ILaiyaraaja – The Polymath

 How do we define genius?

Can we say unusually brilliant?

It is rather tough to determine if it is natural or if is it acquired over a period of time. There are some born geniuses. There are also people who by virtue of their sheer hard work and dedication, become experts. We see their genius in their works much later.

In some cases, there is a divine intervention and all of a sudden, a very normal person becomes a genius. This is what happened in the case of KaaLidasa, who was an illiterate and with the blessings of KaaLi, became a poet composing some immortal works in Sanskrit. How far the story of him being a dumb is true, nobody knows.

There is also the story of AruNagirinthar, who after leading a nauseas life attempted to take his life, and just at that moment, was blessed by Muruga. He went on to compose many verses (‘many’ is an understatement) and created a niche for himself in Tamizh literature (and in music as far as the taaLas are concerned).

While KaaLidasa is believed to have lived around the 4^th and the 5^th century, AruNagirinthar lived in the 14^th century. But more recently too, there have been some geniuses in whose life the Divine played an indirect role. A person who was born Muthiah, who had little formal education and who was an atheist because of the influence of an ideology, read the works of AaNdaaL one night, became KaNNadasan and changed the paradigm of tamizh film songs.

Then there was somebody by name Rangarajan who went to Madras with the dream of becoming a lyricist, faced rejection and dejection which led him to the brink of life. With thoughts of ending his life lingering in his mind, a song came floating in the air, and this turned around his life. This gentleman who is better known by the name Vaali, went on to pen many songs, songs that still float in the air if one happens to tune in to the Radio/TV or even the other music related applications in the digital gadgets.

Guess whose song changed his life?

Yes, it was one of the songs of KaNNadasan.

Apart from film songs, Vaali ( like KaNNadasan) also authored some books, that include ‘PaaNdavar Bhoomi’ (Mahabharata) and ‘Avataara Purushan’ (RamayaNa) in the Pudukkavitai format.

Needless to say, Vaali was inspired by KaNNadasan who in turn was inspired by AaNdaaL.

Let me just produce a couple of lines written by KaNNadasan first and Vaali next, and you will know the reason after a while.

KaNNadasan once wrote – உண்டென்று சொல்வதுந்தன் கண்ணல்லவா/ இல்லையென்று சொல்வதுந்தன் இடையல்லவா.

Loosely translated (in fact, it is next to impossible to translate this), it would mean -Your eyes make one believe that ‘it is there’, while your waist makes on feel that ‘it is not there’. Going a little deep, one can interpret this as ‘huge eyes’ and ‘slim waist’. Well, there is more to it than meets the eye!

Generally, a sculptor draws a sketch of the sculpture he plans to sculp. When he goes to the eyes, he puts tick marks on both sides and when he goes to the waist, he puts cross marks. So, a ‘Yes’ for ‘eyes’ and a ‘No’ for the waist!

Now you can see the meaning of genius.

Vaali, the protégé , takes a different take. While describing the beauty of Kunti in PaaNdavar Bhoomi, he says the waist is like the Divine. Why? Don’t some people believe the existence of God, and don’t some deny the same? So, her waist is ‘there’ and ‘not there’!

Meaning of genius yet again?

Let us look at that verse:

நடைக்கு உவமை – நதி;

சடைக்கு உவமை – சாரை;

துடைக்கு உவமை – தூண்;

இடைக்கு உவமை – இறை!

ஏனெனில் ..

இதைப் பற்றித்தான்

‘இலது’ ‘உளது’

என-

இரைகிறது உலகு!

Gait like a river/ Hair like a snake/Thighs like a pillar/Waist like the Divine.

Rajendra Kumar · KaNNadasan and Vaali

I spoke about the genius of some masters. How can I leave out the genius who was born in a village in a remote corner, and rose to not just compose tunes that sounded fresh and different then (and now and forever), but also brought in a totally different perspective to the orchestration and the background score.

The song we are going to see today is no doubt a classic composition in terms of the melody, but I am going to focus more on the TaaLa part. Isn’t Laya Raaja, my favourite?

KaaLidasan KaNNadasan Kavitai Nee from Soorkkottai Singakkutti (1983) is set in Mishram (7/8).

It starts with the akaaram and for two cycles, goes without the backing of the percussion. The percussion joins at the third cycle and plays ta ki ta/ ta ka dhi mi (1 2 3/ 1 2 3 4) with precision. In the next cycle, it is ta ki ta when the male sings and ta ka dhi mi when the female chorus sings. After 2 cycles, it is ta ki ta/ ta ka dhi mi in the male akaaram followed by the female chorus for the entire cycle, while the male continues the akaaram even during the chorus segment. After 2 cycles, the instruments take over.

