ILaiyaraaja – The Natural Spring

 

Certain things happen by itself. One doesn’t plan nor does one even think. Yet such things come out perfectly and are even more perfect and precise than things which are executed as per plan.

How do these happen?

Before answering this or even trying to answer this, let us see a verse:

தீரப் பயோததி திக்கும் ஆகாயமும்
செகதலமும் நின்று சுழலத்

திகழ்கின்ற முடி மவுலி சிதறி விழ வெம் சிகைத்
தீக்கொப்புளிக்க வெருளும்

பாரப் பணாமுடி அநந்தன் முதல் அரவெலாம்
பதைபதைத்தே நடுங்கப்

படர் சக்ரவாளகிரி துகள் பட வையாளி வரு
பச்சை ப்ரவாள மயிலாம். 

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This poem describes the dance of the peacock. Generally, the dance of the peacock is associated with grace, elegance and subtleness. But here it is the contrast.

Great Seas and Oceans, Eight directions (Dishas), the sky, and the earth (bhooloka) rotate with force; Thousand locks fall from the heavy, fire-spewing hot hoods of the fear stuck Adisesha and the other serpents as they tremble with fear; The huge ChakravaaLa mountain breaks into pieces; All these happen when the peacock-with the green and coral hued feathers- takes its beautiful flight and dances.

 

Peacock and aggression? Peacock and anger? Peacock and temper?

Well, why not? - says AruNagirinathar, the 15^th Century poet who lived in that divine place called ThiruvaNNamalai and whose works are as vast as the Indian Ocean.

Why does this peacock dance?

Is it to tell the world that at times aggression is needed? Is it to show the world that even gracefulness can turn into aggression when the need arises? Or is to just say that things happen by itself and one just needs to admire it rather than questioning it?

I would say-all the three- though I would go with the last mentioned because of my propensity to take and view things as they are.

Certain things just happen.

Poetry happened to AruNagirinathar. Music happened to ILaiyaraaja.

When we see a magnificent waterfalls, do we ask ‘Oh, why is this falling?’

When we see a bird fly, do we ask, ‘Oh, why is it flying?’

When we feel the breeze, do we wonder, ‘Oh, why is it blowing?’

Likewise, poetry happens; Art happens; Music happens.

Take this song –  Maanami idi idikka from Unnai Nenaicchen Paattu Padicchen (1992). Based purely on Mayamalavagowla, a raga known for its classicism and divinity, the composition flows like a river from the mountain.

The beginning itself suggests this. The violins gush in higher octave and move with vigour. Even the keys which interject the violins, seem to have been awe-struck by the force. It just gives a mystic smile and disappears. The percussion too moves with the same momentum in Tisram. After a while, the chorus hums in its own inimitable way with the flute entering like a lightning in between and disappearing before we bat our eyelids. The percussion plays Tisram in mel kalam and guides us to the Pallavi.

If we saw the lightning in the prelude, we see the thunder in the Pallavi. Only difference is that this thunder is melodious in the voice of SPB and Janaki. The bass guitar is as subtle as ever and at the same time is resonant. Can subtle and resonance go together? If thunder and lightning can go together, why not these two as well- says the flute towards the end of the Pallavi.

The flute continues its journey calling out like a cuckoo in the beginning of the first interlude. After a pause, it responds to its own call and then starts going around showing us some myriad hues of the great raga. The strings back the flute now and then, but this backing is a little different. It is done imperceptibly and with precision, sounding as if ‘Ok, I am here too, but I give major space to you’. The sound from the keys too seems to suggest appreciation for the camaraderie between the two.

The chorus continues in Mayamalavagowla and the strings decorate it, showing flashes of brilliance towards the end.

The first segment of the CharaNam sees a mix of higher-octave swaras and the mid-octave swaras while the second segment sees the ascending and the descending notes. The third segment moves with fluidity touching the corners of the raga with finesse.

