bandha beledirali…
ps:This post and the previous post in Tamizh were read out to an invited audience in Chennai on the 28th of August 2001 as part of an Event totally dedicated to ILaiyaraaja.
Showing posts with label Illaiyaraaja in Kannada. Show all posts
Showing posts with label Illaiyaraaja in Kannada. Show all posts
Monday, 29 August 2011
Tuesday, 4 January 2011
ILaiyaraaja-The Charmer
What is it that which attracts us to great poetry?
Choice of words? Description? Narration? Or the subject itself?
I am sure it is a combination of all these. But most importantly, it should appeal to us spontaneously, cast a spell on us and at the same time make us look for inner meanings and more and more meanings..
Look at this poem:
“It is a misty morning.. The Buffalo hears the cry of its calf and Milk flows unabated from its udders making the floor wet and slushy. And you, the sister of the rich cowherd, is sleeping still, unmindful and totally oblivious to the happenings while the entire village seems to know this. Wake up at least now! Let us all go, sing and celebrate the deeds of the One who vanquished the King of Lanka!’’
கனைத்திளம் கற்றெருமை கன்றுக்கிரங்கி
நினைத்து முலைவழியே நின்றுபால் சோர
நனைத்தில்லம் சேறாக்கும் நற்செல்வன் தங்காய்!
பனித்தலைவீழ நின் வாசல் கடைபற்றி
சினத்தினால் தென்னிலங்கைக் கோமானைச்செற்ற
மனத்துக்கினியானைப் பாடவும் நீ வாய்திறவாய்!
இனித் தான் எழுந்திராய் ஈதென்ன பேருறக்கம்
அனைத்தில்லத்தாரும் அறிந்தேலோர் எம்பாவாய்.
These are the lines from the 13th Thiruppavai of AandaL.
Though it does make one look for deeper and inner meanings, let us ignore that for the time being and just look at the poem purely from an aesthetic perspective.
A simple beautiful story unfolds before us visually in a matter of seconds.
The wealth and richness of the house.. The laziness of the brother-who fails to do his duty of milking the cow-, and the sister who is in her own world...The Dew outside.. The group of girls all set to go to the temple..
This is the narration..
Now, look at the description..
The unusual scene of Milk flowing all over is described first. When we begin to wonder why and where, we get the answer almost immediately. We then get to know that the chief protagonist is standing outside the house with the dew falling on her head and the reason for her being there.
And look at the choice of the rhyming words..
‘Kanaiththu’, ‘Ninaiththu’..(to denote that the voice of the calf even from a distance makes the mother think of feeding it)
‘Nanaiththu’ ‘Paniththalai’..(both ‘wet’)
‘Sinaththinaal’ Manaththukkiniyanai’ ( contrast!)
‘Iniththan’ ‘Anaiththu’ (everybody now knows you.. at least now realise what you are doing)
Though it is not my intention to get into the hidden meanings (there are lots), let me just interpret one to make the appreciation of the poem complete.
Rama is described first as ‘the one who conquered Ravana out of anger’. The very next line calls him as ‘the lovable one’. Why this contradiction?
Rama is considered to be an epitome of calmness.But when he was made to lose his cool, it was doomsday for the evil minded man. Here, Rama is the symbol of Good and Ravana, the Evil.
Please don’t miss that these lines are preceded by the one describing the dew fall.
‘Dew’ is cool. ‘Anger’ is hot. ‘Loveable’ is cool.
Moreover, Dew, and Milk are white in colour and therefore symbolise peace and calmness while Buffalo, Sleep, Anger symbolise evil.
This is what makes ANdaaL a great poet and her poems are remembered and sung on all the days in the month of Margazhi even after 1200 years.
As I had already mentioned in one of my earlier posts, it just takes a few seconds for geniuses to compose great works since their brains are wired differently and there is an imperceptible link between their brain and the heart.
ILaiyaraaja takes very little time to compose music but what we get as a song/composition is wonderfully melodious and is packed with details which would take years to understand and analyse and mysteries which would take eons to unravel.
At the same time, irrespective of whether one knows/understands/analyses the details, his music steals our hearts.
Though all his compositions have something special ingrained in them, some compositions are very special in terms of the raga usage and many other technical aspects.
But the composition of the day I feel should be placed under a very special category-‘Very Very Special’.
‘Karaiyatha Manamum’, the composition we saw last time would automatically qualify for this category since it is based on a raga which is not in vogue used for the first time by him.
Today’s composition is also based on such a raga. But the subtle difference between the two is that while in the former one saw the gruha bedam technique (with the raga changing to yet another rare raga ), in the latter one sees the free flowing use of swaras of a Raga which is again not in vogue.
‘Yaava Shilpi Kanda Kanasu Neenu..’ from the Kannada movie Janma Janmada Anubandha’(1980) is the composition.
Going by the tune, it is rather easy to conclude that it is either based in Madhyamavati or Brindavana Saranga. However, there is more to it than meets the eye (ear).
First of all, let me explain as to why it sounds like these ragas.
There is a prominent use of Shadjamam (sa), Chushruti Rishabham(ri2), Shuddha Madhyamam(ma1), Panchamam(pa), Kakali Nishadam(ni3).In addition to this one feels one hears the other ‘ni’, the Kaisiki Nishadam. However, a very close listening suggests that it is actually the vivadi swaram ‘Shadshruti dhaivatam’(dha3).
Now, what could this Raga be?
Going by the swaras used, it should be a derivative (janya ) of either the 24th Melakarta ‘Megaranjani’ or the 30th Melakarta ‘Naga Nandini’.
On checking the ‘Raga Pravagam’ book, I saw no raga with this structure listed under the 24th. But thankfully, a raga called ‘Doorjatipriya’ listed under ‘Naga Nandini’ with this structure:
Sa ri2 ma1 pa dha3 ni3 Sa/Sa ni3 dha3 pa ma1 ri2 sa.
‘Yaava Shilpi’ uses these swaras though at times some swaras are skipped (for example, Sa ni pa ma and ri ma pa dha Sa).
But in the absence of any written rule (Raga Lakshana) for this particular raga, let us assume that it is ‘Doorjatipriya’ only.
Let us now look at the composition in this unique raga that sounds like Madhyamavati and Brindavana Saranaga but still has a beauty of its own.
The strings of the guitar strum very gently.. The Flute breathes charm. Suddenly it is robust all around with the percussion moving at a spanking pace. The joyously effervescent Saxophone is joined by the zestful violins.
The vocals begin with the a unique ‘papapapapa..’
We feel the verve and spirit in the voices of SPB and Janaki with the pristine flute sketching subtle hues.