The dazzling strings play ta ki ta/ ta ka dhi mi/ ta ka dhi mi. Is it not 10 then? Not really. The first ta ki ta is played in the normal speed while the two ta ka dhi mi-s are played in the faster mode. So here, 8 = 4.

After two cycles, the violins play ta ka dhi mi/ta ka/ ta ka dhi mi/ta ka dhi mi.

What is this? Should it not be just 7 (ta ki ta/ ta ka dhi mi)? And yet again, arithmetic plays a role. 7 is further broken into 14 and is played in the faster mode. These 14 beats are the micro-beats.

This goes on for 3 cycles until the ebullient violins decide to give way to the sedate santoor for one cycle with the latter playing just ta ki ta/ta ka dhi mi in the normal speed. The violins join in and as if influenced by the santoor, plays the mishram with sobriety along with the santoor.

I am sure it is understood that the percussion keeps playing all the seven beats of mishram in the background throughout and that I have focussed on the melodic instruments playing the beats – not common in others’ compositions, while not uncommon in many of his compositions.

The lines in the Pallavi (vocals- Jayachandran and Suseela) shimmer with beauty. For academic interest, the composition is loosely based on Abheri, with a dash of alien notes creeping in later. There are 3 sets of percussion and all the 3 play ta - -/ ta – dhi -. The ‘-‘ are gaps where the percussion keeps quiet and some of you familiar with my posts here know that this is called kaarvai.

The beginning of the first interlude glistens with the sound of the santoor, which plays ‘ta ka dhi mi/ ta ka/ ta ka dhi mi/ta ka dhi mi’ followed by the ineluctable flute which plays the same but in its own way.

After two cycles, the violins play ‘ta ka dhi mi/ ta ka’ with the santoor completing ‘ta ka dhi mi/ ta ka dhi mi’ exquisitely. The doughty violins are in full swing then and continue to play the same pattern for 3 cycles. Just towards the end of the third cycle, the flute joins in and plays along. Note that the percussion takes a break during the first cycle, adding that effect of silence.

The special effect continues in a different way when the violins play ta ka dhi mi/ ta ka/ ta ka dhi mi and stop, giving space to the flute which plays just two syllables and pauses. The percussion keeps quiet yet again when the flute plays.

The violins then continue with the santoor pitching in. The chorus continues ta ki ta/ ta ka dhi mi in akaaram with the backing of the bass guitar. Finally, the violins play ta ki ta/ ta ka with the santoor playing ta ka dhi mi in faster mode, which in effect is 2 and not 4.

The lines in the CharaNam are graceful with alien notes peeping in rather liberally. In the first half, the tabla plays mishram giving kaarvai now and then while in the second half, the mrudangam plays all the 7 beats.

Ta - dhi mi /ta ka/ ta – dhi mi /ta – dhi mi says the acoustic guitar twice, appearing out of the blue, along with the rhythm guitar. The violins play mishram in higher-octave with kaarvai ( ta – ta / ta – dhi mi) twice.

It takes a folksy turn with the male voice which appeared in the prelude humming tantaane ta ne in mishram leaving gaps for a cycle now and then and the female chorus joining in in the second half. The flute follows and plays ta ka dhi mi / ta ka/ ta ka dhi mi/ta ka dhi mi twice with the backing of bass guitar. Finally, the enticing santoor plays ta ki ta in the normal speed with the ebullient violins playing ta ka dhi mi/ ta ka dhi mi in the faster mode.

‘It is there’ and ‘It is not there’.

‘Yes’ and ‘No’.

Isn’t this the meaning of Genius?

ILaiyaraaja- The Passionate Musician

The word ‘Romance’ is very interesting. It is said that it is a feeling of mystery combined with excitement. If this is the case with the noun, what does one say of the adjective- Romantic? One of the definitions is ‘one who has an idealised view of reality.

In fact, in the West, there was something called Romantic Movement, which was an artistic, literary and musical movement during which Nature was glorified with clear emphasis on emotions. This happened in the 19^th century and is celebrated as ‘one of the golden eras’ in the west. What baffles me is the fact that despite such a movement existing in the Land of Tamizh more than 2000 years ago, no westerner (with some exceptions) is aware of either the Movement or the works related to the Movement.

