ILaiyaraaja – The Colourful Musician

 

How romantic is romance?

Though the question seems tricky and even weird, a smart answer would be ‘as romantic as romance’.

Supposing the question was ‘how romantic is devotion?’, even smart people would start blinking. Some ‘right’ people (though invariably they are always wrong), would even take offence and start a vituperative campaign against the person who ask such questions. It would be still worse if the question was ‘how erotic is devotion?’.

But the fact of the matter is that people who take exception to such questions are either ignorant or ‘prefer’ to be ignorant. Like an ostrich, they refuse to look up. After all, reality sucks!

Leaving aside the fact that there is no ancient temple in India without sculptures in erotic postures, it must be understood and accepted that the Bhakti poets used romance and eroticism as a form of devotion, a form called ‘Madhura Bhakti’. Their poems exude with eroticism and romance. One of the classic examples is Jeyadeva’s Geeta Govindam, in Radha and Krishna are depicted as human lovers.

Almost all Bhakti poets in Tamizh literature (and this predates Geeta Govindam which was composed in the 12^th century), assumed the ‘nayaki bhava’, with the Divine being the Nayaka. I am not getting into the inner meaning which is esoteric and therefore beyond the scope of this post. But what I am going to do is to look at one poem as a sample.

Kulasekhara Azhwar, one of the 12 Vaishnavite saints whose collection of verses, goes by the name ‘Naalayira Divya Prabhandam’ (4,000 sacred verses) assumes the role of a Gopika. As per mythology, Gopikas were cowherd women who were in awe of Krishna, and danced with Krishna. Yet again, I refrain from getting into the inner meanings. Going back to the Azhwar, his 10 verses as one of the Gopikas, ooze with romance and eroticism. As I said, I am quoting just one such poem:

கருமலர்க் கூந்தல் ஒருத்தி தன்னைக் கடைக்கணித்து, ஆங்கே ஒருத்திதன் பால்

மருவி மனம் வைத்து, மற்றொருத்திக்கு உரைத்து, ஒரு பேதைக்குப் பொய் குறித்துப்

புரிகுழல் மங்கை ஒருத்தி தன்னைப் புணர்தி: அவளுக்கும் மெய்யன் அல்லை;

மருதி இறுத்தாய்!உன் வளர்த்தியூடே வளர்கின்றதால் உந்தன் மாயை தானே.

Rajendra Kumar · Kulasekhara Azhwar

“You gave a sidelong glance at a woman whose dark hair was adorned with flowers, at the same time letting your heart to another woman, told another woman that ‘I am yours’, misled another woman by giving a false promise of meeting at a place which is non-existent and finally embraced another woman. But you were not loyal even to her. Oh, the one who broke the Maruda trees! Your deceit and trickery grow along with You!”

While the humour cannot be missed, so is the poetic beauty.

It is this aspect that makes Bhakti literature shimmer like the full moon.

And that invariably brings us to music. What make a composition shimmer are the tune, and the rhythm. But, is that all? Aren’t there hidden meanings in the tune and the rhythm? Well, this time rather than calling these ‘esoteric’ and taking an escape route, I am going to focus on those inner meanings, aka nuances and intricacies.

If I say that Raasa Leela VeLa from Aditya- 369 (1991) is a classic song, will I not be stating the obvious? At times, stating the obvious is never tiring even if it is stated ad nauseam. For starters, it is based on the Hindustani raag Madhukauns, which is the prati madhyama counterpart of Shuddha Dhanyasi. To make the terminology clearer, Shuddha Dhanyasi has one variant of ‘ma’, while this one has the other variant, with the rest of the swaras being the same. More on what these swaras are, in a bit.

I wouldn’t call it pure Madhukans as there are traces of the other ma and even a couple of alien swaras, albeit sparingly. Anyway, this is beside the point.

Let me first go to the beginning. The differently sounding guitar plays ta ka dhi mi/ ta – first and then ta – dhi mi/ ta –. People who are regular followers of this blog, will be able to decipher this as the micro-beats of Tisram. For the benefit of others, let me tell you that Tisram is the 3-beat cycle – ta ki ta – and when it is expanded, the micro-beats are generally ta ka dhi mi ta ka, that is 6. In this particular instance, not all the micro-beats are played and therefore the gaps are called ‘karvai’.

Going back to the rhythm, the same pattern is repeated twice. Then there is that magic. The guitar now sounds ta ka dhi mi, which is the 4 - beat cycle, called Chatushram. A manual count indicates that it is sounded 15 times, which makes it 15x4, which is equal to 60, which is divisible by both 3 and 4!

In between, during the 7^th ta ka dhi mi, the strings enter and play in higher-octave. It is like a sudden downpour from the heavens. Yet another guitar responds to the strings now and then. Note that there is no percussion until now, though the taaLa pattern is as clear as the crystal.

