ILaiyaraaja - The Illusionist

Either Black or White?

Either Left of Right?

There is Something Called Grey

Which is the Middle Way.

This ‘poem’(that is if you can call it that way) was written by me some time ago. Whether one can call this a poem or not may not be relevant here, though what may be relevant is the thought I have tried to convey through this. In a world where binaries have become the norm, space for other numbers(read as ‘thoughts’ and ‘opinions’) is getting reduced by the day. The fact that there could be something ‘in between’is not understood or appreciated by many. But even for argument sake, if  we assume that there can only be ‘either this or that’, is not possible for ‘this’ to become ‘that’ and vice versa?

Far from making you confused, my intention is to make you think.

Now, look at this verse:

புகழ்வோம் பழிப்போம்; புகழோம் பழியோம்;

இகழ்வோம் மதிப்போம்; மதியோம், இகழோம்; மற்று

எங்கள் மால்! செங்கண் மால்! சீறல் நீ, தீவினையோம்

எங்கள் மால் கண்டாய் இவை.

Written by the great Tamizh poet Nammaazhwar, this verse is full of contradictions. Or is it?

Let us see what he says:

Addressing the Lord- who he calls as the One who loves us all- the Aazhawar first says – ‘I shall praise You’ and immediately follows it up with ‘I shall despise You’. In the same line, he says, ‘I shall not praise You, nor shall I despise You’. If this is not confounding enough, he continues in the next line- ‘I shall insult You, I shall respect You’ and ‘I shall not respect You nor shall I insult You’. Probably realizing that the Lord himself will be confused now, he says,’ Oh, don’t be angry now’ and finally says ‘All this because of the extreme affection I-who is a sinner- have for You’.

Note that the genius poet that he is, Nammazhwar says ‘You have extreme affection for me. So do I’. But let us see the inherent ‘contradictions’. If the first two phrases are contrasts, the phrases that follow are neutral. Same is the case with the second line. 

But why does he say ‘I won’t praise you’? It is because ‘if I praise You, it means I am praising the One who is beyond all praise and by doing this am I not insulting You? So if I don’t praise You, doesn’t it mean I am not despising You? But if I don’t praise you, wouldn’t it mean I am insulting You? And this duality is because of my extreme Love for you’.

Well, I know it is laced with spirituality with a dash of philosophy, but aren’t these two the sides of the same coin? Or are they different?

Even as we keep thinking about this, let us understand that there can be no life without the concept of duality. And that is the most beautiful aspect of life.

It is of course the beautiful aspect of music too. And without a doubt, this gets reflected in the works of genius music composers.

As I keep saying in my posts, there is poetry in everything. And what we see in ILaiyaraaja’s music is poetry at its best. Let us now see a classic example of duality in his music.

‘Vaanile Thaenila’ from ‘Kaakki Sattai’(1985) may not sound like a song based purely on a classical raga as it is a romantic duet in a tricky situation which is laced with the villain chasing the duo. But not only does the composer follow a classical raga to a T, but also he applies a classical technique in between. And he does this without not many noticing it and without not many being  even aware of it.

But isn’t it true that beauty lies in the unspoken?

The composition is based on Chakravaagam, a raga known for its melancholic touches. So, by saying that the composer used a technique, did I mean this- that is using a melancholic raga for a romantic duet?

Not at all, because if you know ILaiyaraaja well and if you have been following the posts here, you know that he is known for giving us such surprises without in anyway spoiling the grammar of the raga(s).

What then is that technique?

Let us see the composition from the beginning as the surprise happens somewhere in the middle.

The distortion guitar and the electric guitar vie with each other to produce a rather funny sound. If these smirk and then smile, the keys that follow with the guitar(s) in the background produce an impromptu sound which no doubt is pleasing and fragrant. It is then the turn of the saxophone and the strings to romance together by playing two separate melodies evoking some unknown emotions and feelings inside us. The bass guitar combines with the bells and how beautiful does it sound!

The Pallavi in the voices of SPB and Janaki, with the bass guitars in the background and the percussion sounding 4 ‘ta ki ta’s with the last ‘ta ki ta’ alone sounding sharp, is a compendium of melody to say the least.

