ILaiyaraaja's Music is Poetic..

There is poetry in everything.

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

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

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

Now, think!

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

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

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

One finds such happenings in Literature.

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

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

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

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

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

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

Look how poetically she describes her misery.

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

There is of course poetry in music.

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

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

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

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

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

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

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

That is the beauty of music..

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

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

Let us look at the composition.

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

This prelude prepares us for the feast waiting for us.

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

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

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

The CharaNam is delightfully layered.

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

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

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

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

Sparks of ingenuity!

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

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

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

என்னுள்ளம் எப்போதும் ஏங்குவது உனது இசையினைக் கேட்டிடத்தான்..

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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-Musician nonpareil

Says the mother of the love-struck girl to the Lord,

‘’If she says anything at all she says nothing but your Name.
Remembering your sacred body she melts.
Her Love is great and she can do nothing.
With eyes long and shaped like fish, she has forgotten sleep.
My fool, my little fool, she is so young, yet she knows you.
In the presence of scandalmongers what do you mean to do
O Lord of Itavitanthai,
With my Girl, her waist thin as a creeper..’’

ஓதிலும் உன் பேர் அன்றி,மற்று ஓதாள்;
உருகும்,நின் திரு உரு நினைந்து;
காதன்மை பெரிது,கையறவு உடையள்;
கயல் நெடுங்கண் துயில் மறந்தாள்
பேதையேன் பேதை பிள்ளைமை பெரிது;
தெள்ளியல்;வள்ளி நுண் மருங்குல்,
ஏதலர் முன்னா என் நினைந்திருந்தாய்?
இடவெந்தை எந்தை பிரானே!

This is the verse written by Thirumangai Azhwar and is part of the Treatise ‘Naalaayira Divya Prabhandam’.

Thirumangai Azhwar , who lived in the 8th century wrote 1253 verses-out of the 4000 written by the 12 Azhwars.

His verses are packed with emotions and have a very unique flavour.

The aforementioned verse sounds like a love poem but it is the divine love for the Lord.

Devotion at its best!

At the same time, atheists and agnostics can also enjoy this poem for its sheer beauty and the mastery of language..

I am reminded of ILaiyaraaja whenever I read such beautiful poems.

His compositions are beautiful and one can see his mastery of the idioms of Music.

Like a dedicated priest, he adorns his compositions with garments, jewellery, and flowers.

His decorations look so fresh that every time we look at them, a new feature strikes us. There are so many intricate patterns that at times one spends hours together looking at the beauty and still do not get tired..

He is a Musician nonpareil!

Today, let us see two of his wonderful compositions.

One is ‘Yem Debba Teesavura’ from the Telugu Film Aswamedam and the other is ‘Isayil Thodanguthamma’ from Hey Ram.

‘Yem Debba’ is based on the 59th Melakartha Dharmavathy.
The Raga itself is packed with several emotions making us go again and again to it..

Though it is very close to some popular Ragas like Simhendra Madhyamam and Gowrimanohari, it has its unique identity.

Surprisingly enough, it is just the variant of the swara ‘ga’ that separates this Raga from Kalyani but look how different they sound!

That is the beauty of Music.

‘Isaiyil Thodanguthamma’ is based on Hamsanadam.But it has flavours of Saranga Tharangini, Shudh Sarang and to a certain extent Yaman Kalyan as well.

Hamsanadam is again a very interesting Raga and as per the older Raga texts this Raga is derived from the 60th Melakartha Neethimathi having six Swaras in the ascent and descent.But over a period of time it became a pentatonic Raga with just 5 Swaras..

‘Isaiyil Thodanguthamma’ is yet another proof of Raja’s iguana like grip on Laya(rhythm).

It is set to the 7 beat Mishram.

In the prelude and the interludes, the pattern is played in a fast pace(called as ‘Mel Kaalam’) and here the Master divides the 14(7x2) as ThaKaDhiMi ThaKa ThaKaDhiMi ThaKaDhiMi that is 4 2 4 4..

