ILaiyaraaja - The Rapturous Musician

Revelry is one thing which all of us love.

When we celebrate something, adrenalin rushes in, endorphins run around, serotonin jumps, dopamine dances and oxytocin smiles. The positives far outweigh the negatives and probably this is one of the major reasons for the existence of so many festivals in India-especially in South India.

What happens when we celebrate art forms and poetry? Wouldn’t this result in our aesthetic sense getting fine tuned?

But then, are celebrations and aesthetics mutually inclusive or exclusive?

This is not an easy question to answer. Celebrations can be gaudy, displeasing and distasteful. It can also be artistic, beautiful and creative.

Let us see how a great poet celebrates a very important and a significant occasion.

Rama and Sita get married at Mythila. Kavi Chakravarthy describes this Event with panache. Though there are many verses, let me just take 3 of these now.

First, the sun rise:

அஞ்சனம் ஒளியானும் அலர்மிசை உறைவாளும்,

எஞ்சலில் மணம் நாளைப் புரிகுவர் எனலோடும்,

செஞ்சுடர் இருள் கீறித் தினகரன் ஒருதேர் மேல்,

மஞ்சனை அணிகோலம் காணிய என வந்தான்.

It seems spreading it beautiful rays, the sun rises to witness the wedding of Rama and Sita.

Then, he describes the city and the people of the city.

அன்னமென் நடையாரும், மழவிடை  அனையாரும்,

கன்னி நன்னகர் வாழை கமுகொடு நடுவாரும்,

பன்னரு திரைமுத்தம் பரியென தெரிவாரும்,

பொன்னணி அணிவாரும், மணியணி புனைவாரும்.

Young girls and men adorn themselves with priceless pearls and jewels and the city is full of the auspicious plantain trees.

And finally, the wedding:

ஆர்த்தன பேரிகள், ஆர்த்தன சங்கம்;

ஆர்த்தன நான்மறை, ஆர்த்தனர் வானோர்;

ஆர்த்தன பல்கலை, ஆர்த்தன பல்லாண்டு;

ஆர்த்தன வண்டினம், ஆர்த்தன வேலை.

The drums reverberate. The conch reverberates. The veda mantram reverberates. The bees buzz. The ocean thunders. All these say, ‘Long live the divine couple!’

As I said there are more verses, but I have chosen just 3. Look at the contrasts in the first and the second verse. The first one describes Rama as ‘dark-hued’ and Sita as the one who lives on the lotus flower. The second one has the swan (girls’ gait) and the bull (men’s gait). The last one ‘sounds’ the percussion and the melodic conch. It also talks about the ‘bee’(which goes in search of honey) and the ocean(water)- symbolizing living and non-living things.

To imagine that even the bees and the ocean celebrated Rama’s wedding, calls for a profound aesthetic sense. And that is why, we celebrate Kamban.

If this was a poet’s celebration and the celebration of a poet, what we are going to see now is a musician’s celebration. In the former, Kavi Chakravarty celebrated his Hero’s wedding. In the latter, Isai Chakravarty celebrates his hero’s wedding-his hero (or should we say heroine?) being music.

Through almost all his compositions ILaiyaraaja celebrates music and this is reflected in the output. So, what would have happened when he was asked to compose a song for a wedding sequence- a tribal wedding sequence at that. Wouldn’t that have made his creative juices flow and even overflow?

That oozing resulted in ‘Kanni PoNNu Kai Mela’ (Ninaivellam Nitya-1982).

The rhythm, the pattern, the use of apt instruments and a very special raga make us imagine the ecstatic state the composer would have been in, while composing this song.

To start with (and I am going in reverse), let us look at the raga. Theoretically speaking, SaarangatharangiNi is a simple scale. It is a shadava raga with 6 swaras in ascending and descending. The great carnatic music legend Shri.G.N.Balasubramanian, a musician known for many experimentations, once thought of adding a swara (dha) to a very popular raga Hamsanadam. The new raga was christened SaarangatharangiNi. Though it does sound like a Hindustani raag(a lot of resemblance to Shuddh Sarang and not without reasons), it has a unique charm.

ILaiyaraaja used it for the first time in this song(and some more times later on).

Shehani, an instrument (wrongly) associated with melancholy alone, has been used prolifically by ILaiyaraaja in very happy situations. This instrument is ubiquitous in this song (note that it is played in North Indian weddings).

