ILaiyaraaja- The Playful Musician

Of all the senses humans have (and this includes the perceived sixth sense), the most significant and effective sense is Sense of Humour.

People can wriggle out of a tough situation just because of this sense. A very tense situation can be made to look very simple using this sense. This sense not only makes us laugh at ourselves without any inhibitions but also makes others laugh (at themselves/at the situation). Humour acts at the physical, mental and emotional level and therefore at the spiritual level too. If this statement sounds funny, think. What is spirituality without the body, mind and emotions being in coordination? Most importantly, what is spirituality without positive feelings? In fact, one who is not positive can never be spiritual and one who is spiritual is always positive. What better way to get positive feeling than that sense of humour? So, next time you come across a person who calls himself/herself as spiritual, check if that person has this sense.

Unlike popularly believed, poets and artistes too have sense of humour, though the degree and the way they express this, varies. For some, it pours out as sarcasm. For example, Mahakavi used sarcasm in some of his poems, especially the ones where he derided the British rule. For example - Oi thilkare namma jaathikku adukkumo- in the same style as ‘Oi nandanaare namma jaathikkadukkumo’..

 In my earlier posts here 2 years back, I covered Humour as an emotion in two different posts and quoted two poems –one by Avvaiyar and the other by Kavi KALamegam. It is one more poem of the latter that I am quoting now. He was called as ‘sledai kavi’(சிலேடை ) because of his natural ability to compose poems  with words which give two or more meanings(all poems can be interpreted in more than two ways but this is different).

Look at this poem:

காக்கைக்கா காகூகை கூகைக்கா காகாக்கை

கோக்குக்கூ காக்கைக்குக் கொக்கொக்க - கைக்கைக்குக்

காக்கைக்குக் கைக்கைக்கா கா.

For the benefit of people who cannot read Tamizh, I am giving it in English:

Kaakkaikaa Kaakoogai Koogaikka Kaakaakkai

Kokkukkoo Kaakkaikku Kokkokka-KaiKaikku

Kaakkaikku Kaikkaaikkaa Kaa.

I can already sense the smile on your faces. So, is this some kind of a blabber written just for fun?

Let us see the meaning:

‘Kaakkai’ means Crow and ‘Koogai’ means Owl. The crow cannot defeat the owl nor can the owl defeat the crow. This is because a crow cannot see in the night while an owl’s vision is zero during the day. Likewise, a smart king should be like the crane (kokku) which relentlessly and patiently waits for the fish. Otherwise, even if he is strong, he cannot save his kingdom.

This verse shows the sense of humour of the poet, but it also shows his brilliance. Note that he has used only variants of the letter ‘க‌ ‘(ka).

Just an example of a genius with a great sense of humour..

That the musical genius ILaiyaraaja is also endowed with a great sense of humour is not known to many-especially people who criticize him at the drop of a hat. As mentioned earlier, I discussed two different songs in the year 2014 , though there are many more.

Isn’t it time then to take up yet another song which has one in splits even if he/she does not understand Tamizh?

There are many reasons for ‘Kaadal Kasakkudaiah’ from ‘AaN Paavam’(1985) sounding humorous. The wordings seem to have a dig at what is called as ‘Love’ but in reality it only praises Love after marriage. The way the entire song is rendered by the Master himself and the way he has done the arrangement and orchestration speak volumes of his humourous sense. But what the most striking aspect the raga on which the tune  is based.

In Carnatic Music, though all ragas are classical, some are more classical. If I sound Orwellian, it maybe because of the reason that I like Animal Farm, but this is immaterial and irrelevant now. .What is relevant however is the fact that Shanmukhapriya is one such raga which falls under the ‘more classical’ category. Somehow, the Maestro has always been very fascinated by this raga. Yes, many ragas fascinate him but the reason for my saying this is because he has composed many ‘kiNdal’ songs in this raga.  ‘PoNNu Paarkka’(AvaL Oru pachchikuzhandai), ‘Vengaaya Saambarum’(Panneer PushpangaL), ‘Ammaadi chinnapaappa’(IndRu Poi NaaLai Vaa), ‘Vettu Vedippom’(ANNe ANNe), ‘Ooru Vittu Ooru Vandhu’(Karakattakkaran) are some examples of this. But what is more amazing is the fact that the classicism of the raga was never compromised.