The Pallavi is fluent, sweet and suave. It is adorned by the splendorous synthesisers.
The first interlude is magical.
The Saxophone is couched in winsome language. As it begins to melt our hearts, the twin-violins enter with a musical smile.
What follows is a short melodic document.
The violins traipse across the octaves giving stunning replies to the questions posed by the Sax.
It is delicate.
It is strong.
It is artistic.
It is gracious.
The violins then move with piercing intensity followed by the flute that shines radiantly with the vivadi notes.
The CharaNams are wonderful with the coil-into-coil phrases.
The first two lines have an aura of freshness. The line that follows has an intricate loveliness while the third line is a lustrous elaboration.
We have more surprise in store as the CharaNam continues with a very short aalap followed by the lines that have the same notes as that of the Pallavi.
The second interlude has intricately twined passages. It first brims with exuberance with the chatusram beats on the percussion. Enveloped in subtle overtones, the violins evoke melodic essence. It is an amalgam of the West and the East.
The radiant flute now moves with blazing intensity and the rapturous violins whirr.
A stunning display!
It is the music of hundred poets..
Choice of words? Description? Narration? Or the subject itself?
I am sure it is a combination of all these. But most importantly, it should appeal to us spontaneously, cast a spell on us and at the same time make us look for inner meanings and more and more meanings..
Look at this poem:
“It is a misty morning.. The Buffalo hears the cry of its calf and Milk flows unabated from its udders making the floor wet and slushy. And you, the sister of the rich cowherd, is sleeping still, unmindful and totally oblivious to the happenings while the entire village seems to know this. Wake up at least now! Let us all go, sing and celebrate the deeds of the One who vanquished the King of Lanka!’’
கனைத்திளம் கற்றெருமை கன்றுக்கிரங்கி
நினைத்து முலைவழியே நின்றுபால் சோர
நனைத்தில்லம் சேறாக்கும் நற்செல்வன் தங்காய்!
பனித்தலைவீழ நின் வாசல் கடைபற்றி
சினத்தினால் தென்னிலங்கைக் கோமானைச்செற்ற
மனத்துக்கினியானைப் பாடவும் நீ வாய்திறவாய்!
இனித் தான் எழுந்திராய் ஈதென்ன பேருறக்கம்
அனைத்தில்லத்தாரும் அறிந்தேலோர் எம்பாவாய்.
These are the lines from the 13th Thiruppavai of AandaL.
Though it does make one look for deeper and inner meanings, let us ignore that for the time being and just look at the poem purely from an aesthetic perspective.
A simple beautiful story unfolds before us visually in a matter of seconds.
The wealth and richness of the house.. The laziness of the brother-who fails to do his duty of milking the cow-, and the sister who is in her own world...The Dew outside.. The group of girls all set to go to the temple..
This is the narration..
Now, look at the description..
The unusual scene of Milk flowing all over is described first. When we begin to wonder why and where, we get the answer almost immediately. We then get to know that the chief protagonist is standing outside the house with the dew falling on her head and the reason for her being there.
And look at the choice of the rhyming words..
‘Kanaiththu’, ‘Ninaiththu’..(to denote that the voice of the calf even from a distance makes the mother think of feeding it)
‘Nanaiththu’ ‘Paniththalai’..(both ‘wet’)
‘Sinaththinaal’ Manaththukkiniyanai’ ( contrast!)
‘Iniththan’ ‘Anaiththu’ (everybody now knows you.. at least now realise what you are doing)
Though it is not my intention to get into the hidden meanings (there are lots), let me just interpret one to make the appreciation of the poem complete.
Rama is described first as ‘the one who conquered Ravana out of anger’. The very next line calls him as ‘the lovable one’. Why this contradiction?
Rama is considered to be an epitome of calmness.But when he was made to lose his cool, it was doomsday for the evil minded man. Here, Rama is the symbol of Good and Ravana, the Evil.
Please don’t miss that these lines are preceded by the one describing the dew fall.
‘Dew’ is cool. ‘Anger’ is hot. ‘Loveable’ is cool.
Moreover, Dew, and Milk are white in colour and therefore symbolise peace and calmness while Buffalo, Sleep, Anger symbolise evil.
This is what makes ANdaaL a great poet and her poems are remembered and sung on all the days in the month of Margazhi even after 1200 years.
As I had already mentioned in one of my earlier posts, it just takes a few seconds for geniuses to compose great works since their brains are wired differently and there is an imperceptible link between their brain and the heart.
ILaiyaraaja takes very little time to compose music but what we get as a song/composition is wonderfully melodious and is packed with details which would take years to understand and analyse and mysteries which would take eons to unravel.
At the same time, irrespective of whether one knows/understands/analyses the details, his music steals our hearts.
Though all his compositions have something special ingrained in them, some compositions are very special in terms of the raga usage and many other technical aspects.
But the composition of the day I feel should be placed under a very special category-‘Very Very Special’.
‘Karaiyatha Manamum’, the composition we saw last time would automatically qualify for this category since it is based on a raga which is not in vogue used for the first time by him.
Today’s composition is also based on such a raga. But the subtle difference between the two is that while in the former one saw the gruha bedam technique (with the raga changing to yet another rare raga ), in the latter one sees the free flowing use of swaras of a Raga which is again not in vogue.
‘Yaava Shilpi Kanda Kanasu Neenu..’ from the Kannada movie Janma Janmada Anubandha’(1980) is the composition.
Going by the tune, it is rather easy to conclude that it is either based in Madhyamavati or Brindavana Saranga. However, there is more to it than meets the eye (ear).
First of all, let me explain as to why it sounds like these ragas.
There is a prominent use of Shadjamam (sa), Chushruti Rishabham(ri2), Shuddha Madhyamam(ma1), Panchamam(pa), Kakali Nishadam(ni3).In addition to this one feels one hears the other ‘ni’, the Kaisiki Nishadam. However, a very close listening suggests that it is actually the vivadi swaram ‘Shadshruti dhaivatam’(dha3).
Now, what could this Raga be?
Going by the swaras used, it should be a derivative (janya ) of either the 24th Melakarta ‘Megaranjani’ or the 30th Melakarta ‘Naga Nandini’.
On checking the ‘Raga Pravagam’ book, I saw no raga with this structure listed under the 24th. But thankfully, a raga called ‘Doorjatipriya’ listed under ‘Naga Nandini’ with this structure:
Sa ri2 ma1 pa dha3 ni3 Sa/Sa ni3 dha3 pa ma1 ri2 sa.