ILaiyaraaja is known to for using very different instruments. In this song, he uses tribal percussion which plays the tribal beats.

And of course there is his most favourite instrument which is called as ‘silence’.

Let us now celebrate the song looking at the nuances.

It starts with the tribal percussion sounding ‘ta ka dhi mi/ta ka dhi mi/ta ka dhi mi’ for 2 aavartanas(taaLa cycles). The chorus hums now and isn’t this enticing? The dynamic melody matches the rhythmic intensity. It is the marriage between raga and taaLa!

As the chorus continues, we see the resplendent shades of the raga. It continues for 11 aavartanas with a special sound occurring at the end of every second aavartana till the 8^th and then at the end of every aavartana. This special sound which lasts for just one beat, shows how a subtle improvisation can enhance the mood of a composition.

The chorus touches the higher octave and twin-shehnai decides it is time to jump into the fray. It plays the first line of the Pallavi and then goes on. The bass guitar joins the percussion which by now gathers more momentum and intensity, giving a resonant beat at the third microbeat of the fourth ‘ta ka dhi mi’.

The subtle flute joins the shehnai for the last two aavartanas to play a part in the celebrations.

Suseela starts the Pallavi in higher octave. Not many songs have a start like this. There is pause after ‘kai mele’ with only the special sound appearing there. Malaysia Vasudevan repeats the first line and the chorus appears again after the second line, humming in a typical tribal style for one aavartana. And then there is silence for 3 beats after ‘KalyaNam’. Does this signify something?

As if to show the contrast, the male voice, the female voice and the chorus sing the next line boisterously!

With a willowy grace, the shehnai moves in the first interlude. But before that, the resonant percussion sounds ‘ta’ with yet another tribal percussion sounding ‘ka dhi mi’ rather gently. And this goes on for 2 aavartanas. But the beats continue in the same pattern in the background throughout the interlude- when the chorus sings ‘tam tam tam ki ta’ followed by a brief akaaram and then ‘tam tam tam ki ta tam tam tam tam’ for 4 aavartanas, when the flute plays a piece couched in winsome melodic language for 4 aavartanas and when a tribal melodic instrument joins hands with the keys mimicking the humming of the chorus.

The lines in the CharaNams are eloquent with silence playing a role here too. There is silence for a full aavartana after the first and the third line. The vocals(female in the first charaNam and male in the second charaNam) give a repartee in the second and the fourth line. The chorus joins after the fifth line, repeating the min singer’s lines. The last line rolls with musical intensity.

The second interlude is vivacious. For starters, the tribal instrument gives a gripping melody. The strings respond intensely with the percussion-which is intense as well- backing these, playing ‘ta – dhi mi/ta ka dhi mi’. After two rounds, the shehnai wallows in and moves with exhilaration. A host of shehnais and a couple of other instruments join now and then. As if smitten by this, the chorus sings with ecstasy. It is contrast again with the keys sounding with suppleness. The tribal/keys melody appears again and this time the chorus joins in giving the repartee.

Sheaves of melody!

Sun rays, priceless pearls, jewels, buzzing bees, thundering ocean..

Artistic, Beautiful and Creative..

 It is the Celebration of Life!

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ILaiyaraaja - The Prepossessing Musician

However subjective this may sound, it is an irrefutable fact that we have positive and great feelings towards some people, many times without any reason and at times with a lot of reasons.

The last part is questionable though. Can we like somebody without any reason? Are their things in this world which defy logic and reasoning? But generally it is said that Love happens and one cannot and need not analyse the causes. This might sound strange but people in love find even minute things about the other person interesting and also interpret things the way they want to interpret.

Take this verse for example:

பாண்டிலின் வைத்த ஓர் பாவை தன்னோடும்

ஈண்டிய அன்பினன் ஏகுவான், இடைக்

காண்டலும்,நோக்கிய கடைக்கண் அஞ்சனம்

ஆண்டகைக்கு இனியதோர் அமுத மாயதே.

The man follows his lady love who, from a vehicle (probably a bullock cart) darts fleeting glances at him. But can you guess what makes him feel ecstatic?

It is the ‘kaajal’ which decorates her eyes. He feels the ‘kaajal’ is nectar because it is this which makes her glances special. It is this which gives that loving expression. It is this which ‘confirms’ her love!