In the vocal part, it is played as 3 4- ThaKiTa ThaKaDhiMi.

Various combinations of percussion instruments are also used.

The prelude has only the percussions- playing the same pattern 12 times- followed by the chorus.

This special resonance itself creates a curiosity.

We now hear the wonderful voice of Ajoy Chakraborthy.A word or two about this Musician. He is a very well known Hindustani Vocalist belonging to what is called as the Patiala Gharana. He has also learnt Carnatic Music from Dr.Balamuralikrishna.

The Pallavi is vibrant with his mellifluous and powerful voice and has an unmatched quality.

If the harmony of chorus voices followed by the languorous charm of the Shehnai is delectable, the humming of Ajoy is tender and gripping. It just shows how the Maestro can create magic by just using the voices appropriately.

The Charanam is another beauty. It has strands of empathy and the humming is perky.

The second interlude has the percussion following a curvilinear pattern.The Dilruba scythes us with a piercing intensity. One feels the traces of Raag Shudh Sarang here.

The second Charanam has the lissome touches and when the Swaras are rendered in a kind of Hindustani style, it transports us to a totally different world.

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The second composition ‘Yem Debba’ is yet another marvel.

It has an inherent beauty and charm but what makes it unique is the technique used by the magician in the Charanam.We shall go to that in a moment but before that let us take a look at the prelude, Pallavi and the interlude.

The Synthesiser and the Rhythm move in a canter like a horse.

The Pallavi is lush and has shades of Madhuvanti, a Hindustani Raga derived from Dharmavathi.

The interlude irradiates wisps of soothing light with the haunting Flute and the Violins juxtaposed with electronic instruments.

The first two lines in the Charanam move smoothly with precision when the marvel strikes.

The next lines ‘Elaiyaa intha thondara’..are sung in the next Shruthi.

The technique of Gruha bedam is used so effectively and the Raga now becomes Chakravagam,the 16th Melakartha..

The Swara ‘ri ‘ of Dharmavathi becomes the base Swara ‘sa’ here giving us another Raga.

What can one say about this genius?

No doubt it is a clear grasp of techniques of music but what sets him apart is the way he executes these..

It gets back to Dharmavathi in the interlude.

The second interlude is garnished with the sounds of traditional and electronic instruments. It is like a riot of mild colours blending into one another giving us a whole spectrum of emotions.

It encapsulates the tremendous verve of the beautiful Raga.

The two compositions stand testimony to the fact that the Musical Expression of the Maestro transcends the formal framework at the same time laying emphasis on the innate artistic process.

It is the convergence of his intellectual and artistic senses that makes him unique.

Our Life begins with his Music!

அவரது இசையில் தொடங்குவது நமது வாழ்வு!

ILaiyaraaja-The Awe-inspiring Musician!

‘Her hair, rough-washed in water, on her face
So spread her swollen lower lip is hurt.
She sighs when thinking of us and our sport
When on an instant now those nights revert
To hot tears falling on her sleeping place’.

'Without her ornaments, too heavy grown,
She lies the midway through her bed of pain.
Enfeebled, miserable, consumed by tears:
Assuredly to view her is to drop your rain,
An act to which the tender soul is prone'.

Poets and artistes have a unique way of looking at things in the world.
When we look at some of the major works of great poets and artistes, we are awestruck. We cannot control our amazement and appreciation at their imagination and aesthetic sense.

Look at the aforementioned verses. Can you guess who is addressing whom?The second verse if read carefully gives the hint. Yes..it is the cloud that is being addressed. And who is talking to the cloud?

A Yaksha (simply put an attendant in the court of Kubera, the Hindu God of wealth) is obsessed with his wife.So smitten and besotted that he even neglects his duties thus earning the wrath of his Master who curses him and banishes him to the Earth for one year.

Even during the exile, the Yaksha thinks about his Lady Love and pines for her. One day, he spots a cloud kissing the mountain and he requests the cloud to carry his message to his beloved.What we then get to see is a set of 100 odd verses that take us out of this world(literally).

