ILaiyaraaja – Musician with an aura

 
How beautiful is light?

Not an easy question to answer. In fact the question itself is ambiguous and the difficulty in answering lies as much in that ambiguity. There are certain things which are beyond beauty and even the concept of beauty. Surely, Light is beyond everything.

Everything begins with light. Everything began with light. But everything does not end with light, because there is no end to light.

It is not surprising at all that scholars who understood the divine nature of light, have composed verses which show the different dimensions of light. AruNagirinathar was one of those.

He starts one of the verses saying ‘Standing at the peak of the mountain of Wisdom which was formed by the effulgent light’. Imagine a huge mountain formed from the light! He continues- ‘You made me realise the absolute bliss, a state of non-existence in that boundless open space’.

 

ஒளியில் விளைந்த உயர் ஞான பூதரத்து உச்சியின் மேல்

அளியில் விளைந்த து ஓர் ஆன ந்தத் தேனை அனாதியிலே

வெளியில் விளைந்த வெறும் பாழைப் பெற்ற வெறும் தனியைத்

தெளிய விளம்பியவா! முகம் ஆறுடைத் தேசிகனே!!

Light has value. Light has no value. It is beyond value. It is infinite.

This applies as much to music; Music composed by great people; people for whom music is not a way of life; for whom music is life itself.

‘Malaikovil vaasalil ‘ from ‘Veera’(1994) is an example of thousands of compositions which glow like light. So powerful is the effulgence that one even forgets that it is a romantic duet. All one feels is that divinity and needless to say, it is because of the way the entire composition has been composed.

It starts with the percussion alone. ‘ta ka dhi mi/ ta ka dhi mi’ plays the percussion, with an additional stress on the ‘dhi’ in the second half and this itself is enough to give that special feeling. In fact, this pattern continues in the Pallavi and the ChraraNam and therefore is the leitmotif of the composition itself.

But apart from this, what runs as the undercurrent is that primordial sound -AUM- a sound which is full of vibrations, a sound which gives vibrations, a sound which has no religion, caste, class and creed.

We first hear the sound in the higher-octave from the chorus after five cycles of ‘ta ka dhi mi/ta ka dhi mi’ by the percussion. Another set of chorus sings in the lower-octave and by now if you do not feel the divine fragrance, you may have to get tested for anosmia.

There is a sudden shift. The tanpura which enters with grace plays in a different shruti. The bells sound in that shruti and the Pallavi continues in the new shruti.

There are songs which changes shruti in between but I cannot think of any song which changes shruti in the Pallavi itself. So seamless is the change that one does not even notice it. Imperceptibly perceptible or perceptibly imperceptible!

Does the first line which takes the ascending swaras (sa ri ga ma pa) of Nata Bhairavi, indicate the climb up the hill?

Does the special instrument which follows the vocals signify the sparks?

Does the resonant folk percussion which plays ‘ta’, ‘ta dhi’ ‘ta’ for every alternate line symbolise the heart?

Does the harmony of the chorus- with one set singing in mid-octave and the other set singing in the higher-octave, show us Life itself?

As if to make us find an answer-or the futility in finding answers- the chorus sings the primordial sound again in the lower-octave. With the resonant percussion sounding ‘ta’ ‘dhi’ ‘ta’ in its inimitable style, the bamboo flute tantalises, while a special sounding instrument moves with relentless assiduity. Playing in two different octaves, the two sets of strings trot up and down showing the lambent light. The leitmotif (percussion) returns now backing a new set of strings which plays in the higher-octave, even as it is dappled in flickering light.

If the ending of the first two lines in the lower- octave swaras, shows us the descent, the bevy of swaras in the second half of the CharaNams, shows us our life can be complex as well. The wispy sound of the small flute towards the end, along with the vocals, show us the incandescent light.

Veda mantras in veena and guitar.. Primordial sound in chorus ..Graceful and beguiling stream of music from the flute..

How beautiful is the light?

Light has value. Light has no value. It is beyond value. It is infinite…

 

 

 

Laya Raaja - 6

தொட்டனைத்தூறும் மலர்க்கேணி மாந்தர்க்கு

கற்றனைத்தூறும் அறிவு.

Dig the sandy soils deep and you reach the springs. Delve into a subject deeply and you reach the springs of wisdom and knowledge.