The percussion enters and plays ta ka dhi mi/ ta ka dhi mi/ - - - -. Wait ! Ta ka dhi mi is four. But did I not say the composition is in tisram (3)?

Is it confusing again? While discussing compositions like this (remember ‘esoteric’), I will not do full justice if I leave out such aspects. So, let me explain. What is 4x3? 12? Does it not have both ‘4’ and ‘3’? Therefore, it is 4 tisrams, played as 3 chatushrams!

This particular pattern appears throughout the Pallavi and the CharaNams.

Let me now take you through the raga aspect. The prelude is a mix of Shuddha Dhanyasi and Madhukauns, but enter the Pallavi (Vocals : SPB) and it is pure Madhukauns. Wait for a few seconds before I unveil the structure and along with it, something else.

Beguiling and Bewitching! This is how I can call the sound of a very different flute in the beginning of the first interlude. Even as it plays sans percussion, the feeling of poignancy cannot be missed. The percussion- in the same pattern described sometime ago- enters and along with it enters the strings vivifying the atmosphere. The flute continues its journey for a while and when it retires, the strings take over and now that ‘something else’ appears.

The structure of Madhukauns is – sa ga2 ma2 pa ni2 Sa. If that ‘pa’ is taken as ‘sa’, it becomes Chadrakauns, another raag known to evoke very deep emotions. And yes, its structure is – sa ga2 ma1 dha2 ni3 Sa.

The technique quoted above is called Gruha Bhedam and let me repeat – people familiar with this blog and the posts here, should be familiar with this term.

This happens when the strings sound the second time. The flute - this time, it is the most familiar one- coos like a bird in Chadrakauns and gives a plaintive cry when Janaki takes over the CharaNam.

The lines in the CharaNam(s) move with grace in that beautiful raga called Chadrakauns until it goes back to Madhukauns just towards the end.

It is flute’s day out in the first half of the second interlude as it bespatters different hues of Madhukauns. Mesmerised by this, the guitar starts dancing like the Gopika. The strings take over in the higher-octave and in the blink of an eye, shifts to Chandrakauns. Finally, the keys sound ta ka dhi mi/ta ka dhi mi/ta ka dhi mi twice in Chandrakauns.

Isn’t this musical leela? Kulasekhara Azhwar will vouch for this/, wherever he is now!

 

 

ILaiyaraaja – The Heterogeneous Musician

 

Similar and Dissimilar!

Similarly Dissimilar!!

Can opposites co-exist?

Though this might sound absurd to some, it is this coexistence which gives that beauty to Nature and Life. When I say Nature and Life, does this not mean Poetry and Music or for that matter, any art form? Doesn’t this factor known better as ‘contrast’ give that sense of aesthetics? Doesn’t it give us feelings so profound that we search for words or even fall quiet, with this state itself elevating us to a level which at best can be called ‘spiritual’?

One of the classic example is this verse:

புள்ளது ஆகி வேதம் நான்கும் ஓதினாய், அது அன்றியும்

புள்ளின் வாய் பிளந்து புட்கொடிப் பிடித்த பின்னரும்,

புள்ளை ஊர்தி; ஆதலால் அது என் கொல் மின் கொள் நேமியாய்

புள்ளின் மெய்ப் பகைக் கடல் கிட த்தல் காதலித்ததே?

Raja4376 · Thirucchanda Viruttham

Taken from a work called ‘Thirucchanda Viruttam’ which is part of the Magnum Opus -Naalaayira Divya Prabandham-, this verse composed by Thirumazhisai Aazhwar talks about birds.

Just birds?

Let us get deeper. Addressed to Vishnu, the poet says – You took the form of a bird (swan) and recited the 4 vedas. You tore open the beak of a bird(crane) and killed a demon. You made a bird (Eagle/Garuda) to be part of Your flag and also made him Your Vaahana. But how is it that You are lying down quietly on a snake(Adisesha), a sworn enemy of the bird (Garuda) which is Your vahana?

We get to see three different species of birds- swan, crane, eagle- with each one being part of a single or multiple acts. The bird as an entity takes three different forms and indulges in positive and negative acts. Here we have similarities and dissimilarities. But the clincher is the last line which makes a mention of two sworn enemies.

What does this indicate?

Same, but different?

Same, same, different?

Different, Different?

Keep thinking and you will find an answer, well not the same answer but different answers!

Take this composition – Sangatamizh kaviye from Manadil Urudi VeNdum(1987). It is a composition in three different ragas. Is that the only attribute of the composition?