The Sangam era in the Tamizh Land has given us many great works which is to be cherished not just by the Tamizh people but by all folks across the globe. What make the work great are the description of Nature and the way this is connected to different human emotions.

Let me give a very small sample:

விரிதிரைப் பெருங்கடல் வளைஇய உலகமும்

அரிது பெறு சிறப்பின் புத்தேள் நாடும்,

இரண்டும் தூக்கின், சீர் சாலாவே

பூப்போல் உண்கண், பொன் போல் மேனி,

மாண் வரி அல்குல், குறுமகள்

தோள் மாறுபடூஉம் வைகலொடு எமக்கே.

Enraptured in the embrace of his Lady Love, the man says ‘There is nothing to equal this; not even the beauty of the world which is surrounded by the vast oceans; nor the heavenly celestial world.The joy and pleasure I get from the embrace of this girl whose soft eyes are lined with kohl and whose loin has some beautiful lines are unmatched.’

This is just a loose translation and it cannot bring out the true emotion of this poem. For the benefit of non-tamizh people, I have recited the poem here:

Check this out on Chirbit

See how the poet ‘drags’ Nature in this and how beautifully he describes it. The moment we read the first line, the azure blue ocean appears in our mind’s eye. This poem was written by a poet called ‘Paroovu Movai Padumanaar’ and is part of ‘KuRunthogai’.

True Romanticism almost 2000 years before that Movement started in the West!

When it comes to Romanticism, it is impossible not to mention about ILaiyaraaja and a majority of his works. A romantic is one who gives an idealized view of reality and whose works have a strong effect on others’ emotions. Most importantly, he/she is a connoisseur.  Taken in this context, Raaja sir is a true romantic.

Now, see this song-Adhikaalai Nilave from Urudhi Mozhi( 1990)- and see how romance runs as the undercurrent. What makes this composition great is not just the raga Gowrimanohari but also the taaLa. It is set in Khandam which is unusual and rare in a filmy composition. Having said that, it is this 5-beat cycle which gives a new dimension to the composition..

The beginning of the composition can be said to be both ‘unusual’ and ‘usual’-the former because not many film songs start just with the sound of the bells playing the taaLa, and the latter because Raaja sir is known for such innovations.

The bell which sounds ta -/ta – ta , gives an aura of serenity. The humming of Janaki which follows the Bell, is haunting with an unmistakable touch of poignancy. Who said poignancy is alien to romance? The fact is, both go hand-in-hand!

The strings go up like waves, back the vocals and then keep quiet even as the Tabla takes over. The keys give a beautiful sketch of Gowrimanohari playing the ascending and descending notes in the blink of an eye. The shrill flute plays a lilting melody, gives a pause, and the keys move downwards to signal the beginning of the Pallavi.

The beginning of the Pallavi is again interesting. As many of you know, ‘pa’ is the middle-note and ‘Sa’ is the highest note in a particular octave. The Master composer combines the two giving an amazing effect. ‘pa pa Sa Sa’ –adhikaalai- brings us the vision of the dawn in a matter of seconds. Having done this, he goes to the lower octave note ‘ni.’ in the next line and bringing a higher octave note ‘Ri’ just before the end. Still not satisfied with this, he adds a sangati after the last phrase of the Pallavi.

Beautifully Musical and Musically Beautiful!

‘And that was just a beginning’, this is what we are forced to say when we listen to the first interlude. To start with, the guitar plays with palpable buoyancy and exuberance and moves with a regal splendour. The flute permeates an exclusive fragrance and what is stunning here is the transition from ‘no percussion’ to ‘percussion’. So seamless is it that one can be excused for not noticing this. The guitar melody continues in the background as the strings repeat the melody of the flute with fervour. The flute appears again, this time with a flourish, and then romances with the strings. The two play in perfect unison indicating a sense of balance and going into a state of blissful harmony. The keys yet again end with a smile.

Tender! This is how one can define the CharaNams. Smeared with a plenitude of podi sangatis, the lines move with a distinct flavour. Here too, the lower octave ‘ni.’ appears. So does the higher octave ‘Ri’. But the jewel in the crown is the last line in which the first two phrases-namai vaazhththa- and the last phrase-thalai kuniyum- have the same set of swaras but in two different octaves, -Ga Ri/ Sa Ri Sa ni- and ga ri/sa ri sa ni..