The higher - octave strings sing like a cuckoo while the saxophone responds like a new unknown species of birds, in the first interlude. The second time this happens, the flute enters, slides and glides. The strings continue the journey with the dulcet flute following them with its unique sound. The guitar makes the atmosphere livelier with its resonance and the strings acknowledge this. The two different flutes- Indian and Western- show unity in diversity and prove that after all , it is music which can unite everyone.

Now, there is a twist. And if you recall my earlier introduction, this is the twist I was talking about. Keeping the swara ‘ma’ of Chakravaagam as the base (sa), the composer changes the raga to Sarasangi. People who follow the posts here closely , know that this technique is called as Graha Bhedam and that ILaiyaraaja is the only film music composer to have used this technique extensively and prolifically in film music.

So the first four lines follow Sarassangi while the last two lines revert to Chakravaagam. If this is not depicting Duality, what else is?

And the fact that this happens in a trice, speaks volumes of the genius of the composer.

The lines in the CharaNams have that touch of poignancy which makes it all the more enjoyable.

Poignant glides are seen in the second interlude as well when the strings move like a stream towards the end. But before this, we see the harmony between the male and the female voices with the former humming a melody in the mid-octave and the latter a different melody-albeit in the same raga- in the higher octave. And in the first segment of the interlude, we have the joyful saxophone combining with the grim faced bass guitar and the neutral bells with the drums playing in mel-kaalam.

Black, White, Grey..

Praise, Despise, Neutral..

Life…Music..

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ILaiyaraaja-The Incomparable Musician

It is not uncommon to find people look for words and gasp for breath when they come across something genuinely amazing and mammoth. Imagine how we would feel if we suddenly saw the Himalayas with the white snow smeared all around or the azure blue sea with the orange sun rising from the horizon or the gushing Ganga at Gangotri!

Something similar happened to Nammazhwar and Kamban, two of the greatest Tamizh poets, when they visualised something in their mental eye.

Let us first see the experience of Nammazhwar, one of the 12 vaishnavite saints when he ‘saw’ the Radiance of the Divine:

முடிச் சோதியாய் உனது முகச்சோதி மலர்ந்ததுவோ?

அடிச்சோதி நீ நின்ற தாமரையாய் அலர்ந்ததுவோ?

படிச்சோதி ஆடையொடும் பல்கலனாய், நின் பைம்பொன்

கடிச்சோதி கலந்ததுவோ?திருமாலே!கட்டுரையே.

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Is your face radiant because of the radiance of your hair(crown), or is your hair radiant because of the radiance of your face? Does the radiance of your feet get transformed as the lotus flower or does the radiance from the lotus-on which you stand- transform itself as Your radiant feet? Are the ornaments that adorn You spread the radiance around Your waist or is the radiance of the ornaments due to Your radiant waist? Please tell me!

Kamban goes even a step further.

This is the scene where Rama starts his journey to the forest along with Sita and Lakshmana. Normally, this should evoke sadness. But the Kavi chakravarti sees beauty even in that sadness. First he looks at the sun rays. Compared to the brightness emanating from Rama’s body, the brightness of the sun matters nothing to him. He says ‘the former’s radiance obscures the brightness of the latter’. The second line-though poetically beautiful-is not relevant here and therefore I am not talking about that now. The third line shows his confusion. Confusion, not in the negative sense but in terms of looking for the right word to describe Rama’s beauty. He wonders, ‘Is it Kaajal’? (dark hued) Or is it the ‘Emerald?’(green) Or is it the Ocean?(dark blue/black)? Or is like the rainy clouds?(dark-hued again).

He gives up and says ‘Ayyo! His beauty is eternal’.

That ‘ayyo’ suggests –‘Leave me now. I cannot describe such a divine beauty!’

வெய்யோன்ஒளி தன்மேனியின் விரிசோதியின் மறையப்

பொய்யோ எனும் இடையாளொடும் இளையானொடும் போனான்

மையோ மரகதமோ மறிகடலோ மழைமுகிலோ

ஐயோ! இவன் வடிவு என்பதோர் அழியா அழகு உடையான்!!

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If the Vaishnavite saint from Azhwarthirunagari and the poet from Karaikkudi ‘struggled’ to describe the radiance of Divine Beauty, imagine the plight of us mortals when we attempt to describe the beauty –which is of course Divine- in the music of the gentleman from PaNNaippuram.