The veena sounds once. The bells respond. The veena sounds again. The subtle bells respond yet again. It seems like the lighting of the lamp with the spark gleaming and glittering. The veena continues its journey weaving simple and intricate patterns in Abheri. The melody from the flute which follows the veena, floats around and surrounds us like a gentle breeze.

In between, just before the journey of the veena begins, the tabla sounds ‘ta ka dhi mi/ta ki ta/ ta ki ta’-a count of 10. However, the composition is set in Tisram, which has a cycle of 3 counts. Is there a fallacy here?

Not really. There are 2 micro- beats before ‘ta ka dhi mi’, which are left as kaarvai, giving a total of 12 micro-beats which is divisible by 3.

The Pallavi starts in the voice of Yesudass, giving clear shades of Abheri. While the sketch of the raga is shown in just one line with descending and ascending notes, the brilliance and the aesthetic sense of the composer is revealed in the sudden appearance of lower-octave swaras -pa.ni.- in daagam, which in a way also reflects the thirst of the composer and in the interjection of flute between the lines -sung first by Yesudass and then by Chitra.

The violins move softly in the beginning of the first interlude, but there is a catch here. These play in Bageshri, a different raga, but using the same swaras. Let me explain a bit.

Ragas in the Indian system of music are formed by different sets of swaras which follow some set patterns while ascending and descending. The swaras may be the same but the way these are used are different. For example, the structure of Abheri is -sa ga2 ma1 pa ni2 Sa/Sa ni2 dha2 pa ma1 ga2 ri2 sa, the first one being the ascending notes and the second half being the descending notes. The structure of Bageshri is – sa ga2 ma1 dha2 ni2 Sa/ Sa ni2 dha2 ma1 pa dha2 ga2 ma1 ga2 ri2 Sa. The numbers against each swara denotes the variant and as you can see the variants of the swaras in both the ragas are the same, as both are derived from the same parent raga. Yet,  these sound different from each other!

Going back to the interlude, the veena sways as it responds to the violins and then moves majestically after the stream-like melody from violins. The flute which is reposeful as if responds to the veena after each line, gathers momentum when the energetic strings appear. The strings, flute and the flute combine together with pulsating vibrancy and play the tisram beats – ta ki ta/ta ki ta/taam- thrice, a la Carnatic concert.

The CharaNam continues in Bageshri with the lines encapsulating the beauty of the raga. What is of specific interest is the line ‘oru puram naan aNaikka’ for varied reasons, the foremost being the sangati after that line in the voice of Yesudass which lasts for 12 tisram cycles. The melodic charm, the sweetness and the softness, elevate us to reach vertiginous heights. As if this is not enough, the phrases in the lines that follow touch higher-octave swaras-even going up to ‘Ma’- which is a rarity.

When the Pallavi is rendered again, it is in Bageshri with the lower-octave swaras dha. and ni. Commingling with the mid-octave swaras giving that contrasting shades again!

The tabla sounds ‘ta tai tai taa’ thrice and the mrudangam responds with ‘ta ri ki ta taam taam’ thrice. With depth and crispness, the strings play Madhukauns, a totally different sounding raag which has the same ga and ni as Abheri and Bageshri but a different ‘ma’(prati madhyamam). This one swara makes a huge difference to the sound, the emotions and the feelings. The veena and the flute move sprightly in the same raag sketching some unforgettable musical images. These alternate. It is vibrant, vivacious and at the same time pensive.

The sounds coalesce finally spreading radiance.

The CharaNam continues in Madhukauns with the flute appearing between the lines oozing musical droplets and the higher- octave swaras making it a heavenly experience.

Three ragas, two with same swaras, one with almost the same swaras and with a different swara.

Similar and Dissimilar...

Birds and Snake..

Poetry..Music..Life..Contrast!

 

 

 

 

 

 

ILaiyaraaja- The Perceptive Musician

That young and beautiful girl sees that man from the balcony and instantly falls for him. That man along with his brother and a sage, looks at her too and disappears Somewhere deep inside she feels she knows him for eons.. She rushes back inside and falls on her bed. Tormented by the thoughts of the man, she is unable to move, unable to talk, unable to sleep. She sweats. Looking at her condition, her friends start fanning her.

Let me stop here for a minute, introduce the girl, the man and most importantly, the poet and then continue.

The girl’s name is Sita, the man- Rama and the poet, Kamban.

This sequence is of course very familiar to many but what may not be familiar(or known) is the fact that in Valmiki’s Ramayana, Sita sees Rama for the first time only during the swayamvara when Rama breaks the Bow. But the great innovator that he is, Kamban adds a lot of imagination to the sequence in Bala KANdam to make it more romantic. Not only is it romantic but is aesthetic too and is a treat for all lovers of poetry in general. In fact, much later, AruNaachala Kaviraayar followed the footsteps of Kamban and incorporated the same sequences in his Rama Nataka kritis. Who can forget the most popular ‘Yaaro ivar yaaro’ in Bhairavi?