Of late, I have been thinking a lot about this ThirukkuRaL and not without any reason. There are in fact two perspectives to this:

1. As you all know, I have been trying to study the laya patterns of ILaiyaraaja in some of the unique compositions and this exercise has thrown more light on many hidden aspects in his compositions and thus broadened my understanding and my horizon.

2. He went deep into many intricate aspects of music hitherto not attempted in the history of Film Music and this must have widened his horizon too as a musician resulting in more and more extraordinary compositions.

Let me take up 2. first. His propensity to introduce ‘newer’ features in film music is a mix of logical and lateral thinking. In fact, he has struck a perfect balance between the two. ’Maanjolai kiLithaano’  was in 1978 while ‘Aaagaya veNNilaave’ ‘Sollatha raagangaL’ ‘Vanakkuyile’ and  ‘Kottunga Kottunga’ were in the ‘90s. And as I mentioned in my first post in the series, these are only some samples and he has done and has still been doing a lot with laya at times in the entire song or most of the times in some part(s) of the song. His quest and thirst have not stopped and the most recent ‘NandRi solla veNdum’ (Chiththiraiyil Nila ChoRu) is a classic example.

Therefore his spring is a divine spring for the kind of penance he has done for and with music.

As regards 1, this experience of decoding/unraveling/deciphering has helped me get more insight into the world of Laya and has fine-tuned my sensibilities. As we come to the penultimate post in the series (with the last one reserved for 24^th Aug), I must confess that the experience has been unique and somewhat different from the way I have been conceiving the other normal posts.

To recap, we saw two different taaLas played simultaneously (Aagaaya VeNNilaave), two different taaLa patterns in the same song but not together (Vanakkuyile), a differently constructed Pallavi (Maanjalai kiLithaano), a very differently constructed composition in terms of taaLa as well as raga,(Sollatha) and a free flowing composition but following a structure and with the percussion drawing a different pattern though in the same taaLa (Kottunga Kottunga).

Today, let us see a composition which follows another unique pattern.

En iniya pon nilaave from Moodu Pani(1980) is composed in such a way that two different taaLa patterns occur one after the other with the percussion following only one pattern throughout.

The composition as such is set in Chatushra Eka taaLam.

The TaaLa starts only after the initial strumming of the guitar. Just to clarify that this cannot be taken as ‘ateeta eduppu’ and we can consider the strumming as ‘1 2 3- Now get ready to listen to something unique’.

The guitar plays for 6 taaLa cycles (aavartanam) of chatushra ekam without percussion though one hears the drums sounding twice at the fourth beat of cycle 1. and 2.

When we hear ‘En iniya pon’ our trained ears ‘recognise’ it to be tisram. But the problem starts with ‘nilaave’  and ‘pon’ in the beginning of the next line-’pon nilavil en’. If the song follows tisram, then all the words must follow the three beats but it does not happen here. Moreover, if one puts the taalam as plain 1 2 3 4, from ‘en’ to ‘nilaave’,the full aavartanam is completed. So, is this Tisram or Chatushram?

The mystery is unravalled with closer and minute analysis and observation.

The syllables are divided as 3, 3, 2 per cycle (8 maatraas in 4 aksharaas).

Therefore, we have En (3), Pon(3) Nilaave(2) with Iniya falling between the two tisrams.

Same is the case in the next line-Pon(3) En(3) Kanaave(2).

As a matter of fact, Nilaave and Kanaave are 1 2 3 4 in the mel kaalam. However, since we follow the keezh kaalam for the tisrams in En, Pon, Pon, En, these two are in keezh kaalam and therefore have 2 maatraas each and not 4.

Now, what about the next two lines? Don’t these sound different?

Yes, these simply follow the Tisram:

Ninaivile(3) Pudhu Sugam(3) Dhadhadha(3) dhadhaaaa(3)

Thodaruthe(3) Dinam Dinam(3) Dhadhadha(3) dhadhaaa(3).

So, we have 3, 3, 2, 3, 3, 2, 3, 3, 3, 3, 3, 3, 3, 3- a total count of 40 in 5 aavartanaas.

The percussion follows 1 2 3 4 in the first two lines (4 times each) while there is no percussion in the tisram part (last 2 lines).