With satin like smoothness, the bells sound the swaras of the raga in ‘ta ka dhi mi/ta ka, in the beginning of the second interlude. Even as it plays, the chorus sings the akaaram and it sounds like a lullaby. The akaaram continues with richness as the percussion joins now. It seems like an undulating terrain with the bells entering now and then. We reach the summit along with the strings and are enveloped by the quiet stillness.

Stillness after ebullience? How did it happen?

Certain things just happen.. like the dance of the peacock!

 

 

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ILaiyaraaja's Music and Emotions-IV- Love

The white jasmine buds which are as bright as the moonlight eagerly wait and yearn for the rains even as they gently embrace the green tendrils of the red jasmine. The Lady Love looks at this sight and says ‘Like these jasmine buds which will blossom as the rain drops kiss them, my ‘black beauty’ too will blossom as soon as the sound of the chariot of my Man is heard’.

தளவின் பைங்கொடி தழீஇப் பையென
நிலவின் அன்ன நேர் அரும்பு பேணிக்
கார் நயந்து எய்தும் முல்லை அவர்
தேர் நயந்து உறையும் என் மாமைக் கவினே

This love-drenched  poem  from ‘AinkuRunooRu’ which is part of the 2500 year old Sangam literature is beautiful in terms of the similes used - Jasmine buds and the moon light-,  comparison- Jasmine Buds and the Lady, Rain and her Man,and the contrast- Moonlight and Black beauty. But what I like the most about this poem  written by Peyanaar is the fact that rather than artificially glorifying fair skin, it honestly talks about the natural dark complexion of the Lady thus breaking the myth surrounding the colour of the skin.

Generally tamizh poets love to depict the Heroine as being ‘fair and lovely’. The Hero can be dark complexioned and this does not really matter because a Man is expected to show valour while the woman should invariably be beautiful and beauty here means the complexion. In fact, this traditional typecasting continues in the 21^st Century too, the ads and movies being some classic examples.
The bold Heroine in this poem takes pride in her complexion and calls herself as ‘Maamai kavin’.

The poem also tells us a true Love Story in a matter of 4 lines. He is away and has been away for quite a while. Steadfast in her love, and exuding positivity, she waits for his return. Separation, Expectation, Trust and Belief- are these not the ingredients of Love?

I find Love (literally and figuratively) at its best in many compositions of ILaiyaraaja.

Kaadal kavitaigaL padiththidum neram from Gopura Vaasalile(1991) is one such compositions  and according to me is one of the best Love songs in Indian Film Music. What set the song apart are the ragam, the way it is used, the orchestration, arrangement and the voices of SPB and Chitra.

Based on Mayamalavagowla, a very classical raga known for Bhakti and poingnancy, the song make us float in mid air and most importantly make us fall in love. Though Raaja sir has used this raga ubiquitously and with ease, ‘Kaadal kavithaigaL’ is a classic.

With melody and aesthetics permeating the atmosphere, the composition starts with two sets of strings playing two different sets of notes zestfully and with zeal.If only we do a small exercise of focusing one set and shutting off the other one and then do the same process but this time concentrating on the other one alone, an aural treat is surely guaranteed.

Silk braced with steel. That is what I should say as the Recorder, a wind instrument that sounds like a shrill flute takes over and plays the notes of Mayamalavagowla deftly. The melodically comely flute follows and here too there is a second subtle flute playing a different set of notes simultaneously. The musical equation is amazing indeed! Finally, the euphonic bells smile and give the signal of love leading us to the Pallavi.

The Pallavi starts with the upper ‘Sa’ which itself is rather unusual. The brilliant repetition of ‘dha pa’ in the third and the fourth line(idayam, iLamai, amudam,azhagil) is nectarine and straightaway steals our hearts. The last line speaks volumes of the brilliance of the composer. In Carnatic Music, during the ‘kalpana swara’segment, a trained musician weaves a beautiful pattern whereby the ending swara matches with the first swara in the korvai. This is called as ‘poruththam’. The Carnatic Musician in ILaiyaraaja comes to the fore here as the swaras of the last line are ‘ma pa dha ni’ continuing with ‘Sa ni’the swaras of the first phrase (kaadal).