Going back to Kamban and his verse, let us see how he describes Sita now.

She is burning inside. Her friends ‘fan’ her to make her cool. Now, the fan rather than cooling her down, spreads the fire (recall what happens in a Hindu ceremony where a agni kuNda is kept and the pundits fan the smoking wood to make it burn intensely!). Her garland burns. Her ornaments burn. And she melts. It seemed as though a golden statue was melting.

அருகில் நின்று அசைக்கின்ற ஆல வட்டக்கால்

எரியினை மிகுத்திட, இழையும் மாலையும்

கரிகுவ, தீகுவ, கனல்வ காட்டலால்,

உருகு பொற்பாவையும் ஒத்துத் தோன்றினாள்.

We feel the smoldering heat in the first 3 lines. The last line is like a snow fall- a sudden one at that. This is one of those poems where the contrast appears only in the last line and that alone is enough to make it shine with beauty.

But apart from the decorative poetic words, where Kamban excels is in the art of understanding his characters. A poet (or for that matter any writer) of course understands his characters well. After all it is he/she who creates the characters. But geniuses like Kamban make the readers ‘feel’ the character and situation as if it happens to them. This is because such geniuses get into the skin of the character as they say! The result ? Ecstasy for connoisseurs!!

The same logic applies to ILaiyaraaja. The reason for his songs sounding so beautiful is because he understands the situation (at times even better than the director. That is why, the picturisation doesn’t match the quality of the songs) so well, assimilates everything and then gives the tune and writes the notes for orchestra.

On this special day, let us see a composition which is very different and even be called as outlandish. Generally, we the listeners expect a duet song to be peppy. We love the beats. We love the steps. In a kind of fantasy mood, we even tend to substitute the hero/heroine with us. Imaginations are always wild you see..

For geniuses too, imaginations are wild but the difference is that while our imaginations are mish-mash, that of the geniuses are beautiful. We saw Kamban’s imagination which was running wild in the first three lines and suddenly changed track. In a similar vein, the song we are seeing today has a very different beginning. It does change track soon, but what makes it a composition par excellence is something else.

Viraha runs as an undercurrent throughout ‘Unnai Edhirpaarththen’ from ‘Vanaja Girija(1994). Such songs can be peppy too. But the composer chose to make it as sober as possible with the result that it leaves us in a state of calmness. We feel the calmness not just while listening to the song but long after it stops playing.

The choice of the raga is interesting too. Madhukauns is a simple audav(pentatonic) raga in Hindustani Music. Surprisingly enough, despite it being the pratimadhyama counterpart of Suddha Dhanyasi-which is a popular raga in Carnatic Music- this raga has been more widely used in Hindustani Music than in Carnatic Music. It goes by the name Sumanesa Ranjani in Carnatic Music and there are very few compositions, these too composed in the latter half of the 20^th Century. In film music, only Raaja sir has used it more prolifically.

Yet another different feature of ‘Unnai Edhirpaarththen’ is that the male voice (SPB) appears only in the second CharaNam and continues till the end.. The female voice (Swarnalatha)sings the Pallavi and the first CharaNam and does not appear at all again. Unique indeed! Probably we can call it as two solos in one song!! But again, the ubiquitous chorus which is superimposed on both the male and the female voices stop us from saying so. Without a doubt, a new genre.

If one listens to the first part of the prelude, he/she can be excused for believing that it is an eerie song, probably sung by a ghost. We hear the sound of the breeze first and this is followed by a sustained sound of the keys and a humming. The latter is backed by the rhythm guitar but still the thought of the ghost lingers in our minds. It is the stringed instrument- which sounds like a cross between a mandolin and a guitar- which brings us to the mortal world. The fading effect before the Pallavi is exciting and enticing too.

The Pallavi is sensitive and elegant and has a mesmeric quality. While the suppleness is not a thing which can be easily missed, what should not be missed is the rhythmic pattern. There are two sets of-one giving a very subtle sound and the other, a soft ‘whip like’ sound. The 4- beat chatushram cycle is divided as

Ta ka dhi mi/ ta ka dhi mi/ ta ki ta/ ta ki ta/ ta ka

(4                 /4                  /3          /3           /2)

But the percussion plays only the first syllable in the first part, the first and the third in the second part, leaves the entire third part blank, plays the first and second syllable in the fourth part and leaves the last one blank.

This ‘kaarvai’ has the desired effect in the composition and our heart beats too are in sync with these beats.

This pattern is maintained throughout except in some phases and we shall see that soon.