Can any of the description of his compositions be complete without my bringing that term ‘Laya Raaja’? Here too, he enters with full energy in the second interlude. First, he makes the tabla sound sharp. Then he makes the tabla play all the syllables of khandam-ta ka/ta ki ta. Does he stop there?

He breaks the khandam syllables into micro-beats – in the second half of the even cycle. To elaborate this further, the tabla plays ta ka/ta ki ta during every odd cycle and ta ka/ta ka dhi mi ta ka for every even cycle. So, it alternates between the two for 18 full cycles. The icing on the cake (or should it be icing on the tabla) is the very different sound-probably from bamboo- made in between two cycles!

Meanwhile, the flute hovers around with inspirational flashes and the strings play with vivacity in higher octave after the 18^th cycle, giving a sense of tranquility. After 8 cycles, the sharp-tabla and the flute reappear, playing that leitmotif for 4 cycles.

Can the Azure-blue ocean or the Heaven give so much joy?

One has to ask the sangam poet again.

Check this out on Chirbit

ILaiyaraaja-The Hypnotist!

Many times I have wondered about the science (or is it an art?) of hypnotism. My exposure to hypnotism is mainly confined to what one sees in Indian movies where the patient is made to lie down on a couch and the balding doctor asking him to go to a certain age in his childhood, prodding him with questions like ‘What do you see now’, ‘What do you experience now’ with the patient recounting an incident that unfolds before us in a much dramatized form. I would think, ‘Is this possible at all?’

Once, when I was about 12, I happened to watch a Magic show where the magician made a child ‘sleep’ in the space between the floor and the ceiling defying gravity. I did not understand how this was possible. After reading some books, I gauged that it is nothing but taking control over others’ minds and one acquires this skill with constant practice.

I am not qualified enough to go beyond this on this topic. However, I find hypnotism as a metaphor very interesting. In the following poem from the Tamizh sangam work ‘kuRunthogai’, the man  hypnotised by the looks of his beloved, says, ‘Her thorn like teeth that shine through the nectarine red lips, her silk- like hair with the fragrance of sandalwood, her huge liquid eyes, her mesmerising smile..oh how elegantly she looks!’.

உள்ளிக் காண்பென் போல்வன் முள்ளெயிற்

அமிழ்தம் ஊறும் அஞ் செவ்வாய்க் கமழ் அகில்

ஆர நாறும் அறல்போல் கூந்தல்

பேர் அமர் மழைக் கண் கொடிச்சி

மூரல் முறுவலொடு மதைஇய நோக்கே.

It is obvious from this poem written by ‘EyiRRiyanaar’(எயிற்றியனார்) that the man was hypnotised by the looks of his beloved and just thinking about her was enough for him to go into a trance.

We, the readers too get hypnotised while reading such poems or while listening to great music.

‘Kaadal Mayakkam’(Pudumai peN-1984) is one of the innumerable compositions of ILaiyaraaja which has always held me in a trance. Based on Suddha Saveri, a very classical raga which has five swaras- sa ri2 ma1 pa dha2 Sa- in the ascent and in the descent, the composition has a unique magnetic charm.

Before we get on with the composition, a word or two about the raga.Suddha Saveri is very close to other popular ragas like Mohanam and Madhyamavati in terms of the struture, but sounds very different. While the other two mentioned ragas can be made to sound light in film music, it is almost next to impossible to make Suddha Saveri sound light. Maybe, this is one of the reasons for composers’ reluctance to use this raga in film music. But as we all know, ILaiyaraaja is quite different and has used this raga in  folksy environment(‘Kovil maNi osai’-Kizhakke pogum rail, ‘Manjum kuLirum-Sandhyakku virinja poovu), in a masala duet(‘Sugam Sugame’), as the song of a young girl(MalargaLil aadum-KalyaNaraman) and in many other varied sequences.

‘Kaadal mayakkam’ starts with the short akaaram of the female voice(Sunanda). As this akaaram is on, the chorus starts reciting in harmony. This part alone is set to khandam beats(5 per cycle) in ‘mel kaalam’.  With fervour, the Bell tolls and the Veena starts playing in Chatushram ably supported by the mridangam.. We see the raga’s appeal and grace in this piece that almost reminds us of a ‘taanam’. The strings take melodious strides with the flute singing like a cuckoo.

Chiselled perfection!