Should we talk about the mesmerizing tune or elucidate the beauty in the orchestration or expound upon the nuances and intricacies hidden in the composition?

Should we graphically describe the sound from each instrument-at times or even most of the times sounding different notes simultaneously- or should we explain about the changing patterns in the rhythm?

Should we illustrate the raga and the way it is used or should we discuss about the taaLa?

Are all these practically possible? And even if we attempt to describe, will it do full justice to the composition?

Most importantly, can we describe the feelings we get and the emotional upheavals we undergo while listening to his music?

And though it was me who raised all these questions, my love for his music makes me attempt such improbable and impossible things for reasons which are obvious. What these reasons are will not be disclosed here and I am sure people who follow my posts know the reasons. So, rather than breaking our heads and trying to find answers, let us celebrate music on this grand occasion by talking about one of his marvellous compositions which I am sure, is loved not just by his loving fans but also by his detractors.

There are infinite factors which makes ‘Aayiram Thamarai MottukkaLe’ from ‘AlaigaL Oyvathillai’(1981). 

The composition follows a unique structure and I have seen some conflicting versions about the raga it is supposed to be based on. Let me give my views on this though I strongly believe and reiterate that it is not the raga which is important as much as the way it is used.

The composition follows- sa ri1 ga2 ma pa ni3 Sa- if taken as a scale. This is Dhenuka minus dha and the Raga text gives the name as ‘BhogavaraLi’. However, considering the appearance of the kaishiki nishadam(ni2) in some phrases and most importantly considering the ‘pidis’ and the flavour, I would like to classify this as Sindhu Bhairavi.

It may be noted that Sindhu Bhairavi goes purely by the way the swaras are used and that it hates following a specific structure. In any case, here it is a different Sindhu Bhairavi and I would stop at that.

What makes this composition special is the way the Mridangam is used in the prelude. Yes, there are many more specialities as well and let us try and see some of these.

The composition starts with a clap. This clap which sounds the first syllable of tisram in keezh kaalam (slow speed) sounds 4 times and the magic starts. It is the magic of that great percussion instrument called Mridangam. It thunders and syllables flow like sparks from the forge. It sketches variegated patterns in Tisram and in a space of 3 aavartanas of aadi taaLam, one sees a ‘taaLa oil painting’!

With poise and grace, the veena enters the fray and plays giving an unmistakable Arabic flavour. All this while, the ‘clap’ continues in regular interval. The momentum picks up as the chorus sings ‘tam ta na na’ which is haunting without a doubt. The repartee from Janaki is sensuous and romantic. The clap too changes its speed and moves to the faster mode though it is subtle now. The mellowed tone of the piano keys which silently moves like a cascade, makes our heart jump!

Endowed with solid graces and charming phrases, the Pallavi shines with luminescence in the voice of Janaki.. The lower octave ‘ni.’ at the end of the first line and the last line and its occurrence after ‘ri’ in the second line shows the musical mastery and the aesthetic sense of the composer.

The group of strings plays with verve in the beginning of the first interlude.The flute glides beautifully making the strings go on a descent. The santoor serves a delicacy now with the keys responding with joy. The Shehnai takes over..

And what a takeover it is! Tranquil, serene, energetic and blissful.. The backing of the mridangam surely adds to the unique experience. Of course, not to forget the repeat melody from a string and the keys in the background albeit subtly..

The composer who always believes that ‘Music is Universal’ makes us turn towards the west with the strings and the brass flute moving zestfully and showering us with melody.

SPB joins with his honey-soaked voice in the CharaNam in which the lines are simple and decorous at the same time. If the lower octave(mandra stayi) pa. and ni. in the second and the last line give that sense of poignancy, the sudden occurrence of the kaisiki nishada(ni2)-again in mandra stayi- gives a unique feel. The ‘samaga’ and ‘sarimama’ phrases in the third and fourth lines show how spontaneously brilliant the composer is.

What to say of the flute which sings like a bird twice in the first line?

Imaginatively Beautiful!

The beautiful imagination continues in the second interlude with the solo violin taking us on a musical trip to a place where space and time cease to exist. We feel no longer exist and yet we continue to exist.