‘Kaadal kasakkudiah’ is probably doubly special because it was he who rendered it.

The prelude is a collage of rhythm. In fact, it has only the different percussion instruments playing variegated patterns in chatushram. The mridangam with its unique resonance plays the 16 micro beats for one cycle with kaarvai in the beginning. The unique sound of mugarsing(or morsing as it is popularly known) follows in the next cycle. The kanjira breaks the 4 into 16 as ta ki ta/ ta ki ta/ta ka/ta ki ta/ta ki ta/ ta ka(3, 3, 2/3, 3, 2).

The following cycle sees the wondrous combination of the synth sound and the drums with the former striking only the first syllable and the latter playing the chatushram in mel kaalam. The mridangam and tabla play all the syllables in the next cycle. But what follows is interesting again. These play as ta ka ta ki ta/ta ka ta ki ta/ta ka dhi mi/ta- 5/5/4/2. Two khandams, one chatushram and one two.. After all, this is what one expects from ‘L’ Raaja(if you think ‘L’ is for love, you are thoroughly mistaken).

So, with the rhythm setting the right tone, the Pallavi bubbles with energy..

The gliding gracefulness cannot be missed. It starts with the upper ‘Ga’ and goes down like ‘Ga Ri Sa ni dha pa dha ma’. A beautiful innovation indeed!

The swaras-pa dha ni- give the signature of the raga, and the sangati in the last line and the descent/ascent in the last phrase show the beautiful facets of the raga. The raga’s name itself suggests it is multifaceted and if it is handled by a multi faceted musician, do we need to say that the experience will be exhilarating?

Another wonderful aspect of the Pallavi is the use of jaalra and a subtle violin backing the vocals. It is ‘L’ Raaja again when the percussion thunders with the third syllable of chatushram in every cycle.

The shehnai plays with ecstasy in the first interlude weaving tassels of swaras of Shanmukhapriya in the process. In between, the guitar responds briefly. It takes over after the shehnai-which by now has drawn a lovely sketch of the raga- and moves with an impish giggle. The shrill flute like sound guides us to the first CharaNam.

The lines in the first CharaNam move with humourous gait albeit classically. The most classical lines are the ones which start with ‘Theatreile..’ and the last two lines. In fact, the last line is like a typical classical swaraprastaram.

Contrast this with the way ‘Kaadal Kasakkudaiah’ is rendered after this and before the second interlude. Marvellously humourous!

The second interlude sees some nice exchanges between the various instruments. First the guitar along with the bass guitar chortles. It does this 4 times and each time, a different set gives repartee. To start with, it is the mridangam. Next is the synth percussion. And finally it is the flute twice, playing different sets of swaras each time. Yet another guitar titters now. It is then the turn of the shehnai. This very classical instrument simpers with the guitar and the flute sniggering and guffawing.

The momentum is maintained in the second CharaNam whose structure is different from that of the first one. Each line(starting with the 5^th line) parodies an old song mentioning the respective name of the hero each time. The genius shows his class here too by using the same swaras of the originals songs(‘Manmada leelaiyai’, ‘Nadaiya’,’Hello Hello Sugama’) though each one is based on a different raga. After all, music is universal.

Music is lighter too…

..or is it?

Check this out on Chirbit                                                                                                

ILaiyaraaja's Music-Nectarine Flow..

How sweet is nectar?

How sweet will nectar be?