‘Yaava Shilpi’ uses these swaras though at times some swaras are skipped (for example, Sa ni pa ma and ri ma pa dha Sa).
But in the absence of any written rule (Raga Lakshana) for this particular raga, let us assume that it is ‘Doorjatipriya’ only.
Let us now look at the composition in this unique raga that sounds like Madhyamavati and Brindavana Saranaga but still has a beauty of its own.
The strings of the guitar strum very gently.. The Flute breathes charm. Suddenly it is robust all around with the percussion moving at a spanking pace. The joyously effervescent Saxophone is joined by the zestful violins.
The vocals begin with the a unique ‘papapapapa..’
We feel the verve and spirit in the voices of SPB and Janaki with the pristine flute sketching subtle hues.
The Pallavi is fluent, sweet and suave. It is adorned by the splendorous synthesisers.
The first interlude is magical.
The Saxophone is couched in winsome language. As it begins to melt our hearts, the twin-violins enter with a musical smile.
What follows is a short melodic document.
The violins traipse across the octaves giving stunning replies to the questions posed by the Sax.
It is delicate.
It is strong.
It is artistic.
It is gracious.
The violins then move with piercing intensity followed by the flute that shines radiantly with the vivadi notes.
The CharaNams are wonderful with the coil-into-coil phrases.
The first two lines have an aura of freshness. The line that follows has an intricate loveliness while the third line is a lustrous elaboration.
We have more surprise in store as the CharaNam continues with a very short aalap followed by the lines that have the same notes as that of the Pallavi.
The second interlude has intricately twined passages. It first brims with exuberance with the chatusram beats on the percussion. Enveloped in subtle overtones, the violins evoke melodic essence. It is an amalgam of the West and the East.
The radiant flute now moves with blazing intensity and the rapturous violins whirr.
A stunning display!
It is the music of hundred poets..
Monday, 18 October 2010
ILaiyaraaja-The Uncanny Musician..
‘Out of the world experience..’ ‘I got transported to another world..’ ‘He/She did Mayajaal..’
How many times have we used/heard others use these phrases.
Generally, we say this after listening or watching something extraordinary. At times, while reading some great works of poetry too..
Why do we feel the experience itself is a different world? Aren’t we aware that we exist and continue to exist in the same world?
What is this ‘out of the world experience’ or ‘Maya’ all about?
The concept of Maya is very intriguing.
Maya literally means ‘not that’.
It is an illusion though it seems to be a reality.
I do not want to get too much into philosophy and shall try and put it in simple terms.
As per Indian philosophy, Maya is the illusion a veiling of the true. Since it seems to be a reality, it is both true and untrue. It is true but when compared to the Absolute Truth (one call it as ‘Sathyam’) , it is untrue. Maya is said to be created by the Almighty to help us see the Ultimate or Absolute Truth.
Coming to think of it, literature, music, dance also take us to a world of illusion.
True or Untrue?
Yes.. At the same time, great literature and divine music while taking us to an illusory world make us see the absolute truth.
Great composers/writers/artistes have an uncanny knack of making us see the Truth through their esoteric works.
Look at these two verses of Kamban:
வரம்பு எலாம் முத்தம்;தத்தும் மடை எலாம் படிலம்;மாநீர்க்
குரம்பு எலாம் செம்பொன்;மேதிக் குழி எலாம் கழுநீர்க் கொள்ளை;
பரம்பு எலாம் பவளம்;சாலிப் பரப்பு எலாம் அன்னம்;பாங்கர்க்
கரும்பு எலாம் செந்தேன்;சந்தக் கா எலாம் களி வண்டு ஈட்டம்.
ஆலைவாய்க் கரும்பின் தேனும்,அரி தலைப் பாளைத் தேனும்,
சோலைவீழ் கனியின் தேனும்,தொடை இழி இறாலின் தேனும்,
மாலைவாய் உகுத்த தேனும்,வரம்பு இகந்து ஓடி,வங்க
வேலைவாய் மடுப்ப உண்டு,மீன் எலாம் களிக்கும் மாதோ
Pearls shimmer on paddy fields. Gold glitter on the banks of the lakes. Rubies shine on the valleys. Conches glow on the sluices. The white swans swim with glow. Tasteful honey oozes out from sugar canes. Singing bees in the groves.
Honey from sugar cane, Honey from the petals (of flowers), Honey from the fruits, Honey directly from the Honey comb, Honey from the garlands.. flow to the sea , fill the sea making the fish swallow these varieties of honey.
The salt sea becomes the Honey Sea!
These are just 2 samples from the 60 verses in ‘Naattu Padalam’ in Bala Kandam where Kamban describes the beauty and richness of the Kingdom of Kosalam ruled by Dasaratha.
Now, a logical question: What would happen if honey were to flow directly into the sea? What would happen if one sees gold and gems on the paddy fields and by the lakeside? First of all, is this possible in reality?
The obvious answer is No.
At the same time, let us realise that the character of Rama symbolises Absolute Truth. Kamban, the philosopher helps us see the ultimate truth through Kamban, the poet. By exaggerating –albeit poetically - he takes us through a wonderful world, makes us experience the beauty and finally making us realise the Absolute Truth!
One finds this uncanny ability- of showing us a Maya world and using it as a veil to make us realise the Truth- in some people even now. These are the people whose works are extraordinary, beyond compare and beyond even logical reasoning.
A classic living example is ILaiyaraaja.
I am sure most of us undergo a totally different experience while listening to many of his songs. We do get transported to a new world. But after the song is over, aren’t our minds left with a feeling which is impossible to explain or put in words?
This is what is the absolute truth!
And ILaiyaraaja is one of the few people to have this uncanny ability!!
(At this point, let me also tell you that there are also great artistes/musicians who take us to the world of Maya through. But the difference is that while one experiences pleasure in their works, it seems to be transient without any permanent value).
Today, let us see yet another composition of his where we go to the Maya world and finally experience what I have tried to describe.
The composition is ‘Yenidu Yenidu Maya Maya..’ from the Kannada film Nannavanu(2009).
The composition is based on a Raag called Brindavana Saranga.
Brindavana Saranga has been adopted into Carnatic music from the Hindustani system.
There is still a lot of confusion about the structure of this Raag.
Some say it is a pentatonic raga with ‘ga’ and ‘dha’ being absent and that it uses both the ‘ni’.
Some say there is only one variant of ‘ni’ and that ‘ga’ is sparingly used in the avarohanam.
After discussing with some great musicologists, my personal opinion is it has 5 swaras in the arohanam and 6 swaras in the avarohanam- with a very minimum use of ‘ga’.