This set of poems forms what is called as ‘Megadootam’(the cloud messenger).
Megadootam was written by Kalidasa.

Kalidasa is regarded one of the best poets in that beautiful language called Sanskrit. There are a lot of stories about Kalidasa and historians still find it difficult to record his period with authenticity.He lived during the 3rd, 4th or the 5th century(as per an archeological study conducted during the mid ‘80s, Kalidasa lived between 370 AD and 450 AD).

It is said that he was blessed by Goddess KaLi who rewarded him with an extraordinary wit and knowledge and that is why the name Kalidasa.At the other extreme, we also have many ‘scholars’ who have taken the liberty of dissecting his personal life and have made efforts to ‘prove’ that he was after all an ordinary person.

Ambiguous-this is what one can conclude if one tends to study Kalidasa’s life history.

However, why do we need to dig deeper into the life of a genius whose works speak for themselves. Reading his works (even translated works) give us so much of pleasure and everlasting bliss.

Apart from Megadootam, the other works of Kalidasa include Raghuvamsam-Dynasty of Raghu kings, Kumara sambhavam-the Birth of Muruga or Karthikeya, Ritu Samharam-experience of two lovers in the six seasons, Malavikaagnimitram-story of Malavika and King Agnimitra, Abhijnanasakuntalam-story of Dushyant and Sakuntala and Vikramorvasiyam-King Pururavas and the celestial dancer Urvasi.

Go through the verses again(translation courtesy:John Holcombe).Can you not empathise with the lover?

The beauty of Megadootam lies not just in the concept.The way the Yaksha describes the route to the clouds(there are two parts-poorva mega or the previous cloud and the uttara mega, the subsequent or the next cloud) is so vivid and beautiful that one literally sees and feels each and every place traversed by the cloud(s).The images are fresh and at the same time convey the emotions of the despondent Yaksha simply captivating our hearts.

Is this not what poetry is meant for?

Like such beautiful immortal poetry, Music also gives us feelings and emotions especially if it is composed by geniuses. Geniuses whom we get to see once in a while and who are awe-inspiring.

We are very lucky to have a living legend in film music who portrays human emotions so beautifully that we keep wondering how it is humanly possible.

Like Kalidasa’s poetry, ILaiyaraaja’s music gives us vivid imagery made possible with intricate detailing and exquisite craftsmanship.

Like Kalidasa, ILaiyaraaja also has divine powers (and this is purely a personal opinion) without which it would be impossible to compose such music.

Most importantly, a lot of attempts are being made to dissect the personality and personal life of ILaiyaraaja by people who consider themselves as scholars and bask in the publicity generated by such futile efforts.

For Kalidasa, it was the choice of words, the combination of words and the beautiful description.

For ILaiyaraaja, it is the choice of the Ragas, the combination of swaras and the beautiful arrangement/orchestration/tune.

Today, we are going to see yet another composition of Raaja’s which I consider a gem.
The song is ‘Maalai Nera Kaatre’ from ‘Agal ViLakku’(1980).
It is based on the Hindustani Raag Bilaskhani Todi.

Bilaskhani Todi is a very interesting Raag.It was invented by Bilas Khan, the son of Miya Tansen-who is considered to be one of the greatest composer/musician in Hindustani music.It is said that Bilas Khan composed and sang this Raag immediately after his father died and that Tansen’s hand moved in appreciation.

Bilaskhani Todi is derived from the Bhairavi Thaat(Thaat is the equivalent melakartha of Carnatic) though it has the Todi tag-Todi being another Thaat and is the counterpart of Subhapantuvarali.However, the Todi tag is not there without any reason.

The Raagang(loosely translated as the structure) follows Todi.I shall leave it at that since it is too technical to define and explain this concept and is beyond the scope of this blog.

Bilaskhani Todi is considered to be among the greatest of Raags in Hindustani music and to compose or sing(leave alone master) is not that easy.