I wouldn’t be surprised if some found this silly. But in my opinion, it is the height of poetic expression. A tiny dark paste which occupies very little space, gives the lover uncontrollable joy and makes him give it a colour -literally and figuratively.

Kaajal as a metaphor!

Who else other than Kamban could have thought like this and also used such beautiful and apt words (  ஈண்டிய அன்பினன் for example, meaning ‘full of love’)?

That is why, Kamban is liked by many.

So now, we have two extreme cases. One, the lover, who likes somebody without any reason and two, the poet who created this character and is loved by many with a lot of reasons.

Is there a contradiction here?

Rather than answering this now, let me ask a simple question. 

What makes us love ILaiyaraaja and his music?

This too will not be answered by me now and I would rather look at the song of the day first.

‘Thangachangili minnum paingiLi’ from ‘Thooral Ninnu Pochchu’(1982) oozes with romance. Based on that grand raaga called KiravANi, the composition has many intricately carved patterns both in the Pallavi and CharaNams and also is full of amazing sounds from traditional and modern instruments.. Most importantly, the bass guitar which seems imperceptible and yet is perceptible.

What strikes one the most is the different structure of the Prelude/Pallavi. The song starts with the rendering of the first line by Janaki. And what a rendering it is-not just here but throughout the song. It is somewhere between a whisper and a mid-tone. The voice of Malaysia Vasudevan too is slightly different and is full of romantic passion.

The music which follows, weaves a stimulating web. The caressing and mellifluent strings respond to the gentle and firm guitar in a unique way.This beguilingly beautiful piece is followed by the keys which show some beauteous niches of KiravaNi to the backing of percussion in chatushram. What follows is even more beautiful, with the dainty flute and the smooth strings flirt with each other with disdain.

The Pallavi starts now and what is intriguing here is the presence of only one swara ‘sa’ in the first four phrases. However, the next two phrases with the ‘ri’, ‘ga’ and the mandra stayee ‘ni’ are enough to establish KiravANi. The last line is a clincher-though the other two lines are great as well- with the first three phrases moving in a group of 3 and going like a curve. The ‘group of 3’ follows a pattern too with one swara appearing twice in each group. Just see this pattern ‘padhadha mapapa gamama’ and you will know what I saying. The last phrase reminds one of a typical carnatic concert as it goes descending –ga ri sa ni.dha.pa..

Aesthetic creativity!

Water gushing out from the opened sluices.. This is how I can describe the first interlude. The strings soothe and stir. The expressive flute traverses deeply showing some glorious colours of the raaga in the process. The keys follow with precision outlining some poignant shades, with the subtle strings backing them. The special sound keys coruscate and take us to the first charaNam.

The CharaNams are full of chiseled phrases but what lends it the magical quality is the first phrase where the taara Sa(higher octave sa) appears suddenly after the ‘pa’.  The third and the last lines are special too with the former having swaras in groups of 3(yet again) and the latter having a sangati in the first phrase extending the swara ‘dha’ and goes descending in the last phrase touching mandra stayee swaras.

It is Laya Raaja in the second interlude. It first starts with a percussive fusillade of a folk percussion which plays the chatushram as

Ta- ki- ta – /ta –/ dhi taa – ta/ ta ka dhi mi

6               / 2    /  4              /   4

After two avartanaas, the special sounding keys join the percussion  and take rapid strides. The graciously charming keys join after two aavartanas and nodding their heads in appreciation, play the rhythmic pattern melodically and meticulously. Not to be left behind this in this rhapsody, the imperious flute enters smoothly and repeats the pattern. The keys are joined by the strings and both shine with an iridescent glow.

Is there a reason for liking ILaiyaraaja and his music?

Yes and No..

Yes because of the unparalleled melody and intricacies. No, because there is something more than that which cannot be described...

..like the kaajal on the eyes.

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ILaiyaraaja-The Effulgent Sun..

‘The cuckoos get married. The peacocks dance. The bees sing a beautiful tune to wake up the royal swan which is sleeping on a bed of flowers.’

குயிலினம் வதுவை செய்யக் கொம்பிடைக் குனிக்கும் மஞ்சை,

அயில்விழி மகளிர் ஆடும் அரங்கினுக்கு அழகு செய்யப்

பயில்சிறை அரச அன்னம் பன்மலர்ப் பள்ளி நின்றும்

துயில் எழத் தும்பி காலைச் செவ்வழி முரல்வ சோலை.