Its structure is: sa ri2 ma1 pa ni2 Sa/Sa ni2 pa ma1 ri1 (ga2)sa.
The ‘ri’ and ‘ni’ are considered to be the Jeevaswaras (notes that give life to this raga).
Let us see the composition now.
We see the glowing delicate filaments that prepare us for the mystical experience. The vivid flow of violins with the bass guitar running as the undercurrent shows us the mystical stream. The Flute has a meditative impact.
The gentle flavour of the Raga is felt in the Pallavi as Sriram Parthasarathy renders the lines. The second line is sharp while the third line shows the facets of the raga rippled colours. The fourth line is aglow with bhava-rich gamakas. The female voice of Bela Shinde now joins caressing niceties. The Flute interspersed between the lines makes our hearts jump with excitement.
The first interlude is a plethora of melodic and rhythmic threads that spell virtuosity.
It starts innocuously with the electronic instruments giving a joyful smile that welcomes the violins and the Laya Raaja. The composition is basically set in the 3-beat cycle Tisram while the Bass Guitar now play in Chatusram as 8 beats followed by a gap of 4 counts. This is repeated 4 times. The number of beats is 48 - which is divisible by 4 as well as 3.
One Maya already revealed!
The nectar-filled flute and the cadences in violin at the end and take us further into the esoteric world.
The subtly layered CharaNam is another marvel and shows us one more Maya.
The first two lines are supple and glow with inner light.
The Laya Raaja enters again in the next line. As the vocals follow the Tisram pattern, the violins in the background follow the chatusram pattern and goes as ta Ka dhi mi (4) 9 times. The Tisram and Chatusram merge ecstatically at the end of the CharaNam as if to show that there is only one absolute truth!
The second interlude starts with symmetrical motifs. We then see the subdued and refined Violins, and Flute moving with splendour and showing us the variegated hues of the world. There is a sudden unexpected touch as we hear the humming in akaaram that takes exhilarating flights across octaves.
Makes us see the Absolute Truth!
An uncanny experience!!
Maya Maya.. Sathya..Sathya..
How many times have we used/heard others use these phrases.
Generally, we say this after listening or watching something extraordinary. At times, while reading some great works of poetry too..
Why do we feel the experience itself is a different world? Aren’t we aware that we exist and continue to exist in the same world?
What is this ‘out of the world experience’ or ‘Maya’ all about?
The concept of Maya is very intriguing.
Maya literally means ‘not that’.
It is an illusion though it seems to be a reality.
I do not want to get too much into philosophy and shall try and put it in simple terms.
As per Indian philosophy, Maya is the illusion a veiling of the true. Since it seems to be a reality, it is both true and untrue. It is true but when compared to the Absolute Truth (one call it as ‘Sathyam’) , it is untrue. Maya is said to be created by the Almighty to help us see the Ultimate or Absolute Truth.
Coming to think of it, literature, music, dance also take us to a world of illusion.
True or Untrue?
Yes.. At the same time, great literature and divine music while taking us to an illusory world make us see the absolute truth.
Great composers/writers/artistes have an uncanny knack of making us see the Truth through their esoteric works.
Look at these two verses of Kamban:
வரம்பு எலாம் முத்தம்;தத்தும் மடை எலாம் படிலம்;மாநீர்க்
குரம்பு எலாம் செம்பொன்;மேதிக் குழி எலாம் கழுநீர்க் கொள்ளை;
பரம்பு எலாம் பவளம்;சாலிப் பரப்பு எலாம் அன்னம்;பாங்கர்க்
கரும்பு எலாம் செந்தேன்;சந்தக் கா எலாம் களி வண்டு ஈட்டம்.
ஆலைவாய்க் கரும்பின் தேனும்,அரி தலைப் பாளைத் தேனும்,
சோலைவீழ் கனியின் தேனும்,தொடை இழி இறாலின் தேனும்,
மாலைவாய் உகுத்த தேனும்,வரம்பு இகந்து ஓடி,வங்க
வேலைவாய் மடுப்ப உண்டு,மீன் எலாம் களிக்கும் மாதோ
Pearls shimmer on paddy fields. Gold glitter on the banks of the lakes. Rubies shine on the valleys. Conches glow on the sluices. The white swans swim with glow. Tasteful honey oozes out from sugar canes. Singing bees in the groves.
Honey from sugar cane, Honey from the petals (of flowers), Honey from the fruits, Honey directly from the Honey comb, Honey from the garlands.. flow to the sea , fill the sea making the fish swallow these varieties of honey.
The salt sea becomes the Honey Sea!
These are just 2 samples from the 60 verses in ‘Naattu Padalam’ in Bala Kandam where Kamban describes the beauty and richness of the Kingdom of Kosalam ruled by Dasaratha.
Now, a logical question: What would happen if honey were to flow directly into the sea? What would happen if one sees gold and gems on the paddy fields and by the lakeside? First of all, is this possible in reality?
The obvious answer is No.
At the same time, let us realise that the character of Rama symbolises Absolute Truth. Kamban, the philosopher helps us see the ultimate truth through Kamban, the poet. By exaggerating –albeit poetically - he takes us through a wonderful world, makes us experience the beauty and finally making us realise the Absolute Truth!
One finds this uncanny ability- of showing us a Maya world and using it as a veil to make us realise the Truth- in some people even now. These are the people whose works are extraordinary, beyond compare and beyond even logical reasoning.
A classic living example is ILaiyaraaja.
I am sure most of us undergo a totally different experience while listening to many of his songs. We do get transported to a new world. But after the song is over, aren’t our minds left with a feeling which is impossible to explain or put in words?
This is what is the absolute truth!
And ILaiyaraaja is one of the few people to have this uncanny ability!!
(At this point, let me also tell you that there are also great artistes/musicians who take us to the world of Maya through. But the difference is that while one experiences pleasure in their works, it seems to be transient without any permanent value).
Today, let us see yet another composition of his where we go to the Maya world and finally experience what I have tried to describe.
The composition is ‘Yenidu Yenidu Maya Maya..’ from the Kannada film Nannavanu(2009).
The composition is based on a Raag called Brindavana Saranga.
Brindavana Saranga has been adopted into Carnatic music from the Hindustani system.
There is still a lot of confusion about the structure of this Raag.
Some say it is a pentatonic raga with ‘ga’ and ‘dha’ being absent and that it uses both the ‘ni’.
Some say there is only one variant of ‘ni’ and that ‘ga’ is sparingly used in the avarohanam.
After discussing with some great musicologists, my personal opinion is it has 5 swaras in the arohanam and 6 swaras in the avarohanam- with a very minimum use of ‘ga’.