Isn’t musician a painter too? ILaiyaraaja, the artist sketches the interludes with an unbelievable and yet impeccable dexterity. The outline is drawn first with the keys in the beginning of the first interlude. The lustrous flute follows to the backing of the subtle flute which plays the staccato notes. The guitar responds to the romantic call of the Flute. Moving with a striking melodic force and following a wavy pattern, the strings show the quietistic ripeness of love.The Flute that interjects in the end cries in ecstasy.

The CharaNams are musically very sound with the lines composed with a firmness of purpose. The phrases in the second and the third lines are structured in such a way that the swara in the middle of each phrase starting from the second phrase becomes the beginning swara in the following phrase. It goes like ‘ga ma pa/ma pa dha/pa dha ni/dha ni Sa Ri Sa’.

A close observation suggests that the same set of swaras appear in the end too(the penultimate line has the first three sets only) but it does not sound redundant. The last phrase in the last line ‘dha ni Sa Ri Sa’ matches again with the first phrase of the Pallavi-‘Sa ni’.

The CharaNams are festooned with the alternating strings and flute that complete the taaLa cycle after the second and the fourth lines.

The second interlude glows beautifully like love. It starts with a rhythmically rousing sequence with the percussion sounding ‘taangu taangu tataangu taangu taangu’ which is ta ki ta/ta ki ta/ta ka dhi mi/ta ki ta/ ta ki ta- 3/3/4/3/3, a total of 16 maatraas. Only the first syllable in the tisram(group of three) and the first two syllables in chatushram(group of four) are sounded enhancing the beauty. Even as this goes on for a taaLa cycle of 5 and half, the recorder shines with resplendence giving some mesmeric touches. The half cycle is then completed with the melodic guitar.

The Strings that follow show the lively and leisurely facets of the raga with emotional grandeur. In a way, this by itself typifies the entire composition.

Dimensions of Music..Dimensions of Love..

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-The Sculptor-Part I

It is a well - known fact that Tamizh language is one of the oldest languages in the world.

Not only is it old but also it is very rich in literature.

But what makes Tamizh unique and special is that it has survived the ravages of time and is still spoken by millions of people across the globe. Sometime back I had written about the translation of a 2500 year old ‘Kurunthogai’ poem appearing in London Tube Rail(in my post on ‘Daagam Edukkara’).

Dance and music (or for that matter any form of fine arts) has always been part of Tamizh culture.

‘Tholkaappiyam’, the authentic work on Tamizh Grammar that was written in 500BC by Tholkaapiyar-considered to be a student of the great sage ‘Agaththiyar’ mentions a lot about classical dance.

‘Pancha Marabu’by Arivanaar-which was also written almost the same time as Tholkaapiyam - describes in detail about music and dance. It talks about various hand gestures,abhinaya,kooththu,,naatyam.It also describes the letters to be used for jathis-tha,thi,tho,ki,k.

Then there is ‘Kooththa nool’ authored by Saaththanaar.
This is the oldest available text on the grammar of classical dance.

However, ‘Silappathigaaram’-one of the five major epics in Tamizh-is considered to be a complete book on classical dance.

Though there are lot verses, I am giving below one sample verse that speaks volumes about the quality of the work.

It says ‘One must start learning classical dance at the age of five without any compromise on Musical, Dance and Aesthetic Elements, practise rigorously for seven years and perform at the age of twelve.’

ஆடலும் பாடலும் அழகும் என்று இக்
கூறிய மூன்றில் ஒன்று குறைவு படாமல்
ஏழு ஆண்டு இயற்றி ஓர் ஈர் ஆண்டில்
சூழ் கழல் மன்னற்குக் காட்டல் வேண்டி.

As mentioned earlier, Dance, Music, Sculpting, Painting were part of Tamizh Culture and these flourished under the Pallavaas and then the Chozhaas..In fact, one can even include Temple architecture because even now one can find the dance poses in many ancient temple Gopurams.

The Thanjavur Big temple depicts 81 Karnaas(loosely translated as poses but they are not just poses) out of the 108 karnaas. Nobody has a clue as to why the balance of 27 is not depicted.