The CharaNam follows the same pattern except in the end part.

Panneerai thoovum mazhai and Chillendra kaatrin alai follow 3, 3, 2 / 3, 3, 2 and the next line sernthaadum innerame follows 4 tisrams the chorus part included.

Same is the case with the lines that follow.

The next two lines-ViNNeela vaanil and Oorkolam pogum…. follow 3, 3, 2 four times.

Now for the O’Henry in ILaiyaraaja.

The last line ‘Puriyaadho en eNName anbe….’ goes as 4, 4, 4, 4 in plain Chatushram!

What we have is 8 divided as two tisrams and one ta ka(2)  four times, 4 Tisrams, 8 divided again like before as two 3s and one 2  four times, 4 Tisrams  and finally 4 chatushrams.

If this is not a marvel in laya, what else is?

The composition shines not just with this intricate laya patterns but also with Melody and yes Harmony.

The composition is based on Diatonic Minor scale which is the equivalent of the Nata Bhairavi scale in Carnatic Music.

With finesse and musical delicateness, the guitar draws a beautiful sketch in the prelude. We feel the gracefulness of musical animation with the sympathetic strings smiling now and then. The ‘oodling’ of Yesudass towards the end is a class by itself.

Harmony is in full flow in the beginning of the first interlude with the chorus singing with impeccable perfection. In fact, the entire interlude is embroidered with the chorus. In between we have the brass flute and the strings playing with exactitude exploring the avenues of beauty. The interlude is finally decorated by the ecstatic brass flute

The haunting chorus makes its appearance in the CharaNams too superimposed and sandwiched between the lines in the first part.

If it is the chorus in the first interlude, it is the strings in the second interlude for Harmony. After a beautiful and different plucking of guitar, the two sets of strings move pleasantly and peacefully. It is passionate and at the same time tranquil. The haunting electric guitar plays with a purpose and is melodically backed by the staccato brass flute.

Eternal spring- Is that not what his music is?

ILaiyaraaja-The Simple and Esoteric Musician..

‘Their Eyes full of tears, Mind Brimming with happiness, Body Ecstatic, Tongue searching for words, Brain numbed.. They look mad, mad.. For they are in love with you Goddess Abhirami, only Your path is good and blissful!’


‘virumbith thozhum adiyaar vizhinNeer malki, mei puLakam
arumbith thathumbiya aanantham aaki, aRivu izhanthu
karumbin kaLiththu, mozhi thadumaaRi, mun sonna ellaam
tharum piththar aavar enRaal abhiraami samayam nanRe.’

விரும்பித் தொழும் அடியார் விழி நீர் மல்கி மெய் புளகம்
அரும்பித் ததும்பிய ஆனந்தம் ஆகி அறிவு இழந்து
கரும்பின் களித்து மொழி தடுமாறி முன் சொன்ன எல்லாம்
தரும்பித்தர் ஆவர் என்றால் அபிராமி சமயம் நன்றே.

Thus sang Abhirami Bhattar, the 18th Century poet.

The story of Abhirami Bhattar is very interesting. It is said that he would be in a trance for hours and days together. One day, the King of Thanjavore, Saraboji Maharaja visited the Temple at Thirukkadavoor-where Bhattar was the priest- and annoyed that he did not bother to even acknowledge his presence, asked him what day it was-New Moon or Full Moon. Bhattar-who was in a state of trance- replied it was Full Moon (while it was New Moon).

The King ordered that Bhattar be burnt alive in case the Moon does not appear full that night. Tied to the rope on both the sides with fire rage below him, Bhattar composed 100 verses in simple but beautiful Tamizh extolling Abhirami. The verses full of esoteric meanings followed the ‘Anthadi format’-that is the last word of each verse became the first word of the following verse. It is said that the Goddess appeared at the end of the 79th verse and threw one of her ear rings to the sky and the ring appeared as the Moon on a New Moon night!

For some, this may sound irrational, unscientific and illogical. But even these rationalists can appreciate the beautiful verses in chaste tamizh.

I somehow find a lot of parallels between the story of Abhirami Bhattar and the music of ILaiyaraaja. While people who are initiated into music appreciate the nuances and techniques in his music, the common man just enjoys his music without any frills for its sheer beauty.