Its structure is: sa ri2 ma1 pa ni2 Sa/Sa ni2 pa ma1 ri1 (ga2)sa.
The ‘ri’ and ‘ni’ are considered to be the Jeevaswaras (notes that give life to this raga).
Let us see the composition now.
We see the glowing delicate filaments that prepare us for the mystical experience. The vivid flow of violins with the bass guitar running as the undercurrent shows us the mystical stream. The Flute has a meditative impact.
The gentle flavour of the Raga is felt in the Pallavi as Sriram Parthasarathy renders the lines. The second line is sharp while the third line shows the facets of the raga rippled colours. The fourth line is aglow with bhava-rich gamakas. The female voice of Bela Shinde now joins caressing niceties. The Flute interspersed between the lines makes our hearts jump with excitement.
The first interlude is a plethora of melodic and rhythmic threads that spell virtuosity.
It starts innocuously with the electronic instruments giving a joyful smile that welcomes the violins and the Laya Raaja. The composition is basically set in the 3-beat cycle Tisram while the Bass Guitar now play in Chatusram as 8 beats followed by a gap of 4 counts. This is repeated 4 times. The number of beats is 48 - which is divisible by 4 as well as 3.
One Maya already revealed!
The nectar-filled flute and the cadences in violin at the end and take us further into the esoteric world.
The subtly layered CharaNam is another marvel and shows us one more Maya.
The first two lines are supple and glow with inner light.
The Laya Raaja enters again in the next line. As the vocals follow the Tisram pattern, the violins in the background follow the chatusram pattern and goes as ta Ka dhi mi (4) 9 times. The Tisram and Chatusram merge ecstatically at the end of the CharaNam as if to show that there is only one absolute truth!
The second interlude starts with symmetrical motifs. We then see the subdued and refined Violins, and Flute moving with splendour and showing us the variegated hues of the world. There is a sudden unexpected touch as we hear the humming in akaaram that takes exhilarating flights across octaves.
Makes us see the Absolute Truth!
An uncanny experience!!
Maya Maya.. Sathya..Sathya..
Friday, 13 November 2009
ILaiyaraaja's Music is Divine..
At times we tend to misunderstand or misinterpret certain words. The word ‘sensuality’ is a classic example.
In the Madras Music and Dance Season in Dec 2007, there was a symposium on a very interesting and intriguing topic-‘Sensuality in Dance and Music’. One of the persons ( a senior dancer!) who gave the introduction on the first day went to the extent of defining sensuality with the help of a Dictionary and said the word would also mean ‘debauchery’.
Thankfully, T M Krishna, the young and energetic musician known for his forthright views and comments said the word could be interpreted in so many ways. 'Sensuality' according to him is something that gives him immense pleasure.
Carnatic Music does give him great pleasure.
He went on to play the recordings of stalwarts like Madurai Mani Iyer, GNB, Semmangudi and said these voices are sensual according to him though some ‘purists’ may not agree.
The problem is such topics remain as taboos and even making a mention is considered to be sacrilegious.
Of course there is a thin line dividing between ‘sensuality’ and ‘vulgarity’. In the case of some artistes this line gets blurred and one feels the vulgarity -or even the term defined so well by that dancer who gave the introductory speech- when they perform.
It is the way the artiste expresses the art form.
The fact of the matter is almost all the Varnams, Padams, Javalis in Bharathanatyam are erotic but it is used as a vehicle to get close to the almighty and attain divinity.
We have this in Bhakthi Literature as well. Naalaayira Divya Prabandham, Geeta Govindam are some examples.
Therefore there is nothing wrong if we say classical music is sensuous (provided of course that we fully understand the meaning and say this!).
ILaiyaraaja’s music appeals to our senses and touches the soul. It is Sensual and Divine!
By using very different ragas, he has given new meanings and new dimensions.
One such Raga is Vakulabharanam.
Vakulabharanam is a very interesting Raga.It is the 14th Melakartha and is very close to Mayamalawagowla and Todi.
The variant of ‘ni’ is different in Mayamalawagowla and that of ‘ga’ is different in Todi.
But this is only on paper.
Vakulabharanam has a unique flavour that is unmatched. In fact it would surprise many if I say that this Raga has lot of Arabic flavour.
Yes, this Raga is sensuous in deed.
Raja brought out this flavour wonderfully in ‘Kinnaththil Then Vadiththu..’(ILamai Oonjalaadugirathu).
But what is more amazing is the way he used this Raga in a philosophical song, ‘Aaarum Athu Aaazhamillai’(Muthal Vasantham) bringing out the somber mood of this Raga.
That is why he is called Raga Devan!
Let us see the structure of the Ragam:
Sa ri1 ga3 ma1 pa dha1 ni2 Sa/Sa ni2 dha1 pa ma1 ga3 ri1 sa.
The composition?
It is ‘Eee Daha’ from the Kannada film 'Shikari'.
The song opens with Janaki singing a brief subtle aalap mellifluously and the Raga unfolds in absolute astuteness. The strings then play with dash and spirit.
The Pallavi exudes the characteristic charm of the Raga with a built- in interplay of laya.
The first interlude gives the energetic sound patterns imbued with an intensity that makes us dance. The riveting and reposeful chorus is soporific. Suddenly the trumpets leap out at us with vibrancy.
Mark of a Genius!
The Charanam has intricately braided passages as the voice glissades.The Bass Guitar swirls ,twirls and prances.
Exotic..
The second interlude sparkles with the myriad facets of the Raga.The Guitar gives the variegated patterns.
It glides sinuously ..
It whirs past us..
It is plangent ..
It is meditative ..
We see the Musical Intelligence, Integrity and Intent.
It is a state of enlightened mystification.
Sensuous …..Divine….
இசையென்னும் கிண்ணத்தில் இனிமையென்னும் தேனை அள்ளித்தருபவர் அல்லவா அவர்?
Does he not give us cups of honey in the form of Music?
In the Madras Music and Dance Season in Dec 2007, there was a symposium on a very interesting and intriguing topic-‘Sensuality in Dance and Music’. One of the persons ( a senior dancer!) who gave the introduction on the first day went to the extent of defining sensuality with the help of a Dictionary and said the word would also mean ‘debauchery’.
Thankfully, T M Krishna, the young and energetic musician known for his forthright views and comments said the word could be interpreted in so many ways. 'Sensuality' according to him is something that gives him immense pleasure.
Carnatic Music does give him great pleasure.
He went on to play the recordings of stalwarts like Madurai Mani Iyer, GNB, Semmangudi and said these voices are sensual according to him though some ‘purists’ may not agree.