And that is what the humming of the chorus which follows to the backing of the strings sans the percussion seems to suggest. The short flute pieces confirm this.

When we don’t exist and yet we exist, is it possible to say anything?

That is the beauty of immortality..

Immortality granted by the Divine to soak ourselves eternally in Music!

                  

                  

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ILaiyaraaja-The Alluring Musician

“Oh.. The one who is in a supine posture....My entire body is filled with love for you.. You melt me.. Oh! My sweet nectar..”

ஆரா அமுதே அடியேன் உடலம் நின்பால் அன்பாயே,
நீராய் அலைந்து கரைய வுருக்குகின்ற நெடுமாலே,
சீரார் செந்நெல் கவரி வீசும் செழுநீர்க் திருகுடந்தை,
ஏரார் கோலம் திகழக் கிடந்தாய் கண்டேன் எம்மானே.

sang the inimitable Nammazhwar, about whom I have already written elaborately in my post on ‘Enegengo Sellum’(ILaiyaraaja-The Wonder’ 4th March 2009).

I am not getting into the philosophical contours of this verse now. What is important here is the feel of the poem.

Don’t we feel the love, passion, and the devotion of the poet when we read the verse?

To put it simply and succinctly, Nammazhwar was allured by the beauty of the Lord. To him nothing in this world mattered except the Lord. Most importantly, he was able to communicate his feelings through beautiful words. Maybe, that is why we are allured by the poetry of people like Nammazhwar even after 1000 years.

If poets like Nammazhwar used poetry as a medium to express themselves, great musicians like Saint Thyagaraja used both poetry and music as a medium to describe the beauty of the divine.

In one of his kritis in the ragam Vagadeeswari, he says, ‘The Divine shines with grandeur everywhere.. It is present as Vishnu, Shiva, human beings, animals, birds, trees, the three basic qualities, the five elements..’.

‘Paramaathmudu velige mucchata baaga telusukore..’

Likewise, ILaiyaraaja, sees and makes us see the Divine everywhere through his Music.

The song of the day is yet another special composition of his and is based on a very rare ragam. One can even say that a ragam which has not been used by any other musician.

The composition is ‘Kariyaadha Manamum uNdo’ from ‘Varusham 16’(1989) and the ragam is Hema Bhushani(which literally means ‘adorned with gold’).

Hema Bhusnani is a janya of ‘Gangeya bhushani’, the 33rd melakarata and its structure is:

Sa ri3 ga3 ma1 dha1 ni3 Sa/Sa ni3 dha1 ma1 ga3 ri3 sa.

Incidentally, the ragam of Thyagaraja kriti quoted above-‘Paramathumudu’- Vagadeeswari is the 34th melakarta and is in the same chakra as that of
Gangeyabhushani .

‘Kariyadha Manamum..’ is special because of many reasons.

One, it is based on a very rare and unknown ragam.

Two, the song does not appear in the movie.

The third reason is the second charaNam and we shall see how and why it is special.

The Pallavi -which starts without a prelude- radiates positive energy and is resplendent not just because of the structure but also because of the soothing warmth in the voices of Yesudass and Chitra.

If the first line is effulgent, the second line has an alluring distinction, the reason being the vivadi note ‘ri3’.

The Sitar and violins slice through and infuse exotic shades of the raga in the beginning of the first interlude. The Flute shows the emotive facets of the Ragam and our hearts begin to melt.

The sitar and the Veena yearn evocatively.

The first CharaNam has a tranquil luminescence.

The first line dwells on niceties, while the second line gives a caressing touch. We are pierced by moments of poignancy in the following line.

The second interlude is marked by some wonderful aalaps by Yesudass.

It takes silky glides.

It sketches graceful silhouettes.

It flows smoothly through various terrains.

It bubbles with creative excitement.

Can any instrument substitute a memerising human voice?

The second charaNam looks at hidden ecstatic possibilities.

Remember my third point in the beginning of the description where I had said ‘The third reason is the second charaNam and we shall see how and why it is special’?

The ‘ga’ of the ragam is now taken as the base ‘sa’. I had discussed this concept called ‘Gruha Bedam’ in some of my earlier posts. Please refer ‘ILaiyaraaja-The Genius’, and ‘ILaiyaraaja-The Eloquent Musician’.