The aro/avaroh is:

Sa ri1 ga2 pa dha1 Sa/ri1 ni2 dha1 pa dha1 ni2 dha1 ma1 ga2 ri1 ga2 ri1 sa.

This special raag cannot be confined to the Aroh/Avaroh alone since there are a lot of special prayogas in this Raag.

Let us now look at the composition.

The opening itself is very different and is rich with musical intimacy. It is replete with a stirring articulation that is heart-wrenching. The violins play with languorous grace.It is an interplay of emotions as the guitar suddenly appears and play with a benevolent tenor.

The Pallavi has an aura of sanctity. The crystalline voice of Janaki educes the image of the raga succinctly.The first line exudes brilliant radiance while the second line is solicitously appealing.The third line is impeccably deep and brings out the pangs of separation and dejection wonderfully.

In the first interlude, the raga moves with unimpeded flow with the violins giving a soulful delineation.We see the flashes of musical sublimity as a special modern instrument gives a drizzle of delicate touches. We feel the tenderness of melody as the Dilruba continues.The ending in the higher octave is a masterstroke!

The CharaNam encompasses the dimensions of the raga.The first two lines in the CharaNam lances and pierces our hearts. The third line has pervasive mellowness and the fourth line with subtle pauses in between is poignant.

The long flute pieces interspersed between the lines give feathery touches with their gentle glides.

The second Interlude is maneuvered with expert precision.

The Guitar played with finesse and the Flute with poise combine together to produce an extraordinary piece of music.
It has the deft touches and the delicate shades.
It is then the turn of the Dilruba that plays with the weight of volume and vibrancy giving us subtle and varied emotions.

The entire composition is a study in subtlety.
We internalize it, try to discover it, dwell in it, get soaked and finally get drenched!

It is profound.
It is rich and mellow.
It is redolent with mystique and has a meditative impact.

It is the musical silence of the evening breeze!

மாலைநேர காற்றின் மௌனமும் இசைதான்!

ILaiyaraaja-The Vibrant Musician!

Our life is full of vibrations.

These vibrations are very subtle and most of the times, they are sensed only by the subconscious mind.

But sometimes the vibrations are so powerful that we sail to a new world-a world that is blissful, a world that is peaceful, a world that is tranquil.

It is a different feeling altogether.

We feel a sudden burst of energy entering us, ripping through us, and permeating each and every cell in the body.

This could happen to us while seeing some people.. while reading a book.. while meditating.. while listening to music..

What is it that that gives us such powerful vibrations?
The Subject? Or our reaction?

Now, take this Thyagaraja Krithi. ‘Sujana Jeevana Rama Suguna Bhushana.‘ Bhujaga Bhushanarchita ‘

Don’t we feel the vibrancy of each word even if one does not understand the meaning?

Let us look at the meaning.

Addressing Rama, Thyagaraja says,

‘’O Immaculate Lord! You are the indispensable support of men (“budhajana”) who walk the path of righteousness (“sujana jeevana”)’’

“All virtues adorn you (“arcchita”) like priceless ornaments (“ bhujaga bhushanaa”)”.

We feel the vibrations when the words are properly uttered and rendered well.

It is because of the way the entire song has been conceived and composed.

Now let us look at this verse:

வெள்ளைநுண் மணற்கொண்டு தெருவணிந்து
வெள்வரைப்பதன் முன்னம்துறை படிந்து
முள்லுமில்லாச் சுள்ளி யெரிமடுத்து
முயன்று உன்னை நோற்கின்றேன் காமதேவா!
கள்ளவிழ் பூங்கணை தொடுத்துக் கொண்டு
கடல் வண்ணனென்பதோர் பேரெழுதி
புள்ளினை வாய் பிளந்தான் என்பது
ஓர் இலக்கினில் புக என்னை எய்கிற்றியே.