The problem is such topics remain as taboos and even making a mention is considered to be sacrilegious.
Of course there is a thin line dividing between ‘sensuality’ and ‘vulgarity’. In the case of some artistes this line gets blurred and one feels the vulgarity -or even the term defined so well by that dancer who gave the introductory speech- when they perform.
It is the way the artiste expresses the art form.
The fact of the matter is almost all the Varnams, Padams, Javalis in Bharathanatyam are erotic but it is used as a vehicle to get close to the almighty and attain divinity.
We have this in Bhakthi Literature as well. Naalaayira Divya Prabandham, Geeta Govindam are some examples.
Therefore there is nothing wrong if we say classical music is sensuous (provided of course that we fully understand the meaning and say this!).
ILaiyaraaja’s music appeals to our senses and touches the soul. It is Sensual and Divine!
By using very different ragas, he has given new meanings and new dimensions.
One such Raga is Vakulabharanam.
Vakulabharanam is a very interesting Raga.It is the 14th Melakartha and is very close to Mayamalawagowla and Todi.
The variant of ‘ni’ is different in Mayamalawagowla and that of ‘ga’ is different in Todi.
But this is only on paper.
Vakulabharanam has a unique flavour that is unmatched. In fact it would surprise many if I say that this Raga has lot of Arabic flavour.
Yes, this Raga is sensuous in deed.
Raja brought out this flavour wonderfully in ‘Kinnaththil Then Vadiththu..’(ILamai Oonjalaadugirathu).
But what is more amazing is the way he used this Raga in a philosophical song, ‘Aaarum Athu Aaazhamillai’(Muthal Vasantham) bringing out the somber mood of this Raga.
That is why he is called Raga Devan!
Let us see the structure of the Ragam:
Sa ri1 ga3 ma1 pa dha1 ni2 Sa/Sa ni2 dha1 pa ma1 ga3 ri1 sa.
The composition?
It is ‘Eee Daha’ from the Kannada film 'Shikari'.
The song opens with Janaki singing a brief subtle aalap mellifluously and the Raga unfolds in absolute astuteness. The strings then play with dash and spirit.
The Pallavi exudes the characteristic charm of the Raga with a built- in interplay of laya.
The first interlude gives the energetic sound patterns imbued with an intensity that makes us dance. The riveting and reposeful chorus is soporific. Suddenly the trumpets leap out at us with vibrancy.
Mark of a Genius!
The Charanam has intricately braided passages as the voice glissades.The Bass Guitar swirls ,twirls and prances.
Exotic..
The second interlude sparkles with the myriad facets of the Raga.The Guitar gives the variegated patterns.
It glides sinuously ..
It whirs past us..
It is plangent ..
It is meditative ..
We see the Musical Intelligence, Integrity and Intent.
It is a state of enlightened mystification.
Sensuous …..Divine….
இசையென்னும் கிண்ணத்தில் இனிமையென்னும் தேனை அள்ளித்தருபவர் அல்லவா அவர்?
Does he not give us cups of honey in the form of Music?
|
Saturday, 23 May 2009
ILaiyaraaja-The Magician!
''Language is the Music of Nature'' said William Wordsworth.
I would like to modify this and say ''Music is The Language of Nature''.
There is Music in Nature.
Natural elements like Rivers, Mountains and the Sea not only produce Music but also have produced great Musicians.
Take River for example.The Great composer in Carnatic Music, Saint Thyagaraja grew up in Thiruvaiyaru(confluence of five rivers).
Bhadrachala Ramadasa lived by the side of the River Godavari.
The great Shehnai Maestro Bismillah Khan ‘s heart was Benaras , a city that is surrounded by the River Ganga.
Beethoven and Mozart lived in Austria where the River Danube flows.
Mountains too have produced great Music.
One of the greatest composers of modern era was born and brought up in an obscure village surrounded by Western Ghats.A quiet River also flows near the village.People who have been to Pannaipuram know how serene and divine the place is.The picturesque scene has to be seen to be enjoyed.
Having grown up in such an atmosphere and environment , is it any surprise that he is able to give enchanting Music to us?
His Music takes us from the Ephemeral to the Ethereal.
He has used popular Ragas, and rare Ragas;
He has used simple rhythmic patterns, and unusual /complex rhythmic Patterns;
He has used simple techniques, and complex Techniques.
Today let us look at yet another composition of his..
The Kannada film ‘Nee Nanna Gellalare’ is replete with some excellent compositions.
‘Anuraga Enaithu’ is one such composition.It is based on Dharmavathy-the 59th Melakartha.
Dharmavathy a magnetic aura.
The Raga evokes a feeling of nostalgia .
Though it is very close to some very popular Ragas like Simhendra madhyamam,Gowrimanohari, and Kalyani , the Raga is unique..
The structure is sa ri2 ga2 ma2 pa dha2 ni3 Sa/Sa ni3 dha2 pa ma2 ga2 ri2 sa.
Anuraga’ starts with the sweet sound of the Guitar.When Dr.RajKumar sings ‘I Love You’, the orchestra repeats it .
It is not just the Orchestra that repeats this. Quietly surrounded by the Grandeur of the composition, we also sing
‘I Love You’.
The Sweet Guitar appears again in the first interlude followed by the brilliant flute .
After this it is sheer Magic.
The Dilruba suddenly starts playing Chakravagam-the 16th Melakartha.
It is Gruha Bedam (or Sruti bedam) with the shift taking place from 'ri'.
The seamless transition is Mind Boggling!
The Charanam continues in Chakravagam until the last line where it catches up with Dharmavathy.
The second Interlude is another beauty.
The chorus sings in Dharmavathy and we quiver.
The Violin Orchestra takes over and we Sway..
And as we Sway, the shift takes place again.
The Flute plays Chakravagam!
If only we had the powers to see Raja’s Music in Visual Form, we would see Natural Beauty at its best.
We would see the Snow-Capped Mountains.
We would see the Azure Blue Sea.
We would see the Marble like River.
We would see the Trees in Verdant Green.
We would be in Nature’s Womb.
We would be Stranded in Paradise!
What an exhilarating experience!
Dhramavathy rains while the Chakravagam peeps out like the sun light!
We see the Rainbow.The seven colours seem like the Seven Swaras.
And that is the real Anuraga...
I would like to modify this and say ''Music is The Language of Nature''.
There is Music in Nature.
Natural elements like Rivers, Mountains and the Sea not only produce Music but also have produced great Musicians.
Take River for example.The Great composer in Carnatic Music, Saint Thyagaraja grew up in Thiruvaiyaru(confluence of five rivers).