Another aspect of the composition is the chorus which backs the vocals humming different sets of notes. Of course, the instruments too back the vocals almost throughout the composition. All these take us to a dreamy world.

That this composer has an instinct to stratify different melodies is a known fact. In this composition, this is done so beautifully that it is like a façade of tranquility and peace. Musical architecture!

With felicitous fluidity, the strings move along with the other special stringed instrument in the first interlude. The keys give a smiling repartee. The chorus takes over and the ever-romantic recorder joins now playing in its usual shrill tone. The bass guitar and the rhythm guitar too show up now and then. A musical treat to be savoured gently without any interruption.

The lines in the CharaNams are etched with musical motifs and at the same time, are contemplative. These too create some special moments of solitude. Technically speaking, the prati madhyma(ma2) is used as a metaphor for viraha and this shows the brilliance of the composer(yet again).

The second interlude is a blend of delicacy and dexterity. The strings sound with regality. After a brief pause, the second set of strings replies gracefully. The tabla tarang enters now and sounds ‘ta ki ta/ ta ki ta/ ta ka’. Note that the percussion which has been there consistently from the Pallavi playing the pattern described earlier, is silent here. The interplay between the two sets of strings and the tabla tarang continues for 2 cycles.  The strings then repeat the same melody and this time the original two sets of percussion return with their pattern. The recorder plays a different melody even as the strings move. The chorus hums in lower octave with the stringed instrument playing the same melody played by the strings. It bubbles with emotional ripples.

Are we already melting like the Golden Sita?

Check this out on Chirbit

Natana Raaja-Part I

‘’Dancing in all its forms cannot be excluded from the curriculum of all noble education; dancing with the feet, with ideas, with words, and, need I add that one must also be able to dance with the pen?’’ said the great philosopher Friedrich Nietzsche.

Dance is considered to be the hidden language of the soul. There is no life without dance.
Our beloved Raaja has composed many dance songs and these shine like rubies on his crown.

On this special day, I am starting this series on dance music of ILaiyaraaja. I would also be writing briefly about the various forms of dance and the features(a la the ‘Sculptor series’ where I discussed about the dance in Tamizh literature while describing the different songs from ‘ULiyin Osai’ about two years back).

The Hindu philosophy talks about the cosmic dance of Nataraja. I shall touch upon this in my forthcoming posts.But for a moment, let us imagine as to what would happen if everything in this world starts dancing?

The great tamizh poet AruNagirinadar-about whom I had written in this Blog while describing ‘tham tan a namthana’ )- imagines all the Gods and Goddesses dancing in front of him.

Legend has it that he was challenged by Sambanthaandaan in the Court of King Prapuda Devarajan at ThiruvaNaamalai. AruNagirinadar sang this Thiruppugazh that depicts the dance of Gods, Goddesses and the entire Universe.

It is also said that as he sang the fourth line(mayilum aadi nee aadi vara venum-you and your peacock should dance and come here), Lord Muruga appeared in the Court, in a dancing form with his peacock.

‘As Adisesha danced in the PaataLa loga. The Mount Meru danced on the Earth,
KaaLi danced and along with her danced Siva making her shiver,
BhoothagaNaas, the ghosts danced too,
Brahma perched on the Lotus flower danced with the melodious Saraswati,
The celestials and the Moon now joined the dancing party,
Muruga’s in-laws Lakshmi and Vishnu danced,
He who helped the PaaNdavaas defeat their enemies,
He who mesmerized the cows with his flute,
He who is lying on the milky ocean on a serpent,
He who measured the entire world with one his one foot,
He whose vehicle is the Garuda,
You are his favourite nephew(or son-in-law),
Please come and dance with your peacock here,
And make the King Praputa Devarajan’s heart dance with joy!’


அதல சேட னாராட அகில மேரு மீதாட
அபின காளி தானாட ...... அவளோடன்று

அதிர வீசி வாதாடும் விடையி லேறு வாராட
அருகு பூத வேதாளம் ...... அவையாட

மதுர வாணி தானாட மலரில் வேத னாராட
மருவு வானு ளோராட ...... மதியாட

வனச மாமி யாராட நெடிய மாம னாராட
மயிலு மாடி நீயாடி ...... வரவேணும்

கதைவி டாத தோள்வீமன் எதிர்கொள் வாளி யால்நீடு
கருத லார்கள் மாசேனை ...... பொடியாகக்

கதறு காலி போய்மீள விஜய னேறு தேர்மீது
கனக வேத கோடூதி ...... அலைமோதும்

உததி மீதி லேசாயும் உலக மூடு சீர்பாத
உவண மூர்தி மாமாயன் ...... மருகோனே

உதய தாம மார்பான ப்ரபுட தேவ மாராஜன்
உளமு மாட வாழ்தேவர் ...... பெருமாளே.