It means,

“Oh!Kamadeva!ardently do I penance,and beseech you,
Bathing in water courses, in early dawn,
Decorate beautifully, the streets with fine sand-white,
And also offer twigs, sans thorns, in the kindling fire,
Oh!Cupid! Throw me unto Him,
By your flowery arrows with odorous pollen
And nectarine driblets, inscribing Lord’s name
Who in hue like bluish sea
Tore asunder the beak of ‘Baka’ the demon!”.

Thus sang AndaL in her Naachiyaar Thiromozhi.

Consisting of 143 verses, Naachiyaar Thirumozhi -which can also be translated in English as ‘the beautiful sacred utterances of the Lady’ reveals Bridal mysticism in exquisite lyrics.

In the aforementioned verse,, she prays to Manmadha, the God of Love to make Krishna her husband.

Though the entire verse sounds beautiful and vibrant, just look at the two phrases:
Kallavizh poongaNai thoduththu and Pullinai vaai piLanthaan .

Rhyming words Kallavizh and Pullinai sound musical but there is more to it than meets the eye (or is it ears?).

Though Krishna is known by hundreds of names, ANdaaL refers Krishna as the one who killed the Demon who was in the form of a bird.

We all know that the weapon of Manmadha is the flowery arrow. Arrow symbolizes aggression and it is bedecked with flowers that symbolize tenderness.

In a similar vein, Crane is a soft creature but the demon took the form of this bird only to be killed by Krishna.

AandaaL conveys that we mortals have both the qualities in us –good and bad-and once we surrender ourselves to the Lord, we retain only the good.

Thaygarajar and AandaL..

Their works are powerful and give us vibrations because each and every word they use are thought-provoking, meaningful and special..

As a matter of fact, these are people with extra ordinary talent and such things happen to them spontaneously and naturally.

It is not that one has to go back centuries to find such powerful and vibrant works.

One of the greatest film music composers born in Tamizh Nadu is also capable of such magic.

He gave a new identity to Film music in general and Tamizh film music in particular. His music resonates because of the ragas he chooses and the tune he composes. It reverberates because of the talas and the rhythmic patterns he sets. It vibrates because of the way the orchestration is conceived and executed.

On this special day we are going to see a beautiful composition of his.

The song is ‘Maargazhi Maadam mun Pani VeLaiyile’ from the film Panchami.
It is based on Khamas.

Khamas is derived from the 28th Melakarta Harikamboji and its structure is
Sa ma1 ga3 ma1 pa dha2 ni2 Sa/Sa ni2 dha2 pa ma1 ga3 ri2 sa.
There is also a school that uses the bhashanga swara Ni3-the Kaakali nishadam.

Though on paper, Khamas is very close to its parent raga(it misses only the ‘ri’ in the arohanam), the ragam has it unique flavour and beauty.It gives peace and tranquility and at the same time gives energy to be more active.
Khamas has a deceptive simplicity.It sounds so simple but yet it has a lot of intricacies.

There are a lot special prayogas in this raga,'Ganidhanipadhani' 'sagamapadhani', 'dhapamagari' being some of them.
The raga is also widely used in Tamizhisai and is called as Panchchamaram PaN.

Let us now look at the composition.

It starts with a meticulously uplifting musical rhythm. We feel the vibrations. It is intensely vigorous but at the same time stirs our finer instincts. We breathe khamas even before a single swara is played or sung.

There is a pleasant surprise here as the Sitar plays. Sitar is generally considered to be a Hindustani instrument.But here it plays in Carnatic style reflecting the quintessence of the raga.

The violin now enters gracefully with all the ingredients of classicism. The euphonious Jalatarangam moves very subtly with the violin.The Sitar now welcomes the violin and the violin reciprocates.

..And the western instrument wallows in sagaciously.

It is dawn and the month is margazhi.We feel the salubrious and serene atmosphere as the sweet voice of Janaki renders the pallavi. Khamas poetically adorns the charming face of Margazhi.

In the first interlude, the Sitar gives gentle flowery strokes with the vivifying Mridangam responding energetically. The Sitar now continues its regal mien.