Bhadrachala Ramadasa lived by the side of the River Godavari.
The great Shehnai Maestro Bismillah Khan ‘s heart was Benaras , a city that is surrounded by the River Ganga.
Beethoven and Mozart lived in Austria where the River Danube flows.
Mountains too have produced great Music.
One of the greatest composers of modern era was born and brought up in an obscure village surrounded by Western Ghats.A quiet River also flows near the village.People who have been to Pannaipuram know how serene and divine the place is.The picturesque scene has to be seen to be enjoyed.
Having grown up in such an atmosphere and environment , is it any surprise that he is able to give enchanting Music to us?
His Music takes us from the Ephemeral to the Ethereal.
He has used popular Ragas, and rare Ragas;
He has used simple rhythmic patterns, and unusual /complex rhythmic Patterns;
He has used simple techniques, and complex Techniques.
Today let us look at yet another composition of his..
The Kannada film ‘Nee Nanna Gellalare’ is replete with some excellent compositions.
‘Anuraga Enaithu’ is one such composition.It is based on Dharmavathy-the 59th Melakartha.
Dharmavathy a magnetic aura.
The Raga evokes a feeling of nostalgia .
Though it is very close to some very popular Ragas like Simhendra madhyamam,Gowrimanohari, and Kalyani , the Raga is unique..
The structure is sa ri2 ga2 ma2 pa dha2 ni3 Sa/Sa ni3 dha2 pa ma2 ga2 ri2 sa.
Anuraga’ starts with the sweet sound of the Guitar.When Dr.RajKumar sings ‘I Love You’, the orchestra repeats it .
It is not just the Orchestra that repeats this. Quietly surrounded by the Grandeur of the composition, we also sing
‘I Love You’.
The Sweet Guitar appears again in the first interlude followed by the brilliant flute .
After this it is sheer Magic.
The Dilruba suddenly starts playing Chakravagam-the 16th Melakartha.
It is Gruha Bedam (or Sruti bedam) with the shift taking place from 'ri'.
The seamless transition is Mind Boggling!
The Charanam continues in Chakravagam until the last line where it catches up with Dharmavathy.
The second Interlude is another beauty.
The chorus sings in Dharmavathy and we quiver.
The Violin Orchestra takes over and we Sway..
And as we Sway, the shift takes place again.
The Flute plays Chakravagam!
If only we had the powers to see Raja’s Music in Visual Form, we would see Natural Beauty at its best.
We would see the Snow-Capped Mountains.
We would see the Azure Blue Sea.
We would see the Marble like River.
We would see the Trees in Verdant Green.
We would be in Nature’s Womb.
We would be Stranded in Paradise!
What an exhilarating experience!
Dhramavathy rains while the Chakravagam peeps out like the sun light!
We see the Rainbow.The seven colours seem like the Seven Swaras.
And that is the real Anuraga...
|
Wednesday, 23 January 2008
ILaiyaraaja-The Master
“There is a lot of Mathematics in Music. Not just in places where the Talam is explicitly seen but also in Music that does not follow any Talam. Music is not just in complex calculations.Rhythm or Mathematics(called as Kalapramanam in Carnatic Music) is inherent though subtle in every phrase.In its natural course and flow, all forms of Music have Mathematics in them.”
“In a painting there is symmetry.In Saint Thyagaraja’s compositions, there is Mathematics in structure.”
These are the words of Maestro ILaiyaraaja.
An Artiste not only has to have deep knowledge of the subject but also should enjoy, internalize and express what he or she feels. After all , is not Art a form of an expression?.
We all know how true this is in the case of ILaiyaraaja.
In his Music,
there is Symmetry , there is Beauty;
there is Melody, there is Rhythm;
there is Mathematics, there is Science;
there is Expression, there is a Feeling;
Going back to what Raaja said about Mathematics in Music, let us see how these two are related apart from the 'M'factor.
The structure of the Ragam -Arohanam/Avarohanam- follows a Mathematical Pattern.
The Melakartha System is Arithmetics and is a permutation and combination of the seven basic Swaras.
In Carnatic Music,there are also very complex mathematical calculations in the rhythmic patterns.So much so that at times a Concert would be reduced to jugglery similar to a Circus.
Raaja has used lot of complex calculations in his Ragas as well as Talas but never at the cost of Aesthetics.Being a Film Music Composer, he has to operate on certain limited parameters and with a lot of constraints.But this has not stopped him from experimenting new elements in Music .
At the same time he has always struck the right balance and has never compromised on the beauty of Music.
Today we are going to see two such compositions.
'Nanna Neenu Gellalare’from the Kannada Film ‘Nee Nanna Gellalare’ is a very different composition.
We have seen how Raaja has used either a single Raga or more than one Raga in his compositions.But he has used a very different technique in ‘Nanna Neenu..’
Let us see how.
The song starts with Janaki humming the Raga Sudhha Dhanyasi in Western Style.Dr.Rajkumar’s humming follows but it has traces of Hindolam-another pentatonic Raga. While Sudhha Dhanyasi uses Sa Ga Ma Pa Ni, Hindolam has Sa Ga Ma Dha Ni-that is Dha is substituted for Pa .A very minor difference but the two Ragas sound different, though in some phrases they may sound very similar.
Raja has brilliantly exploited this Symmetry and the Asymmetry.This is a song where the Hero and the Heroine challenge each other and that must be the reason for this pattern.
The Pallavi is in Sudhha Dhanyasi while the Charanams have the colour of both Sudhha Dhanyasi and Hindolam.Indications of some kind of a Magic to follow.
We wait with bated breath expecting this to happen anytime…
And it happens in the second Interlude.Janaki starts singing the Swaras of Hindolam while Dr.Rajkumar sings Swaras of Sudhha Dhanyasi.
No overlapping and therefore no counterpoints.It is just that one voice sings one Raga while the other sings another Raga as a reply.Towards the end of this phase, Dr.Rajkumar sings the Arohana of Mohanam, Madhyamavati and Suddha Saveri.
The song culminates with a beautiful Dance Jathi section.
The beats, and the first interlude give a jazzy look with the Trumpets, Sax and the Synthesiser!
Experimentation at its Best!
I am reminded of a Tamizh Film Song where again there is a challenge between the Hero and the Heroine .
In ‘Vaa Veliye’ from ‘Paadu Nilave’, Raaja tries a different technique in terms of the Raga , the Swara usage and the Rhythm.
This composition is set to the Raga Subhapantuvarali, a Raga considered to be the Mother of Pathos.
But here it is used in a competition song!
If we think that this is the only surprise element here, we are mistaken.