The first question can be answered only by immortals or people who have seen the nectar in one form or the other. Coming to think of it, is there anything called nectar at all? Is it defined by the taste alone or is it by its so called property of giving immortality? Before we get into this, let us see what AruNagirinaadar, one of the greatest tamizh poets says:

‘My senses cease to exist. Through my lotus-like intellect I see the sacred vision of the 6 faces and the 12 shoulders and there I see and feel the sweet nectar that flows transcending the shores of all the worlds. I dissolve myself in the ultimate ocean.’

பத்தித் திருமுகம் ஆறுடன் பன்னிரு தோள்களுமாய்த்
தித்தித்து இருக்கும் அமுது கண்டேன் செயல் மாண்டு அடங்கப்
புத்திக் கமலத்து உருகிப் பெருகிப் புவனம் எற்றித்
தத்திக் கரைபுரளும் பரம ஆனந்த சாகரத்தே.

The devotee of Shanmukha feels the nectar when he has the vision of his favourite God.

This verse is mystic and esoteric too. It is said that the life force called ‘KuNdalini’ resides inside all human beings and when activated, it flows upwards through the seven chakras finally culminating in the head with the Intellect opening like the lotus flower. This is considered to be the ultimate ecstasy. But for this to happen, one must lose the senses, and therefore the self.

Let us now look at another poem by yet another poet.

‘Monkeys jump from branch to branch even as the devotees pluck flowers for Him in Thiruvengadam. Draped in dusk red, He reclines on the serpent with the beautiful lotus-shaped navel that gave birth to Brahmma the creator. Is this not the pleasing soul that resides in my heart!’ 

‘மந்தி பாய் வட வேங்கட மா மலை வானவர்கள்

சந்தி செய்ய நின்றான் அரங்கத்து அணையான்

அந்தி போல் நிறத்து ஆடையும் அதன்மேல் அயனைப் படைத்தது ஓர் எழில்

உந்தி மேல் அது அன்றோ!அடியேன் உள்ளத்து இன்னுயிரே!’

This was sung by the Vaishnavaite saint ThiruppaaNaazhwar.

I find a lot of parallels between the two verses though they sound different.

Monkey is a metaphor for the mind while flower is a metaphor for good thoughts. Serpent is symbolic of the kuNdalini and here too we see the lotus which is a metaphor for the Intellect.

Two different poets in two different eras singing about two different Gods.  The common thread? Ultimate ecstasy also called as the nectar.

Let us now go back to the two questions asked in the beginning. The answer to the first question can be given only by people like AruNagirinathar and ThiruppaaNaazhwar.

However, the second question can be answered by mortals like us because it is easy to go on a fantasy trip and imagine things which exist and which don’t. But fantasy trips can be dangerous too since there are more chances of tripping and crash landing which in effect would prove to be detrimental.

We surely need not be a saint or a siddha purusha to discover the nectar. In my last year’s special post, I mentioned about divinity and said that if at all there is one thing in the world that unites atheists, agnostics and believers, it is music. I had also said that some great souls have made us realise the divine through their immortal compositions. If the poets discovered and enjoyed the nectar, great musicians make us discover and enjoy the nectar.

ILaiyaraaja is the greatest living example. His compositions make us realise many things that we would not have realised all along. It gives us feelings that are hard to describe. Like the works of the immortal poets that have esoteric meanings, his compositions too have very deep meanings and value. The music awakens the Shakti hidden inside us that travels upwards and culminates in our experiencing the blossoming of the lotus and our seeing and feeling the nectarine flow.

Since his creativity is backed by a very sound classical knowledge, the way he uses the ragas are mind boggling and his approach is wondrous.

Take the ragam Shanmukhapriya for example. This 56^th melakarta raga is steeped in classicism and has a beauty of its own. ILaiyaraaja has made us look at some unknown dimensions of this raga. ‘PoNNu paakka ’, ‘Ammaadi Chinna paappa’ ‘Abhisheka neraththil’,  ‘Vettu vedippom’, ‘Vengaaya saambaarum’ and ‘Kaadal kasukkudaiah’ smile at us with gay abandon. If he had the audacity to compose such humorous song in this classical raga- without in anyway diluting the raga-, he also had the confidence and knowledge to compose ‘Tam tananam’, ‘Ta ki ta ta dhimi’ and ‘Sollayo vaai thiRandhu’, compositions that radiate classicism in the same raga.