The filigree-rich phrases of Jalataranagam and the flute are very interesting with the former spreading enchantment and the latter bringing out the intrinsic beauty. The violin saunters and breathes life showing us the shimmering hues.

At the end of the first interlude, we see a sudden flash of resplendent light.

The CharaNam is well-chiseled.

The first line ‘Malaiyin mugattil oliththa..’ followed by the sangati is couched in a language of virtuosity. We also notice the subtle change in the nadai-that is the gait- in the mridangam here. Fecund imagination!

The second line ‘Malarnatha Thaamarai’ is rich in aesthetic passion.

The voice of T.V.Goplakrishnan joins now taking us to the crux of the raga.

The lines that follow are finely braided with glistening strands.

The raga’s exalted quality comes to the fore in the swara-singing session in the second interlude. The deftly woven swaras show the variegated facets of the raga. It is an enriching musical experience as the fine and delicate cadences are rendered with uncanny precision.

The Raga and the Tala merge into one another subtly leaving us enraptured.

The exotic flute then captures arresting images.

The composition is a glowing edifice..

We see and feel the spontaneity of musical sentiments..

It is still, is rich with musical content and runs deep..

It is a well spring of tranquility..

It is vibrant..

As fresh as the ozone-rich early dawn of Margazhi..

ps:ILaiyaraaja-The Vibrant Musician and the Tamizh version below were written and read exclusively for an invited audience on the 30th of Aug 2009 in Chennai.

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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-Musician with a Magnetic Charm!

Have we ever thought as to why birds make trees their abode?

Is it a sense of security?
Is it affinity?
Is it natural attraction?

By the way, why should the birds be attracted to trees?

We all know how musical birds are.
But have we noticed that trees are musical as well?

The sound of the tree rustling in the breeze..
The green leaves..
The smiling flowers..
The shining fruits..

We hear the Shruti..Swaras..Ragas..Talas..

Birds and the Trees!

Attached to each other like a magnet.

Said Saint Thyagaraja,’Oh.Rama!I am like a bird going around the tree again and again..’(Chutti Chutti Pakshulella Settu Veduku Reethi Bhuvini Puttagana Nee Padamula Pattu Konna Nannu Brova)

As a divine person, he was attracted to Rama like how a bird is attracted to a tree.

He went on to sing ‘You are the Treasure of Virtues, and the Abode of Mercy’(SuguNa Jaala KaruNaavaala).’

'I have come seeking shelter at your feet surrendering my Body and possessions as they belong to You’(CharaNu Jocchi Tanuvu Dhanamu Needeyandi Thyagaraja Vinuta Rama).

‘Oh Sitarama!Why this undue delay to protect me?’(KaalaharaNamelaraa Hare Sitarama?).

This beautiful Keertanam is in Sudhdha Saveri Ragam.

Talking of attraction, I am also reminded of the divine attraction between Rama and Sita.

As per Tamizh poet Kamban, the love between the two was spontaneous.

Though there are a lot of verses that beautifully describe their relationship (some have already been quoted in this thread!), I would like to take up one very interesting verse.

It is the night before the wedding.

Looking at the moon, the Love Struck Rama sees Sita’s face in it. For a moment he feels the moon is Sita.
And says, ‘You are the seed of my love;not just the seed but also the manure for the tree called Love.’

Then he realizes that it is the moon and not his beloved Sita.

He now says’ You have the face of Sita. Probably you are related to her. By reminding me of her face, you are troubling me so much.Why don’t you become my relative as well?’

திருவே அனையாள் முகமே! உயிரின்
கருவே!கனியே!விளைகாம விதைக்கு
எருவே!மதியே!இதுஎன் செய்தவா?
ஒருவேனொடு நீ உறவாகலையோ?


What Kamban means here is that unable to bear the torment Rama pleads with the moon not to trouble him!

Poetic Beauty..

Magnetic attraction..

I find this kind of a magnetic charm in ILaiyaraaja’s music.