Look at the poetic beauty..And look how in the guise of praising Lord Muruga, he eulogises Lord Vishnu giving the gist of the Mahabharata and the Vaamana avatara in less than 4 lines.

That is AruNagirinaadar!

Now, let us briefly look at the different dance forms of India.

The treatise on classical dances of India is believed to be written by Bharta muni between the 2nd century BC and the 2nd century AD. More about this later in my forthcoming posts.

There are essentially seven major classical forms:

1.Bharatanatyam-a very classical form known for its aesthetic elements

2.Kuchipudi-originating from the village Kuchelapuram in AP

3.Kathakali-meaning ‘Story play’
4.Mohinyaattam-Dnce of the enchantress believed to be named after the Mohini avatar of Lord Vishnu

5.Manipuri-a graceful form that lays emphasis on devotion

6.Odissi- known for its soft touches

7.Kathak-Focusses on the footwork and movements

Each one has its own beauty and of course different sets of rules.

Bharatanatyam, a very popular dance form across the globe involves hand gestures, facial expressions, movement of feet and the body. In fact, almost all the organs are involved while dancing. Minute eye-movements, neck movements and the hand movements make it one of the most aesthetic experiences if performed well by the artiste concerned.

Bharatanatyam essentially has Nrittam-movements that add to the beauty, Nrityam-specific movements to convey a message and Natya- depicting a story using what is called as the Abhinaya.

We also have Aangika abhinaya- physical expressions, Vaachika abhinaya-verbal, Saatvika abhinaya- expressing inner feelings/emotions, Aaharya abhinaya- costumes/make-up.

We shall see about Bharatanatyam and the other forms in detail in the posts to follow.

Let us now focus on today’s special composition

The composition is very special for various reasons.

First of all, it talks (musically) about the major classical dance forms.
Secondly, it has only the percussion instruments and no melodic instruments.
Thirdly, it is a Ragamaalika –with 5 ragas including 3 Hindustani ragas. Within a few phrases, the flavour of each raga is brought out beautifully!
Fourthly, the ‘dance jatis’ are rendered by Raaja sir himself.

The composition is ‘Aavedanaa’ from the Telugu film Aalapana(1986).

It has a very unusual start with a shriek. This shriek alone means a lot as it gives the emotive touch to the entire composition. Can there be pleasure without pain?

Janaki starts the Pallavi in Madhukauns.This beautiful Raag is the pratimadhyama counterpart of Sudhdha Dhanyasi and its structure is
sa ga2 ma2 pa ni2 Sa/Sa ni2 pa ma2 ga2 sa.

As the Pallavi ends, we are in for another surprise.
A beautiful jati korvai in the voice of SPB welcomes us.

We see the Aangika, Saatvika, Vaachika abhinaya in full flow in unison with the Bhava Raga and Tala in classical Kamboji-sa ri2 ga3 ma1 pa dha2 Sa/Sa ni2 dha2 pa ma1 ga3 ri2 Sa ni3 pa dha2 sa.

It is Bharatanatyam.

The luminous jatis in the voice of Raaja shows us the vignettes of Kuchelapuram from where Kuchipudi was born.

It is an aural treat as one hears the jatis that are rendered with fluid ease.
Waves of sound..

SPB follows it up with a beautiful rendering of the line about Kuchipudi in Pantuvarali whose structure is sa ri1 ga3 ma2 pa dha1 ni3 Sa/Sa ni3 dha1 pa ma2 ga3 ri1 sa.

‘Dhinta Dhinta Dhinta’…
Pulsating pleasantness wedded to Laya substance..

We hear Raag Bahaar whose structure is ni3 Sa ma1 ma1 Pa ga2 ma1 ni2 Dha2 Ni2 Sa/Sa ni2 Pa ma1 Pa ga2 ma1 Ri2 sa.

Raag Bahaar is considered to be the Raag of Spring season.
Maestro used it here to depict the dignity and grace of Manipuri.
One also gets to see the delicate nuances of this special raga in the sangatis.
The Pakhawaj and the gentle sound of the ankle bells give it a unique charm.

The softly textured charaNam phrase follows in keeping with the softness of Odissi.
We hear the melodic strains of a Raag called Miyan ki Malhaar.

Its structure is Sa Ri2 Pa ma1 Pa ni2 Dha2 Ni2 Sa/ Ri2 Ni2 Sa Dha2 ni2 ma Pa ga2 ma1 Ri2 sa.

It is a Monsoon raga and the combination of ‘ni dha ni Sa’ denotes the gathering of clouds.

The usage of this Raag for Odissi shows the sensitivity of the composer.
The breathtaking swirls and swings give us a breezy feel.