The Pallavi rustles with a cherubic charm with the rollicking Mridangam and the subtle guitar throbbing with melody and love. The sangatis in ‘Degam’,’Megam’, the harmony with the chorus joining, the sudden jump to the upper ‘Ri’ from ‘dha’,the short sangati (RiSadhaSa) after ‘silirkinRathe’ and the shrill flute at the end of ‘kaadal’ and ‘kaNgal’, carry the stamp of the genius.

The first interlude starts with the mellifluous strings moving somewhat leisurely. Even as this is on, a new set of violins playing totally different sets of swaras join. The suave flute repeats this with a smile on its face. With palpable vigour, the violins play in higher octave. The chorus appear again singing ‘nom tom tanam ta’. It is then a riot of colours with the flute playing classical Suddha Saveri which is superimposed on the chorus which has the guitar backing. Towards the end, the guitar playfully plays an alien note or two and the awestruck flute sings like a cuckoo, all in a matter of seconds.

The CharNams have passionate passages.

We also see the brilliance of the composer in structure of the CharaNams:

1.The sangati after the first line has the avarohaNam followed by the arohaNam.

2.The fourth line goes upto the upper ‘Ma’.

3.The last line going in a group of 3 swaras, with the first 3 groups going in descent-Ri Sa pa, Sa dha ma, dha pa ma- and ending with ‘ri sa ri’.

Classically marvellous!

The second interlude shows yet another dimension and also takes a lesson or two on how to use guitar in carnatic ragas.The first guitar piece is soothing and almost sounds like a Veena. The percussion is minimum here with the drums appearing only now and then during the gaps. The following guitar piece moves with a sense of reverie ably supported by a sharp percussion that plays ‘ta ka dhi mi’’ta ka dhi mi’.. The male voice and the chorus repeat the guitar bit. The flute takes over and moves with energetic briskness. The Masterstroke appears in the end with the higher octave violins bringing in the alien vivadi note showing shades of Raag Jog!

இது ஒரு இசை மயக்கம்!

 

ILaiyaraaja-The Effervescent Musician..

AruNagirinaathar, about whom I had written in my earlier posts-‘ILaiyaraaja-The Beautiful Musician’ and ‘Natana Raaja- Part I’- is a very special poet.

Special, not just because of his transformation from a vagabond to a great bhakti poet or because of the enormity of his works (close to 16,000 songs and a host of ‘Viruththams’).Nor is it just because of the command of the language in his songs or because of the fact that he travelled by foot to hundreds of places.

Yes, surely the aforementioned factors make us all say he is great but what makes him unique and special is his knowledge on Laya(rhythm) and his propensity to compose in almost all known TaaLas.

The difference between him and other poets is that while all great poets composed in metre- that had rhyming words- in specific paN(raga) and specific taLas, Arunagirinaathar was the only poet to compose songs(that invariably had 8 stanzas) keeping only the TaaLa aspect in mind. Such was his command over the Laya.

Now, look at this song:

nachcharavam endru nachcharavam endru
nachchumizh kaLanga ...... madhiyAlum

naththodu muzhanga naththodu muzhangu
naththirai vazhangu ...... kadalAlum

ichchaiyuNar vindri ichchaiyena vandha
ichchiRumi nondhu ...... meliyAdhE

eththanaiyi nenjil eththanamu yangi
iththanaiyil anjal ...... enavENum

pachchaimayil koNdu pachchaimaRa mangai
pachchaimalai yengum ...... uRaivonE

bakthiyuda nindru bakthiseyum anbar
paththiram aNindha ...... kazhalOnE

kachchivar kurumbai kachchavar virumbu
kachchiyil amarndha ...... kadhirvElA

kaRpaga vanangkoL kaRpaga visumbar
kaiththaLai kaLaindha ...... perumALE.


நச்சரவ மென்று நச்சரவ மென்று
நச்சுமிழ்க ளங்க ...... மதியாலும்

நத்தொடுமு ழங்க னத்தொடுமு ழங்கு
நத்திரைவ ழங்கு ...... கடலாலும்

இச்சையுணர் வின்றி யிச்சையென வந்த
இச்சிறுமி நொந்து ...... மெலியாதே

எத்தனையி நெஞ்சில் எத்தனமு யங்கி
இத்தனையி லஞ்ச ...... லெனவேணும்

பச்சைமயில் கொண்டு பச்சைமற மங்கை
பச்சைமலை யெங்கு ...... முறைவோனே

பத்தியுட னின்று பத்திசெயு மன்பர்
பத்திரம ணிந்த ...... கழலோனே

கச்சிவர் குரும்பை கச்சவர்வி ரும்பு
கச்சியில மர்ந்த ...... கதிர்வேலா

கற்பக வனங்கொள் கற்பகவி சும்பர்
கைத்தளைக ளைந்த ...... பெருமாளே.