The song of the day ‘Nenjam inikkiRadhu’ from ‘ThenpaaNdi Singam’(1988) too effuse  beauty , resonate with melody and is full of virtuosity.

It starts with a flourish. Mridangam reverberates with a string of syllables in chatushram. In fact, in just a matter of two cycles, it plays a very brief Tani avartanam with intricate laya patterns. The soft textured Veena follows and shows eloquent vignettes of Shanmukhapriya. It also draws a beautiful sketch of the ragam with typical prayogas like ‘pa dha ni’, ‘dha ni sa’ ‘Sa ni dha pa ma’.

Pallavi starts lucidly. There are four different sangatis for ‘Nenjam’ alone. This coupled with the akaaram makes it a complete classical experience with the interspersed Veena heightening the effect.

The composition is in the 8-beat adi taaLam. However, the vocals in the last line of the Pallavi completes only half a cycle. The Veena completes the next half and seamlessly the composition moves on to the first interlude. Mesmerisingly innovative!

The Veena and the flute that coalesces with it now, travel with unbridled enthusiasm. It is like swift paced ripples that show us the contours of the ragam with dexterity. In the last two avartanams, Laya raga raaja is in full flow as the swaras go in pairs of two, three and four.

The first CharaNam is soaked in beauty. The first line itself has two variations with the phrase ‘anjuvar’ touching the tara staayi swaras the second time it is rendered. The following line too has special sangatis in ‘Vaazhthadhu kettu’.

The Pallavi when rendered again with the akaaram, is left with half avartanam and the VeeNa takes over yet again. The subtle flute joins and what follows is a question- answer session. The Veena and Flute play a set of notes with lightning repartees from the percussion. After two avartanams, the percussion and the melodic instruments merge together signifying the union.

With poise, the Veena now flows like a stream touching all dimensions of the raga. We get to see the six faces and the twelve shoulders glistening with beauty.

The second charaNam is different from the first charaNam showing us the versatility of the composer . The first line which is rendered thrice is succinct, with the lilting Veena making it more fascinating. The phrase ‘uyir ondRuthaan’ in the following line itself gives the essence of the raga. Laya Raaja comes to the fore again in the following line ‘adhai ninaiththaale’. The percussion which follows the chatushram pattern the first time,  shifts to the 3-beat cycle Tisram. After 4 tisrams, it again subdivides into 6 maatraas ( taa ta ri ki ta)  –  and from then on, it alternates between 3 and 6 making it a wholesome experience.

And we are soaked in the nectar. Why wouldn’t we be?

The previous post in Tamizh and this post were read out to an invited audience in Chennai on the 15th of Sep 2013 as part of Geetanjali Event.

http://www.divshare.com/download/24520147-507                                                                                         

ILaiyaraaja-The Beautiful Musician!

Thithath thaththath Thithath thithithaathai thaathathuth thithath thitha
Thithath thaththath Thithath Thithithitha Thethuthu Thithi thatha
Thithath thaththath Thithathai Thaathathi Thethuthai Thaathathathu
Thithath thaththath Thithithi TheeThee Thithithuthi Thee Thothathe.

திதத்தத்தத் தித்தத் திதிதாதை தாததுத் தித்தத்திதா
திதத்தத்தத் தித்தத் திதித்தித்த தேதுத்து தித்திதத்தா
திதத்தத்தத் தித்தத்தை தாததி தேதுதை தாததத்து
திதத்தத்தத் தித்தித்தி தீதீ திதிதுதி தீ தொத்ததே


Let me tell you that this is not the Morse- Code or any other Telegraphic code. Nor is it the language of Martians.