The Rhythm in the Pallavi and the first Charanam is in the 4/8 beat Chatusram.This suddenly becomes the 3/8 beat Tisram when the female voice(Chitra) sings ‘Naan Ariven’ towards the end of the first Charanam.
Again if we assume that the rhythmic pattern has changed, we are in for another surprise.The O’ Henry streak in Illayaraja takes over .The MaleVoice(SPB)-that follows the Female Voice - sings in the 4-beat Chatusram!
The second Charanam is in Tisram until the fifth line where it goes back to Chatusram.
Then there is the Swara singing section.
It is O’ Henry Raja again .
The male voice sings Swaras of Subhapantuvarali .The Female voice also does the same ..but with a difference.
Only Five Swaras-Sa Ri Ga Pa Dha- are sung to make it sound like a different Raga, Bhoopalam-considered to be a morning Raga.
It was Adi Sankara who was the exponent of Maya or Illusion theory.
But here we have Illayaraja who depicts Maya in his compositions!
The Interludes need a special mention here.It is Western Orchestration throughout despite being a Indian Classical Raga.The only time one gets to hear an Indian percussion instrument is during the Tisram beats when the Tabla makes an appearance.
The song which starts with a soul stirring Aalap by SPB, culminates with the Mathematical pattern of Swara singing.
Paradoxical?
Well, yes but our Life itself is paradoxical and Music is no exception!
Raagangall Kodi Kodi Ethuvum Puthithillai.
Aanal Avarathu Isai Endrume Puthithuthaan!
(There are millions of Ragas and none of them is new.But Raaja’s Music is always New!)
“In a painting there is symmetry.In Saint Thyagaraja’s compositions, there is Mathematics in structure.”
These are the words of Maestro ILaiyaraaja.
An Artiste not only has to have deep knowledge of the subject but also should enjoy, internalize and express what he or she feels. After all , is not Art a form of an expression?.
We all know how true this is in the case of ILaiyaraaja.
In his Music,
there is Symmetry , there is Beauty;
there is Melody, there is Rhythm;
there is Mathematics, there is Science;
there is Expression, there is a Feeling;
Going back to what Raaja said about Mathematics in Music, let us see how these two are related apart from the 'M'factor.
The structure of the Ragam -Arohanam/Avarohanam- follows a Mathematical Pattern.
The Melakartha System is Arithmetics and is a permutation and combination of the seven basic Swaras.
In Carnatic Music,there are also very complex mathematical calculations in the rhythmic patterns.So much so that at times a Concert would be reduced to jugglery similar to a Circus.
Raaja has used lot of complex calculations in his Ragas as well as Talas but never at the cost of Aesthetics.Being a Film Music Composer, he has to operate on certain limited parameters and with a lot of constraints.But this has not stopped him from experimenting new elements in Music .
At the same time he has always struck the right balance and has never compromised on the beauty of Music.
Today we are going to see two such compositions.
'Nanna Neenu Gellalare’from the Kannada Film ‘Nee Nanna Gellalare’ is a very different composition.
We have seen how Raaja has used either a single Raga or more than one Raga in his compositions.But he has used a very different technique in ‘Nanna Neenu..’
Let us see how.
The song starts with Janaki humming the Raga Sudhha Dhanyasi in Western Style.Dr.Rajkumar’s humming follows but it has traces of Hindolam-another pentatonic Raga. While Sudhha Dhanyasi uses Sa Ga Ma Pa Ni, Hindolam has Sa Ga Ma Dha Ni-that is Dha is substituted for Pa .A very minor difference but the two Ragas sound different, though in some phrases they may sound very similar.
Raja has brilliantly exploited this Symmetry and the Asymmetry.This is a song where the Hero and the Heroine challenge each other and that must be the reason for this pattern.
The Pallavi is in Sudhha Dhanyasi while the Charanams have the colour of both Sudhha Dhanyasi and Hindolam.Indications of some kind of a Magic to follow.
We wait with bated breath expecting this to happen anytime…
And it happens in the second Interlude.Janaki starts singing the Swaras of Hindolam while Dr.Rajkumar sings Swaras of Sudhha Dhanyasi.
No overlapping and therefore no counterpoints.It is just that one voice sings one Raga while the other sings another Raga as a reply.Towards the end of this phase, Dr.Rajkumar sings the Arohana of Mohanam, Madhyamavati and Suddha Saveri.
The song culminates with a beautiful Dance Jathi section.
The beats, and the first interlude give a jazzy look with the Trumpets, Sax and the Synthesiser!
Experimentation at its Best!
I am reminded of a Tamizh Film Song where again there is a challenge between the Hero and the Heroine .
In ‘Vaa Veliye’ from ‘Paadu Nilave’, Raaja tries a different technique in terms of the Raga , the Swara usage and the Rhythm.
This composition is set to the Raga Subhapantuvarali, a Raga considered to be the Mother of Pathos.
But here it is used in a competition song!
If we think that this is the only surprise element here, we are mistaken.
The Rhythm in the Pallavi and the first Charanam is in the 4/8 beat Chatusram.This suddenly becomes the 3/8 beat Tisram when the female voice(Chitra) sings ‘Naan Ariven’ towards the end of the first Charanam.
Again if we assume that the rhythmic pattern has changed, we are in for another surprise.The O’ Henry streak in Illayaraja takes over .The MaleVoice(SPB)-that follows the Female Voice - sings in the 4-beat Chatusram!
The second Charanam is in Tisram until the fifth line where it goes back to Chatusram.
Then there is the Swara singing section.
It is O’ Henry Raja again .
The male voice sings Swaras of Subhapantuvarali .The Female voice also does the same ..but with a difference.
Only Five Swaras-Sa Ri Ga Pa Dha- are sung to make it sound like a different Raga, Bhoopalam-considered to be a morning Raga.
It was Adi Sankara who was the exponent of Maya or Illusion theory.
But here we have Illayaraja who depicts Maya in his compositions!
The Interludes need a special mention here.It is Western Orchestration throughout despite being a Indian Classical Raga.The only time one gets to hear an Indian percussion instrument is during the Tisram beats when the Tabla makes an appearance.
The song which starts with a soul stirring Aalap by SPB, culminates with the Mathematical pattern of Swara singing.
Paradoxical?
Well, yes but our Life itself is paradoxical and Music is no exception!
Raagangall Kodi Kodi Ethuvum Puthithillai.
Aanal Avarathu Isai Endrume Puthithuthaan!
(There are millions of Ragas and none of them is new.But Raaja’s Music is always New!)
Subscribe to:
Posts (Atom)