This is the description of a forest in the Kosala Kingdom by Kamban. Kamban was a Master of descriptions and we have seen some very beautiful and interesting verses of ‘Kavi Chakravarti in this blog.

Look at the aforementioned verse.

How many can even imagine cuckoos getting married and peacocks dancing to celebrate the occasion? Or the bees singing a Sevvazhi paN( raga) to wake up the swan?(‘sevvazhi paN is the equivalent of the Yadukulakambodhi ragam)?

Most importantly, the verse conveys the harmony between the living creatures in the Kingdom of Kosalam.

The ability to interweave some beautiful stories in each of the verses, the choice of meaningful shimmering words, creative imagination, making the readers literally visualise the scene-these are some of the things that set Kamban apart.

That is why, his poems smile with effulgence even centuries after these have been composed.

If Kamban was an Emperor of Poetry, ILaiyaraaja is the Emperor of Film music.The works of both these geniuses shine like the effulgent sun.

What makes his compositions great is not just the choice of ragas but also the way he has handled these.

As we have been seeing in this blog, he has used very popular ragas, not so popular ragas, and relatively unknown ragas. Some of these ragas had hardly been used in film music while some had not been used even in classical music.

The song of the day falls under the former category.

The name of the raga is ‘Deva Manohari’ and the song is ‘Suga raagame’ from the film ‘Kanni Rasi’(1985).

The structure of Devamanohari is very interesting:

sa ri2 ma1 pa dha2 ni2 Sa/Sa ni2 dha2 ni2 pa ma1 ri2 sa.
If one looks at the scale, it is nothing but Madhyamavati plus ‘dha’.

However, the raga sounds different from Madhyamavati because of the way it is sung.

In fact, that is he basic difference between a scale and a raga. While the plain notes combine to give a scale, the notes are full of life in a raga.Moreover, some notes acquire special status in some ragas making the respective ragas unique.

For example, in Madhymavati, the swaras ‘ri and ‘ni’ are very special and are called as the ‘jiva swaras’. In Devamanohari, these swaras are not that special.

Devamanohari’s structure is also very similar to Narayani-the only difference being the absence of ‘ni’ in the arohaNam of the latter.

The other raga close to this is ‘MaNirangu’ whose structure is ‘sa ri ma pa ni Sa/Sa ni pa ma ga ri sa.

I have come across some sites that classify ‘Suga ragame’ under MaNirangu but I differ from this view because the ‘dha’-which is totally absent in MaNirangu- is somewhat prominent in the composition and ‘ga’ which is present in MaNirangu is not found except of course once towards the end of the pallavi.But since this appears as an accidental note and never occurs again, the composition is based on Devamanohari only and not in MaNirangu.

There are many compositions in Devamanohari in Classical music.

Some of these are- ‘Evarikai avataaram’, ‘Kanna tandri naapai’-both of Saint Tyagaraja and ‘Yaarukkuthaan theriyum’ of Gopalakrishna Bharati.

‘Sugaraagame..’ starts with the mirudangam sounding ‘ta ka dhi mi’ twice completing 8 beats. This sharp and sustained percussion sets the tone for the marvel that is to follow.The Veena plays with comely grace and it is joined by the enlivening flute after exactly 8 beats. They coalesce to present a dexterous delineation of the raga.

There is a pause for 4 beats and the Pallavi starts in a very different voice of Malaysia Vasudevan-who mimics the voice of yester-year singer and legend Chidambaram Jayaraman.

The Pallavi is lucid and is rendered with zeal by Vasudevan and VaNi Jayaram. The Veena piece that appears between the lines gives a touch of serenity.

In the first interlude, the Veena gives a brief spell of shiny phrases in the beginning.The Jalatarangam and the Tabla play with each other with glee first in different variations of 4 beats producing some colourful patterns. The flute combines with a bass instrument showing the beauteous facets of the raga. The Jalatarangam and Tabla join again continuing the colourful sequence.

The CharaNam is peppered with lovely phrases.
The first part gives succinct expressions while the second part is steeped in classical canons. The last part is scintillatingly brilliant.

The second interlude shows the nuances of the raga beautifully.