This is a verse from ‘Kandar Anthaathi’ written by the 16th Century Tamizh Poet Arunagirinathar.

Arunagirinathar has given us 9 gems including the popular work Tiruppugazh , Kandar Alangaram, Kandar Anubhoothi etc.,

He had an amazing knowledge of Music –especially the Talas-and it is said that he composed verses in all the 108 Talas.

His verses eulogized Lord Muruga. But they cannot be simply brushed aside as Bhakthi Literature because the lyrical values and the musical values are quite unmatched.

Take the aforementioned verse for example.

It gives a Tala Pattern but within that it also says

’’Lord Muruga!You are worshipped by the Dancing Shiva, Brahma and Vishnu. Please remind me to worship you even when the Fire destroys my physical body full of Bones and Flesh .’’

That is the beauty of the language.

That is the beauty of Music as well.

Incidentally, Murugu in Tamizh means Beautiful.

While talking about such great people like Arunagirinathar, I am reminded of ILaiyaraaja.

With his immense knowledge in World Music, and his boundless Creativity, he has given us beautiful compositions.

He has also used many Ragas and Talas and their different patterns.

His compositions have a Mystic Quality. We are surrounded by the Compositions and get entangled by them.

Today we are going to see a Composition that is based on a Raga called ‘Shanmukhapriya’.

The word ‘Shanmukha’ refers to Muruga since it is believed that he has six faces.

Shanmukhapriya is the 56th Melakartha and is the Prathimadhyama Raga of Natabhairavi. This Raga is also known by the name Chaamaram.

ILaiyaraaja has used this Raga widely in Films as well as in his Non-Film Albums like ‘How To Name It’ and ‘Thiruvaachakam’.

He used it for the first time in ‘Tham Thananam Thana Talam Varum’(Puthiya Vaarpugal).

The Composition follows a lovely pattern and it moves like the Waves.

There is a very interesting story behind this. During the composing session, Bharathiraaja was not too happy with the various tunes given by Illaiyaraaja.

They shut down everything, went to the Beach and spent the whole night talking about their Childhood and other happenings in their life. After this Nostalgic Trip, they went back to the composing session and ‘Tham Thanan Nam’was born.

Creativity blossoms when the mind is uncluttered, when we become Children again and when we spend time with the Nature.

Does one need any other proof for this?

The ‘Wavy Pattern’ in the song could also be because of the Sea seen by Raja.

Veena is a lovely instrument and the playing of what is called as ‘Thaanam’ in Carnatic Music on Veena is very pleasing to our ears.

The Composition starts with the Veena speaking to us. The Chorus appears from nowhere and it is like the Low Tide becoming a High Tide!

The Cohesive Design of the Pallavi gives us the essence of Shanmukhapriya.

It is stacked with the Main Swaras of the Raga and we are drenched by the waves of these Swaras.

The Violin Orchestra in Western Style and the Bass work in the interlude look like the Spume from the Sea.

And it is a Lullaby as the chorus sings ‘Thanana Thana Laali..’ followed by the Flute giving Ripples of Melody. The Chiming of the Bells gives a divine feeling.

The Charanams teem with beauty as one phrase after another moves like waves unequivocally telling us that it is Shanmukhapriya in full flow.

The lines glide and curve making us float on the waves.

The Tenacious Veena and the Chorus appearing in between the lines gently make us sway.

The use of the Traditional Instrument, Jalatharangam -which is played with water cups-is exquisite and makes us go underwater.

The Resplendent Veena takes over followed by the Chorus Voice and we spin around in a circle.

The Western Movement in Violin Orchestra is amazing as we traverse the Sea.

The prolonged Sojourn is Gentle, Feathery, Vibrant, and Breezy.

We hear new melodies, new expressions and feel the aroma and new flavours in his Music!

புது ராகம் வரும் பல பாவம் வரும் அதில் சந்தன மல்லிகை வாசம் வரும்...

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