But the difference between those compositions and ‘Karaiyadha..’ is that while the former are based on known ragas, the latter is based on an unknown raga.
Most importantly, the raga that emerges after the Gruha Bedam is another unknown raga.

As per the theory of Gruha Bedam, the new raga-that is the raga one gets after applying the technique- has the same number of swaras as that of the original raga.

For example, let us take a very popular ragam ShankarabharaNam. If the ‘ri’ is kept as the base, it becomes Karaharapriya, if ‘ga’ is taken as the base, it becomes Todi, if ‘ma’ is the base, it is Kalyani, if ‘pa’ is the base, it is Harikamboji and it is Natabhairavi if ‘dha’ is the base.

Three points are worth noting here.

1.All the aforementioned ragas are well known and popular.

2.All these have seven swaras (like the ‘original’ ragam ShankarabharaNam).

3.Most importantly, since people have already tried and tested applying Gruha Bedam on such ragas, they clearly know the raga(s) that would emerge.

But ILaiyaraaja believes in chartering unknown territories and discovering gems that are not hitherto known to the world.

He also breaks the rule while staying within the boundaries of virtuosity. If this statement sounds somewhat ambiguous, please look at the following examples:


In ‘Vaidegi Raman’, he applied Gruha Bedam in Kalyani and instead of giving us the sampoorna (or complete ragams) like ‘Todi’ and ‘Harikamboji’, he ‘hid’ a couple of swaras to make them pentatonic ragas (Hindolam/Mohanam).

In ‘KaNgaLukkuL unnai ezhuthu’, he did the reverse. The 4 note ragam(Lavangi) became a 6 note ragam(Mandaari).

But by doing this, he never compromised on the beauty and the virtuosity.

Now, let us go back to ‘Kariyadha Manamum’.

I am sure this was the first time Gruha Bedam was done on an unknown raga. Added to this is the fact that the raga that emerges is also little known and has never been used before.

The new raga that begins the charaNam is called as ‘Makarandhapriya’(as per the Raga text ‘Swaraprastara Sagaram’ authored by Nathamuni PaNditar) whose structure is:

sa ri1 ga3 dha1 ni3 Sa/Sa ni3 dha1 ga3 ri1 sa.

It is ‘Lalita’ without the ‘ma’.

Here too, the Maestro has made a ‘Shadava raga’(6 note raga) ‘Audava’(5 notes) by skipping one note after the Gruha Bedam.

Artistically Innovative!!
Innovatively Artistic!!

Let us continue with the description of the CharaNam.
The first two lines in the second charaNam are subtly integrated and is a striking combination of sensitivity and beauty.

The beats of Tabla –that gives various permutations and combinations in a matter of half a cycle- in between the lines- steal our hearts.

The finale is meditative.

‘Kariyatha manamum uNdo’

‘அவர் இசைக்குக் கரையாத மனமும் உண்டோ..’

ILaiyaraaja-The Wonder!

Out of the 12 Vaishnavite saints-called as Aazhwars- Nammaazhwar is considered to be very special.

The 12 Aazhwars composed verses in Tamizh totaling 4000 in number and this compiled work is called as the ‘Naalaayira Divya Prabhandam’. This treatise is considered to be very sacred..

But is not the Bhakti element alone that attracts Literature lovers to this work. The Language and the Description make this a poetic work making even Non believers read and appreciate.

Let us go back to Nammaazhwar now.

Out of the 4000 verses, he composed 1296 verses-about 32%.
He composed these under four different headings-Thiruviruthham,Thiruvaasiriyam,Periya Thiruvanthaathi, Thiruvaaimozhi- and these are considered to give the essence of Rig, Yajur, Sama and Atharva Vedas respectively.


In one of his verses, he says, ‘He is present here if we believe He exists.He is present here without any form if we believe He does not exist.’ Being’ and ‘Not Being’ are his characteristics.’

உளன் எனில் உளன்,அவன் உருவம் இவ் உருவுகள்;
உளன் அலன் எனில்,அவன் அருவம் இவ் அருவுகள்;
உளன் என,இலன் என,இவை குணம் உடைமையில்,
உளன் இரு தகைமையொடு ஒழிவு இவன் பரந்தே.