Many times when I listen to his musical pieces, I ask him (of course to myself!),

‘Why do you trouble me by producing such great music?’

Trouble that is a pleasure.

Today, we are going to see yet another great composition.

It is ‘Raamudu Kalaganaledhu’ from the Telugu film ‘Rajkumar’.

The composition is based on Sudhdha Saveri.

Sudhdha Saveri is a oudava raga(raga with 5 swaras in the Aarohana and Avarohana) and is derived from the 29th melakartha DheeraShankarabharanam.

Its Structure is:
sa ri2 ma1 pa dha2 Sa/Sa dha2 pa ma1 ri2 sa.

Replace the ‘ma’ with ‘ga’ and we get Mohanam.
Replace the dha’ with ‘ni’ and we get Madhyamavati.

Sing this raga in Madhyama Sruti and we get Pahaadi.

However, Sudhdha Saveri is unique and different.

As the name suggests, it is indeed a very pure raga.

Maestro has scored some amazing songs in this ragam.

Let us now look at today’s composition.

It starts with the very auspicious Nagaswaram and Tavil.

The Veena plays with finesse.Then a surprise awaits us.It is not the violin or flute that gives a reply to the Veena.

It is the Baas Guitar that gives the repartee.
Though Maestro is very well known for his bass work (in fact he was the one who pioneered this in films), the resplendent flashes of Bass Guitar in this composition is unique and great!

The Flute now appears with beauty and grace. The violins and electronic instruments follow suit.

The Pallavi is exquisite and gives distinctive shades of Sudhdha Saveri meticulously.
Suseela and SPB give soft radiance to the already beautiful Ragam.

The last line in the Pallavi ‘Aa Ramayanam’ gives a spell of fascination!

The aesthetic flute now sings like a cuckoo while the guitar fluently expresses itself.

It is the turn of the violins to decorate the raga.
The Bass Guitar surrounds us melting us in the process!

The CharaNam is sobriety personified.

The first two lines are pithy and poignant.
The next two lines slither through wonderfully.
The last two lines stir us melodiously.

The Sangati at the end of the CharaNam shows us the finer nuances of the raga.

In the second interlude, the violins move daintily.
The alluring Shehnai is courted by the Flute.

We suddenly see a shift here as we hear the subtly shaded alien swaras. This infuses delicacy.

The modern instruments are deftly interwoven exemplifying refinement.

The composition breathes graciousness.

It is delicately eloquent.

It is piercing.

It is enticing.

It is magnetic..

Rama and Sita..
The Bird and the Tree!

Raaja’s music and us…

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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 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...

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ILaiyaraaja-The Poetic Musician!

Sita and Rama see each other and it is ‘Love at First Sight’.Rama leaves the place and Sita is tormented by his thoughts.

Tamizh Poet Kamban describes this wonderfully:
Sita says,

‘His Dark Hair, His Moonlike Face,
Long Hands, Mountain like Shoulders,
Even Before seeing these, I lost myself to His Captivating Smile !’

இந்திர நீலம் ஒத்து இருண்ட குஞ்சியும்
சந்திர வதனமும் தாழ்ந்த கைகளும்
சுந்தர மணிவரைத் தோளுமே அல
முந்தி என் உயிரை அம்முறுவல் உண்டதே

In my post on Gambheera Nattai, I had mentioned about the phrase ‘Ittathu Kettanar Eduththathu KaNdar’.

Kamban the magician, wields his magic wand and it is beauty all around. In a single stroke, he paints the picture of Rama and the longing and pain of Sita.

ILaiyaraaja’s Music is also similar to Kamban’s poetry.

He weaves his composition so beautifully and like Sita who lost herself in the captivating smile of Rama, we too lose ourselves while listening to his music.

Not only does he tune his compositions tastefully but also embellishes them with meaningful Orchestration.

In his Palette, we see new colours.

In his Smorgasbord of Music, we find vareity..

Today, we are going to see a very interesting Raga used extensively by Raja.

It is the Raga Jog.