It is exuberance now as the majestic KathakaLi is depicted. The dynamism of this dance form comes out in full glory through the Carnatic raga AtaaNa- Sa ri2 ma1 pa ni3 Sa/Sa ni3 dha2 pa ma1 pa ga3 ri2 sa.

The use of pancha vadhyam here adds to the beauty and the majesty.

It is then the vivacious Tabla replete with graceful overtones. It weaves warp and weft into zigzag motifs making one feel Kathak.

The composition showcases a wide variety in expression and technique..

A panoramic view of major classical dances..

Variegated hues of Music and dance..

‘Idhi raga manohara ramya vikaasam lalita layatmaka laasya visesham..’

ILaiyaraaja-The Devout Musician!

Oh! Happily Singing Cuckoos! What Music is this - Dull And Gloomy?
When The Lord Of The Venkata Hill Bestows The Vivacious Life On Me ,
Come To Sing In Glee,
And If The Lord With Garuda In His Banner Graces And Commingle With Me ,
I Will Entreat You To Come And Delight Me in Soul Stirring Music!

பாடும் குயில்காள்!ஈது என்ன பாடல்?நல் வேங்கிட
நாடர் நமக்கு ஒரு வாழ்வு தந்தால் வந்து பாடுமின்
ஆடும் கருளக்கொடியுடையார் வந்து அருள் செய்து
கூடுவராயில் கூவி நும் பாட்டுக்கள் கேட்குமே!



Tamizh Literature is very rich in deed !

Apart from the wonderful Sangam Literature comprising Patthu Paattu and Ettuthogai composed more than 3000 years back, we have the Great Thirukkurall, The Five Major Epics-Silappadigaram, Manimegalai, Seevaga Chintamani, Valaiyapathi, and Kundalakesi- and The Beautiful Kamba Ramayanam just to name a few.

Apart from these , we have the Bhakti Literature which abound with Piety, Devotion and Compassion. The Poets were able to convey and express their feelings in a lucid way and their mastery of the language is simply amazing.

The above verse is from the ‘Naachiyar Thirumozhi’ which is part of the Vaishnavite Treatise ‘Naalayira Divya Prabandham’.

’Naachiyar Thirumozhi’ is a collection of 143 poems penned by Aandall. She has used beautiful Similes and Epithets in her poems and it is a real treat for avid lovers of Literature.

One of the major aspects of the Bhakthi Literature is that the poets never hankered for material possessions.They were steadfast in their approach and their only focus was to attain Supremacy by being in unison with the Almighty!

Apart from Aandall , there have been many poets who have sung verses extolling the Omnipotent/Omnipresent/Omniscient.

Maanickavaachakar was one of them.

Maanickavaachakar lived in the later part of 9th Century –just after Aandall.Though he has two works to his credit-Thirukkovaiyar and Thiruvaachakam-he is known more for the latter. Both these works are part of the 8th Thirumurai(treatise) of the 12 Saiva Thirumaurais.

His original name was Thiruvathavoorar(Thrivathavoor being the place of his birth which is about 25km.from Madurai) and he was the Chief Minister in the Court of the Pandiya King Arimarthanan. It was a normal life for the Minister until a Divine Intervention happened in a place called Thiruperunthurai and his life changed thereafter…

After penning ThiruVaachakam(Thiru-Divine, Vaachakam-Words/Verses), people started calling him as ManiVaachakar or MaanickaVaachakar(one who utters Gemlike Words).

Thiruvaachagam is the cry of the soul that wants to be free from the bonds and that longs to be united with the Supreme. The Mystic appeal in Thiruvaachakam melts one’s heart and makes one shed tears.

There is a saying in Tamizh ‘ThiruVaachakathirkku Urugaar Oru Vaachakathirkum Urugaar’meaning ‘One who does not melt while reading or listening to ThiruVaachakam will not melt for anything’.

ThiruVaachakam consists of 684 Verses in 51 parts!

While reading ThiruVaachakam, one is stunned by the fact that ManickaVachakar was also a mortal like us having all worldly desires but none of the verses is a prayer that petitions God for Material Possessions. Realising that everything other than the Almighty is only an illusion, he makes a fervent plea to be released from the bonds that imprison the deluded soul.

One can appreciate the real beauty of ThiruVaachakam , if it is rendered by someone who has really understood and appreciated the True Meaning and one who is an expert in Tamizh, Mysticism, Spirituality and most importantly Music.

Can there be a better person than the great Maestro who is the Master in all these and whose music is simply Outstanding and Divine?

Though there are a lot of great things about ILaiyaraaja’s interpretation of ThiruVaachakam, what strikes one first is his diction.