The sympathetic/resonance strings nod their heads and the flute sparkles. The chorus sings the syllables with the Tabla moving with the micro count of 6-ta ka dhi mi ta ka. This tuneful rhythmic pattern that creates kinetic images lasts for 4 cycles.The flute takes over with an aesthetic flourish.

Scintillatingly brilliant!

The second charaNam sees the original voice of Malaysia Vasudevan and a variation of the Chatusram pattern.

Suga raagams always emanate from Isai Raaja’s veena..

ILaiyaraaja-The Aesthetically Flamboyant Musician..

All are geniuses flamboyant?

In fact, some are geniuses solely because of their flamboyance and since my objective is not to get into this and stir up a Hornet’s nest, let me focus on some other geniuses who generally have a subdued flamboyance. But what happens when this flamboyance raises its hood (with or without their being aware) at times?

Among other things, it shows yet another dimension of the Genius. But most importantly, ‘aesthetics’ -that runs as an undercurrent in the works of the geniuses - combines with Flamboyance resulting in a veritable fare.

Take the great AruNagirinathar whose works include the Tiruppugazh, Kandar Alankaaram, Kandar Anubhooti,Kandar Andathi.. and many more. Some of his verses have been quoted in my earlier posts ‘ILaiyaraaja-The Beautiful Musician’, ‘ILaiyaraaja-The Spontaneous Musician’, ‘Natana Raaja-Part 1’, ‘ILaiyaraaja-The Effervescent Musician’.

Now, let us look at this verse (people who cannot follow Tamizh, pl. note that the first two words in each line are the same.:

‘சித்தத் தரங்கத்தர் சித்தியெய் தத்திரி கின்றதென்னர்ச்
சித்தத் தரங்கத்தர் சந்ததி யேசெந்தி லாய்சலரா
சித்தத் தரங்கத்தர் ரக்கரைச் செற்றகந் தாதிங்களிஞ்
சித்தத் தரங்கத்தர் சேயா ரணத்தந் திகிரியையே’

‘Sidhdha tarangaththar sidhdhiyey thaththiri ginRathennar
Sidhdha tarangaththar santathi yesenthi laaysalaraa
Sidhdha tarangaththar rakkarai seRRakan thaathingaLinj
Sidhdha tarangaththar seyaa raNaththan thigiriyaiye’

Now, let me split the words to convey the proper meanings:

சித்த தரங்கத்தர் சித்தி எய்த திரிகின்றது ஏன்(அர்ச்ச)
சித்து, அத்தர், அங்கத்தர் சந்ததியே செந்திலாய்(சலரா)
சி தத்தரம் கத்து அரக்கரைச் செற்ற கந்தா திங்கள்,(இஞ்)
சி தத்து அரங்கத்தர் சேய் ஆரண தந்தி கிரி ஐ ஏ.
I can give the word by word meaning for people who are interested. For now, let me give the gist:


‘Oh Lord who is the son of Parameswara ; the One who destroyed the Asuras; the One who is worshipped by the Vedas; the one whose abode is the ‘Sengottu Hill’- Tell me this: Why do people who cannot control their wavering minds, perform pooja and pray to you just to while away their time?’

Though this is just the summary, there are a lot of beautiful things about this poem.

First and foremost is the way the (same) two words are used in all the four lines, conveying different meanings in each line.

Second is the way Lord Muruga is described.

He is called as the one whose father wears the garland of bones and is worshipped by one and all (second line).

Then to describe His virtue of destructing the evil forces, AuNagiri says, ‘You killed the Asuras who with their bloated egos came running and shouting from the seas’ (third line).

We see the poetic beauty in the next line as he describes the tower of Sri Rangam. The poet says ‘The Moon crawls on the wall of the temple(to show how tall it is..).’

Now, where did the Lord of Sri Rangam come into picture here?

He brilliantly gives a link here. ’The Vedas recited by Brahma, who is the son of the Lord of Sri Rangam, worship You!’

The first line is a marvel.

‘Why do people whose minds are as wavering as the waves of the sea look for salvation just by doing Pooja without realizing the value and roam around?’

In fact, he conveys what he wants to convey in the first line itself-unlike most of the poems where the last line is a clincher. The other three lines are just ornate.

But look how beautifully the words dance in those lines.