Jog is a very exquisite Raga and it depicts longing and pain.

It has a Pentatonic Structure and is identifiable by its characteristic use of both the variants of ‘Ga’(ga2 and ga3) .

The Arohana has a simple pentatonic structure -sa ga3 ma1 pa ni3 Sa- while the avarohana has a devious(vakra) form and uses both the variants of ‘ga’.

Jog is a Hindustani Raga. Though there is no carnatic equivalent, Nattai and Gambheera Nattai are somewhat closer to this Raga.

Let us now see how the Maestro has used this Raga.

The Swaras of Jog are literally spread in a gradual way with extensive improvisation in ‘Metti Oli Kaatrodu En Nenjai Thaalaatta’ from ‘Metti’.

It starts with the entrancing Aalap of Janaki and as one begins to drown in the nectar, Raja’s Aalap appears and it is Harmony with wonderful counterpoints.

The strings follow and they pull the string of our Hearts. The short and sweet Flute piece is like a scimitar piercing our hearts.

The Tabla throbs with the Bass Guitar and it is mesmerizing indeed!

We are swallowed by the sheer Intensity and Vibrancy of the single violin that plays in Indian Classical style seamlessly moving to the Western Style.The Flute and the Strings march in now and it is a Cathartic Experience.

The Second Interlude is a sheer joy as Janaki traverses different Sthayis(octaves) going from the ‘Thara Sthayi’(higher octave) to the ‘Mandra Sthayi(lower octave) with consummate ease.

And as she sings ’ Thuruthoo Thuththoo..’in a sinuous pattern , the Swaras come together and it looks as if Time itself has frozen...

We feel the Time and Space have no meanings when we listen to ‘Oru Pattampoochi..’ from ‘Kaadhalukku Mariyathai’.

As Yesudoss hums Jog, we see the beautiful Butterfly..

It flaps its wings gracefully to the beats of the Synthesiser …

Lo and behold..

The Butterfly takes its flight and what a lovely flight it is. It crosses swathes of land and groups of colourful flowers as the Dilruba plays followed by the small and long flutes.

As Yesudoss sings ‘Poovana Ilanenju..’ in the second interlude in a Qawali style, the butterfly lands on a Flower to the accompaniment of Dilruba .It then rains Honey as Jog is sprayed all over.

The Chatusram beats that keep changing intelligently and the special sound effect of ‘Knock Knock’ when the word ‘Thattugindrathe.. ‘ are all the indelible and inimitable mark of the Master!

The Raga moves like a Round Ball in ‘Vatta Pandu Thottu ViLaiyada’ from the Film ‘Chinna Vadhyar’.

The pattern of the beats and the instruments make us feel the ‘Moving Ball’.

The gleaming ball moves traversing the craggy surface.

We see the off break, the leg break and the googly in the first interlude.

It becomes a slower delivery in the Second Interlude and one feels the ‘Reverse Swing’ as the Strings play!

New Vistas of Jog are seen in ‘Vanjikkodi..’from ‘Kanna Unai Thedugiren’.

The Trumpet-with the support of Bass Guitar- spouts and splashes the notes giving a ‘Jazzy’ feeling.The Flute lets out a plaintive cry.

In the Second Interlude, the Raga shines luminously even as the inexorable Flute carries us to a Divine World!

‘Be Fearless!’ says the responsible father to his children.

In ‘Peygalai Nambathe’ from ‘Mahanadhi’ , one is stumped by the vivacity of the composer and the composition.

The sound produced by a ‘contraption’ is very amazing in deed!

The vibrant sound of Ghatam adds to the beauty while the very different voice of the ‘Grandma’ is exuberant.

All the percussion instruments are in perfect synchrony in their ensemble.

One need not fear….

When Raja’s Music fills the air and sings a Lullaby, do we need to fear at all?

மெட்டி ஒலி போல் காற்றோடு அவர் இசை நம்மத் தாலாட்டும்பொழுது பயம் எதற்கு?