ILaiyaraaja is eccentric too in the sense that he is totally devoted to music just like how Abhirami Bhattar was immersed in Abhirami.

He has his own individuality and he is very firm in what he believes in.

Like Bhattar, he is capable of making Moon appear on a New Moon night-with music being the Moon and senseless movies being the dark New Moon night.

In short, he is simple as well as esoteric.

On this special day, it is my privilege to write on a composition which is very special.

‘Chinna ThaayavaL..’ from ThaLapathi(1991) is the composition of the day.
It is based on Charukesi, the 26th melakarta whose structure is sa ri2 ga3 ma1 pa dha1 ni2 Sa/Sa ni2 dha1 pa ma1 ga3 ri2 sa.

However, the usage of ‘ga2’ very close to ‘ga3’ in some phrases gives the feel of Ragavardhini, a vivadi mela (32nd ).Please refer my earlier post ‘ILaiyaraaja-The Sculptor-Part II’ in this Blog to understand the relationship between Charukesi and Ragavardhini.

In fact, one can even argue that the clear presence of ‘ri2’ rules out Ragavardhini and at the most one can say that it is a mix of Nata Bhairavi and Charukesi. However, a closer analysis suggests that the ‘ga3 ma1 ga2’ phrase in the Pallavi does give the feel of Vivadi raga and therefore the shades of Ragavardhini.

But one can either choose to use the intellect or simply enjoy shutting off the brain and let the heart feel the beauty.

Let us now look at the composition.

The opening flute piece itself speaks volumes about the greatness of the composition. Initially it gives an eerie feeling (because of the vivadi swaras). But as one listens more, it instills a sense of serenity. Emotions come out gleaming as the Saarangi sings with acute sensitivity. It is a spontaneous output of melody-perceptive and wholesome.

The Pallavi in the voice of Janaki moves with willowy grace. The first part-humming to the second line- is rendered with dignity and weight while the middle part moves with persuasive refinement. The last line that gives a caressing touch says it all.

The Tabla that plays the Tisram beats is meditative.

Imbued with lilting phrases, the violin makes stenciled movements. The folksy instrument juxtaposed with the violin heightens the emotions. We feel the ineffable splendour of music as the tonally rich Saarangi takes over. It is entrenched with crystal clear enunciation and is replete with classic phrases.

The CharaNam is an exquisite exposition.

The first two lines are punctuated with malleable phrases.

Coffers of melody overflow in the following lines.

The last line that sparkles with fervour, passion, affection and most importantly exudes and aromatic fragrance coveys a lot musically and emotionally.

Stupefying!

Eyes full of tears, Mind Brimming with happiness, Body Ecstatic, Tongue searching for words, Brain numbed.. we look mad, mad.. For we are in love with you the Emperor of Music.. Your Music is great and blissful!

சின்னத்தாயவள் தந்த ராசாவே..நீவிர் வாழிய பல்லாண்டு!உமது இசை வாழிய ஆயிரமாண்டு!!

Hail thee- The one born to Chinnaththaayee!
Your music will live for thousand years!!

Illaiyaraaja-The Path Breaking Musician!

Nature is the Fountain’s Head,
The Source from whence
All originality must spring.

These were the words of John Constable , the pioneering and path-breaking English Artist who lived between the years 1776 and 1837.

His paintings were huge Six-footers capturing the beauty of timeless rural scenes of the English countryside in a vibrant and ever-changing light and imparting a unique character that reflected the soul and spirit of the era.

Constable drew ideas from the nature itself rather than using just his imagination. In fact this attitude was considered to be path breaking and somewhat rebellious since the artistic culture prevalent during the 18th Century taught painters to use only the imagination.

There was a natural sequel to this line of thinking.

Constable wrote ‘’No two days are alike , not even two hours; neither were there ever two leaves of a tree alike since the creation of all the world; and the genuine production of art, like those of nature , are all distinct from each other.’’

This applies to Music as well. Though Music is nothing but the combination of Seven Swaras, each composition is unique.

While reading about John Constable, I immediately thought of Illaiyaraja.

When he entered the Film Music World in the year 1976, he revolutionised the concept of Film Music..

He combined the finer elements in Indian Classical , Folk and Western Classical brilliantly melding all the forms to give a very unique and a vibrant form of Music.Words like 'orchestration' and 'arrangement'acquired new meanings!