Most importantly, he conceals the words and leaves it for us to split and understand the real meaning.There is a deep philosophy in this itself, but I leave it to you to decipher..

What is of utmost interest to even non-tamizhs is the way the entire poem has been constructed.

Is this not what we call as ‘aesthetically flamboyant’?

The Emperor of Film Music is flamboyant at times. But just like the great AruNagirinaathar, his flamboyance too is aesthetic.
The song of the day is a popular composition, ‘Aasai nooRu vagai’ from the 1983 film ‘Aduththa Vaarisu’.

If one says it is based on VakulabharaNam,-the 14th melakarta- he/she is not way off the mark. However, a very close look suggests that the composition avoids/skips the swara ‘ga’ completely.
The Raga text ‘Sangeeta Swaraprastara Saagaram’ of Naadamuni PaNditar calls this raga-that is VakulabharaNam sans ‘ga’ as ‘Nandini’.As far as I know, nobody else has used this raga so far.

As some of you know, VakulabharaNam has a lot of Arabic flavour. What is to be noted is that Nandini too retains that flavour and is in fact slightly more zestful than the parent raga.

This is the structure of Nandini:
Sa ri1 ma1 pa dha1 ni2 Sa/Sa ni2 dha1 pa ma1 ri1 sa.

‘Aasai nooRu vagai’ has some more hidden beauties and let us look at those.

The Trumpets blow in the higher octave. The Bass bursts into melody. The Trumpets and the Guitars now dance with flamboyantly and gracefully. It is an enthralling dance with vibrant intensity.

Spontaneous elegance!

The percussion plays ‘ta ka dhi mi ta ka’ twice and takes us to the Pallavi.

The first two lines of the Pallavi is conceived brilliantly. I am saying this essentially for three reasons. Let us see the first and the second one now and the third one a little later.

The swaras are ‘sa ni2 sa ni2 sa ri1/ sa ni2 sa ni2 sa ri1/sa . . . . .’

1.Note that these are lower octave notes while the prelude is dominated by the higher octave notes.

2.These swaras and the pattern sound like ‘Saama veda’.

The following line is full of vibratos rendered with zeal by Malaysia Vasudevan.

The higher octave notes ‘Ri1 and Sa’ sandwiched between the lower octave ‘pa dha1 ’ and ‘ni2 dha1 pa dha1’ make the last line a pleasant rendezvous.

The incandescent brass flute in the first interlude brings in romance.As the subtle bass guitar and the Bells mingle with the flute, we are in for another surprise. Shehnoy, considered (by film music directors) to be an instrument for pathos, jumps with joy vivifying the atmosphere.
The trumpet now moderates the proceedings, at the same time goading the Bass Guitar which moves with gusto.

The first two lines of the CharaNam is dominated by the ‘panchamam’(pa) which pairs with the ‘sa’, ‘ma’ and ‘dha’. Makes us wonder yet again at the intuitive conception of the composer.

Before I go to the third line, it is now time to explain ‘Reason no.3’.
I had mentioned that the first two lines of the Pallavi follow ‘sa ni2 sa ni2 sa ri1..’.

The third line of the CharaNam-‘Ingu sorgam mannil varum sontam mannil varum..’
follows ‘ pa dha1/ Sa ni2 Sa ni2 Sa Ri1/ Sa ni2 Sa ni2 Sa Ri1 Sa’- that is the lower ‘sa’ and the lower ‘ri1’ are substituted by the upper octave notes.

To understand what this means, sing the Pallavi(2 lines) and then sing ‘Sorgam mannil varum..’.Do you find the similarity and the difference?

Similarity is in the notes and difference is in the octave!

One more beauty is that the Pallavi and the CharaNams that start in the lower ‘sa’ end with the upper ‘Sa’.

In the second interlude, the Bass Guitar pulls our heart strings. We see a confetti of beautiful fireworks as the flute sizzles. The chorus gives out an ecstatic cry and the brass flute takes over bringing a sense of plenitude. The brass section continues with the torrential pour from the trumpets, trampoline and other wind instruments.The mandolin at the end bows in Arabian style!

A multitude of desires.. But our desire is to listen to his music forever.

ஆசை நூறு வகைகள் இருந்தாலும், நமது ஒரே ஆசை அவரது இசையை எப்பொழுதும் கேட்டுக்கொண்டே இருப்பது!