It does sound philosophical but what is life without philosophy?
And reading this gives one pleasure whether one concurs with this or not.

It is even said that after Nammaazhwaar was born, he was like a still- born baby for 16 years after which he started composing the verses.

He was a Wonder!

If Nammaazhwar composed the maximum number of verses, Madurakavi Aazhwaar composed the minimum no.of verses-just 11.

And these 11 were not on the Almighty but on the person he considered as his Guru, Guiding force, and leading light.

Yes, he considered Nammaazhwar as his Guru and propagated the verses of Nammaazhwaar.

In one of his verses, Madurakavi Azhwaar says ‘Talking about my Guru gives me immense pleasure. I shall roam around singing his verses. I do not know anything else.’

நாவினால் நவிற்று இன்பம் எய்தினேன்.
மேவினேன் அவன் பொன்னடி மெய்ம்மையே!
தேவு மற்று அறியேன் குருகூர் நம்பி,
பாவின் இன்னிசை பாடித் திரிவேனே.

On this auspicious day, it gives me immense pleasure to talk about a person whom I consider as my Guru.

He is divine like Nammaazhwar and is a wonder.

Luckily, for this Nammaazhwaar, there are lots of Madurakavi Aazhwaars..


He made me realise what music is..

He made me understand Music.He made me appreciate Music.

He taught me the nuances through his compositions.

He made me develop interest in many good things in life.

One of my objectives in life is to propagate his compositions (many unknown) and try and analyse the finer elements in his music. My real journey began more than one year back when I started sharing my observations with like- minded people.

Today, I am taking up a composition that is very special to me. Not just to me but to many of my friends who have listened to this song.

I consider this composition as one of his masterpieces.

It is ‘Engengo Sellum’ from ‘Pattakkathi Bhairavan’(1979).

This composition is based on Sudhha Dhanyasi.

The structure is:
Sa ga2 ma1 pa ni2 Sa/Sa ni2 pa ma ga2 sa.

Since the interludes are in Western Classical style, the Ragam tends to deviate but this makes it more beautiful!

Let us now look at this marvel.

The Composition starts with the Guitar giving feather like touches. The Violin Orchestra now gives the melodic stimulation. The Music that follows fondles us!

The Pallavi is full of deft phrasings and is ingeniously structured.
What does one say about the voices of SPB and Janaki. Sweetness personified.

The first Interlude pulses with energy. The Violins play with vivacity and suddenly we see the magic. The Double Bass makes its entry as the Violins change track and continue to play. It is the beautiful blending of delicate and sonorous sounds.

We are wonder- struck by the potency, intensity and the glow!

But this is only the beginning.

The Charanam is ornate with subtleties.

It starts with a long sojourn in ‘Aaaa..’ followed by ‘Naan KaaNbathu Un Kolame..’.As we begin to lose ourselves, it is magic again.
’Angum.. Ingum… Engum… ‘ reverberate.

The echo-like effect is produced by using three different pairs of Swaras continuosly- gapa.. nipa… Sapa..

As if this is not enough, we see the same effect in the last line ‘Nee..Nee..Nee’ .

Raaja-The Magician!

Raaja-The Wonder!

The second interlude has relishable twists and turns.

We see the beauteous landscape with the sun painting the sky at dawn.

The Sun now slowly spreads its golden rays.

We see the small raindrops falling from the heavens.

We see the iridescent Rainbow hues.

As the Guitar is played, we see the delectable converging of a cadence of colours.

The Stones in the Mountains turn into beautiful Flowers.

It is thrilling.

It is spectacular.

This composition has purposeful innovative phrasings laced with clarity.

It is exotically redolent and aesthetically linked.

It is a veritable feast.

எங்கெங்கோ செல்லும் நம் எண்ணங்கள் இங்கே நாம் கண்டோம் அவர் வண்ணங்கள்.
நம் வாழ்க்கை வானில் நிலாவே..
அவர் அன்றும் இன்றும் என்றும் ராஜாவே!

Our thoughts go here and there..
We get to see his colours now..
He is the Moon in our Life.
King-then, now and forever!

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