This song follows ‘ta ki ta ta ka/ ta ki ta ta ka/ta ki ta ta ka/ta ka dhi mi’ pattern-that is a tala with 19 aksharaas.

Even people who cannot follow Tamizh or who do not have knowledge in music can appreciate the rhyming rhythmic words.

This is also one of the few songs of ArNagirinaathar with the Naayaki bhava with the poet assuming himself to be a girl in love with the Lord who is the Naayaka.

In this song the girl says ‘The Moon spews venom on me like the poisonous snake(ketu) that consumes it (during the eclipse),

Accompanied by the sound from the conches and sea shells and the boisterous thunder, the special waves from the sea tease me,

I do not have any clarity of thought, nor do I have any devotion; all I have is the desire to be one with You,

You-the one who is on the green hued peacock, the one who is married to the green hued Valli,

You- the one who lives on green verdant mountains, the one who is worshipped by people who are soaked in devotion,

You-the one who is in ‘Kanchi’

You- who broke the clutches of the Devas,

Please grant me refuge and bless me now!’.

Note how he has played with the word ‘Pachchai’(green) and the other rhyming words. But most importantly, look at the rhythm of the song.

This is what makes AruNagirinaathar and his compositions most special!

Like AruNagirinaathar, ILaiyaraaja is also an emperor of Laya and I have highlighted and discussed this aspect in many of my posts in this blog.

Some of his laya patterns(including the cross-rhythms) are mind boggling and make one wonder as to how a human brain could conceive of such intricate patterns so spontaneously.

Let us take up yet another composition of his where the percussion and the rhythm play a major role.

It is ‘Adi Naagu’ from ‘Karumbu Vil’(1979).

The song is based on Raag Jog, a beautiful Hindustani Raag.

Its structure is: sa ga3 ma1 pa ni2 Sa/Sa ni2 pa ma1 ga3 ma1 ga2 sa.

Some ‘gharanas’(simply put ‘style’) include the ni3 as well but a more traditional view of Jog suggests the absence of ‘ni3’. The speciality of this Raag however is the use of both the ‘ga’ s in the avroh and the glide from ‘ga’ to ‘sa’. ‘ga ma pa ni pa ni Sa’ is another special prayoga or phrase in this Raag.

Let us now look at the song of the day.

The song has a rather unusual beginning with a kind of announcement for a swayamvara. What follows is a rhythmic treat. The percussion in the tribal beats is fused with energy. The tribal instrument, that sounds somewhat like Jalatarangam adds fillip while the Shehnai that plays short notes is tantalizingly beautiful.

The Pallavi in the voice of Jayachandran is a delectable harmony of expression. The vibrant swirls with the percussion underpinnings are stunning.

The first interlude has some very interesting combinations. First, we have the tribal instrument that shows the magical glimmer. The synthesiser then plays with pin point precision. As the two play with each other musically, the long bass flute shows the hidden hues and shades of the Raag with the percussion playing with a different pattern.

We see the tranquil luminescence.

The stringed instrument that appears in the end moves with sensitivity.

Another speciality of this composition is that each CharNam is rendered by three different male singers-with the first one by Krishnamoorthy, the second one by T.L.Maharajan and the third one by Jayachandran.The rhythmic patterns and the percussion instruments also change subtly in each of the CharaNams.

The first four lines have fluid phrases and the lines that follow are crisp. The second and third charaNam also have beautiful sangatis as aalap wedged between the first part and the second part. The aalap done with an astute perception of the raag is musically delightful.

The second interlude is imaginatively conceived. The group of Shehnais plays silken smooth glides with an amazing richness of patterns. It is also woven with pertinent rhythmic designs.

The third interlude is a short apotheosis of rhythm.

We see the shifting rhythms with aesthetically fulfilling variations.

We see the plume of jatis that race into twists and coils.

We see a mini ‘Tani Avartanam’as the melody glides over rhythm grids with the rhythm in turn dancing with glee.

Effervescent music!!

We become the ants drawn towards the jagerry ..

நாம் கட்டெறும்பு..கட்டி வெல்லம் அவர் இசை!

(This post and the song are dedicated to all music lovers and followers/fans/fanatics of the greatest living film music composer who makes us all realise how beautiful music is...

Happy World Music Day!! )