You must all be wondering as to what relevance these have in this community.

Time to clarify.

Starting today, I shall be writing on the music of ‘Uliyin Osai’. The story revolves around a sculptor and a classical dancer and a fictional account of the ‘facts’ behind the missing 27 karanaas during the construction of the Big Temple.

I shall be discussing the ragas and the techniques used by the ‘great sculptor’ whose other name is ILaiyaraaja.

A brief account of the evolution of classical dance will also be given everyday.

The first composition is ‘Agandhaiyil Aaduvatha Aadal Kalai’.

Before I take up the composition, I must mention that Shriram Parthasarathy, a disciple of the great Carnatic Singer Neyveli Santhanagopalan-who in turn is a disciple of the legendary singer T N Seshagopalan- has done full justice to the song.

Now for the techniques used by the sculptor.

The composition is based on Rasikapriya, a very special Ragam.

Very special because it is the last (72nd) Melakartha.

Very special because it uses two vivadi notes(‘ri’ and ‘dha’).

Very special because no film music composer has used this raga.

Very Very special because Raaja sir has used it in films after a gap of 27 years.The last time he used it was for the song ‘Sangeethame’in Kovil Pura(1981).

The structure of Rasikapriya is:
Sa ri3 ga3 ma2 pa dha3 ni3 Sa/Sa ni3 dha3 pa ma2 ga3 ri3 sa.

The second technique applied is the Tamizh verse rendered with panache with amazing breath control by the master himself.

The third technique is the Gruha Bedam(or Shruti Bedam).

Let us look at the composition now.

We get to see the perceptible musical impulses as the pallavi unfolds.It is like a breath of freshness.The percussion that follows the first line is tuned to play the raga itself and it climbs up and down like a cute baby.

The Tamizh verse rendering begins as soon as the pallavi is over.The Master renders it with passion, intensity, crystal clear enunciation and pronunciation.
People can not only learn music from him. They can learn the language of tamizh as well.

In today’s world where murdering a language is considered to be an achievement-especially by people in Cinema and the Television- Raaja sir shows the beauty of the language.

In the process, he also mentions about the ancient books on music and dance, the various musical instruments, the seven notes as per Tamizh Music.

We are grooved to our seats mesmerized by the voice, the language, the diction, the expression, and the meanings.

The Master also wonderfully uses Udukkai, Mridangam,Flute, Nagaswaram and Veena when these are mentioned as part of the verse!

The line ‘Eththanai Bhavam Undu Bharatathile’(how many expressions do we have in Bharatam..) is rendered with grace and grandeur, the final sangathi in the end in particular.

The effusive Chitra Veena shimmies as we see the different hues of Rasikapriya.

The crisp and succinct Charanam talks about ‘Silappadikaaram’ and the various dances. As we listen to it with rapt attention and revere, we are in for a very pleasant surprise.

There is a beautiful twist and turn.

The line ‘KaigaLil Oru Bhavam’ starts taking the ‘ni’ of Rasikapriya as ‘sa’ and it becomes Mayamalawagowla, the 15th Melakartha.

This technique called as Gruha Bedam or Shruti Bedam has been used time and again by Raaja sir and I have discussed this technique in detail in this thread in my earlier posts.

Engaged in a dialogue of intricate patterns, the song now goes on to discuss about the various expressions in dance.

Towards the end, it is Shruthi Bedam again as the song goes back to Rasikapriya.

The next Charanam is another beauty.Using the some of the swaras of Mayamalawagowla, it gives shades of Saveri and Lalitha(more of the latter).

It is so delicately crafted that we are engulfed and enveloped by the beauty of the Music.

The entire composition is replete with complexities.

It gives us the intuitively comprehensible image of the classical dance.


It has immeasurable power and weight.

It is composed with instinct and intensity.

Most importantly, it appeals to all of us..

How many expression exist in Music..
And is he not the one who gives all these expressions..

எத்தனை பாவம் உண்டு இசையினிலே
அது அத்தனையும் கொடுப்பவர் இவர்தானே..

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