More importantly, he drew inspiration from nature.One of the Film Directors revealed in a TV Music Show recently that Raja would sit on nature’s lap staring at the Mountains and Rocks for hours together. This serene atmosphere made him more creative and he imbibed the Music of Nature.

Today we are going to see one of his Masterpieces that would take us straight to the Nature’s lap.

It is ‘Putham Puthu Kaalai’ from the album ‘Alaigall Oyvathillai'.

I say ‘Album’ because this song is not part of the movie though the sequence was shot.

Though when I watched the movie the first time,I felt very disheartened that this Masterpiece was not seen as visuals, I felt very happy later on.

Happy because no Director or Cinematographer can do full justice to this song..

If we had seen this song in motion , it would have certainly affected the way we visualise the song and whenever we listen to this song the images and visuals would be that of the Director's..

But now that there are no visuals, we are free to form mental images and enjoy this masterpiece without any inhibitions.

This composition is based on a Raga called Nata Bhairavi.

Nata Bhairavi is a very interesting and a very unique raga.

In fact I am really intrigued at times while thinking about this Raga.

It is the 20th Melakartha in Carnatic System.But though it is a Mother Raga, there are not many compositions in this Raga in Carnatic Music.And interestingly(and intriguingly as well!) there are many popular ragas derived from this Raga..


In Nata Bhairavi, if the variant(semitone) of Ri is changed it becomes Todi,
if that of Ga is changed it becomes Charukesi,
if that of Ma is changed it is Shanmukhapriya,
if that of Dha is changed it is Karaharapriya and
if that of Ni is changed it is Keeravani.

All these are very popular Ragas.

In Western Classical Music, the Nata Bhairavi scale is called the Melodic Minor Descending.

This Raga is very popular among Cine Musicians.

Now is it clear as to why I am so intrigued by this Raga?

Our Maestro has composed hundreds of songs in this Raga.

Let us now look at the composition-'Putham Puthu Kaalai'.


Subramaniya Bharathi while describing the Dawn said

‘I looked up at the Heavens early in the Morning
The Sun shines in the East and it is Brightness all around’.

காலைப் பொழுதினிலே கண்விழித்து மேனிலை மேல்
மேலைச் சுடர்வானை நோக்கி நின்றோம் விண்ணகத்தே

கீழ்த்திசையில் ஞாயிறுதான் கேடில் சுடர் விடுத்தான்
பார்த்த வெளியெல்லாம் பகலொளியாய் மின்னிற்றே.

In fact he goes on to discuss wonderful things in the poetry.

Illaiyaraja also discusses wonderful things in the song ‘Putham Puthu Kaalai’.

The composition starts with the Flute singing like a cuckoo heralding the arrival of the dawn.

A Curl, a Flourish, and a Beautiful piece of Music unfolds.

We feel we are standing on a froth- lipped beach and lo and behold …we see the Sunrise!

Swept by the waves of melody and rhythm we now hear the voice of Janaki humming like a bird and go with the ebb and flow of the waves.

It is a lilting experience as she sings ‘Putham Puthu Kaalai..’.

The Flute now wafts through the air and it shakes up the languor and the indolence of mortals like us. The other Flute now trundles as we see a Myriorama of sorts with beautiful colours flecked liberally.

The Strings play now and festoon the surroundings with glittering jewelry. We see the primary tones of the spectrum.

The Flowers sprinkle prettiness to the panorama while their fragrance itself seems like a Raga to us.

We climb the slopes and peek at the beauty as the magic is weaved in the Charanam.The voice is sequined with the interjection of the Flute and the pulsating beats.

As the first Charanam ends and the Violins play, we see a glimpse of a Waterfalls hidden in a valley below.The sparkling water glistens with froth and bits the pebble bed.

The voice now ricochets like an echo as the water tiptoes along the pebbles forming charming eddies on its way.It is further accentuated by the impish beats sending us into raptures.

The composition is draped in a velvety blanket making us love it irrevocably.

We feel the plenitude and at the same time feel empty!

புத்தம்புது காலையில் புத்தம்புது கீதங்கள் படைக்கும் அவரது இசையின் அலைகள் ஓய்வதில்லை!

The waves of Raja’s Music will never stop!