At a time when the ‘ள’(lla), ‘ண ‘(nna), ‘ழ’(zha),’ ற’(rra)-which are unique letters and are very special to Tamizh- are pronounced very badly in conversations and in the present day songs, he sets an example in pronouncing these letters and words and in the process shows how beautiful Tamizh is.

The second thing is that his tunes are set in pure Carnatic Raagas but the Orchestration is in Western Classical style!Though he does this regularly in his Film Compositions, it does take a lot of guts and gumption to do this in a Classic Work!

And he does this with aplomb !

Unlike what is widely believed , Raja has never called his ThiruVaachakam work as a Symphony nor has he named it a Symphonic Oratorio.

It is an Oratorio using Symphony Orchestra.

It is an humungous task to render all the 654 verses . After years of research, Raja has picked out the verses that give the essence of this great work.

What we are going to see today is the ‘Thirukkotthumbi Pathigam’ where the Knowledge is symbolized as the Humming Bee and MaanickaVaachakar requests the bee to ‘hum and sing’ to The Almighty!

There are totally 20 verses in Thirukkotthumbi Pathigam out of which 7 verses are rendered in the Album.

The Theme Raaga is Sudhha Dhanyasi. The Swaraas of the Raaga change in a coruscating way and in the process Sudhha Dhanyasi changes its colour- at times totally becoming a different Raga.

Throughout the 7 Verses here, one gets to hear the Drone of the Bees and it sounds differently in each of the Verses.

The Composition starts with the Violin Orchestra sounding like the Humming Bee taking a low flight and hovering around to listen to the greatness of the Almighty;
The Divine Force whose power cannot be fathomed by anybody.

The Maestro with a Voice Chockfull of Spontaneity now sings a pithy Aalap of Sudhha Dhanyasi as the Bee listens:

‘Who Am I-Who Is My Mind-Who would Know Me-if Only the Almighty who wears the Moon on His Head had not Bestowed His Grace on Me?Go and Hum to his Honeyed Feet..’

The Bee now takes a Joyous Flight ready to taste the honey…

Now comes the Honeyed Phrase that says ‘Don’t Drink the Honey from the Flowers that are just ordinary.Go to the Almighty who effuses Honey that enters each and every bone’.

The phrases ‘Ninaithorum’, ‘Kaandorum’, ‘Pesumthorum’ follow a wavy pattern and sound like the wind dancing on the drooping branch of a tree..

The Bee now slows down as its listens to the story of Kannappan who offered his eyes to the Lord.

The ‘Ma’ in Sudhha Dhanyasi is changed beautifully and it now becomes Raag Madhukauns(Madhu in Sanskrit means Honey!).The Gait or Gathi-as it is called in Carnatic Music Parlance- is also changed.

In a Yearning Tone , the Maestro sings ‘Despite My Love not being equal to what Kannapan had , the Lord has graced me with his Skylike Compassion.Go and sing to that Golden Feet’ .

The Bee is now in a pensive mood after listening to the story of Kannapan as the Shruthi Bedam takes place.The ‘Ga’ and ‘Ma’ change and only three Swaras Sa Ga Ma are used to depict the Mundane pleasures like Money, Fame, Family and the Cycle of Birth and Death.

The Raaga becomes Sudhha Dhanyasi again when he says ‘Go and sing to the One who dispelled all these Myths’.

The Bee takes a Graceful Flight and takes leisurely glides as the Raaga goes back to Madhukauns .

‘I am worse than a Dog with a Mind like a Monster.He pardoned me and made me sing quelling my unpleasantness like a Mother.Go and sing to him.’

The Bee now takes a Tantalising Trajectory with Repose as it listens to’ Who am I in front of the Supreme,
The One who rules the Heavens, All the Directions and the Seas.
Go and Sing to his Feet which is Immersed in Honey..’

The Bee now moves like waves and tries to visualize the Incandescent Figure which is All and Nothing and From whom Compassion flows like a Flood.

The Brilliant use of Ankle Bells symbolizing His Cosmic Dance ,the Structure of the Verse to making it sound like a Mangalam(the piece of Homage sung at the end) and all the four lines taking a Sinuous Pattern making it look like the Dance Of The Waves are like The Diamonds in the Crown!

Thiruvaachakam –set to Music by Illaiyaraja is a soft and supple fabric,

A Fabric woven with Devotion,

A Fabric laced with Spiritual Punctuations,

A Fabric Radiating Positive Energy,

A Fabric as intensely Colourful as It Is Emotional!


திருவாசகத்திற்கு உருகார் ஒரு வாசகத்திற்கும் உருகார்

இளையராஜாவின் இசைக்கு உருகார் ஒரு இசைக்கும் உருகார்.

One who does not melt for Thiruvaachakam will not melt for anything.
One who does not melt for ILaiyaraaja’s Music Will Not Melt For Any Other Music!