ILaiyaraaja's Music and Emotions- III-Anger

‘Anger-It is just one letter short of Danger’.

I remember reading this line about 20 years back. Anger numbs our system. The rush of blood during that time has been scientifically and medically proved to be detrimental to our health. Voice becomes shrill,  breath is heavier and body becomes tight. There is no control over what one speaks too.

But is it not natural for a human to get angry and in that case, is it wrong to express oneself? Was it not Mahakavi who said ‘Roudram pazhagu’(loosely translated as ‘Practise aggression’)? Anger is an emotion which when channelized well will lead to positive outcomes. How one uses this is what will distinguish men and the beasts.

History is replete with such instances. Instances where anger, a negative emotion was used as a vehicle to transform the world. If the young lawyer after being thrown out of the first class compartment at the Pietermaritzburg station had chosen to react by attacking, the world would have never seen a Mahatma. If the small boy hailing from Ambavade in Maharashtra had given into the chidings of his peers for being born as a ‘untouchable’ and had stopped going to school, India would have lost a strong leader to speak for the oppressed. If the gentleman born in Hooghly in Bengal had remained immune to the atrocities committed in the name of religion, Brahmo Samaj would not have been formed and that atrocious practice/ritual called Sati would not have been abolished.

These are just some of the happenings where anger was used to bring about positive changes. There have also been exceptions where anger was used as a destructive force but still is not considered negative. On the other hand, we cherish it.

Am I contradicting myself?

Look at this:

The lady throngs the King’s court and shouts with anger. She throws one of her anklets on the floor with venom to prove that her husband-who was hanged to death by the King- was innocent. Does her anger stop here? No. She wants the entire city to pay for it.

‘My beloved was killed by this city. So, my anger is not unjustified and I will not be a sinner’ saying this  she circumambulates  the city of Madurai thrice, prays and throws her left breast to burn the city’(there is also a version that she threw her left eye and not the breast).

யானமர் காதலன் தன்னைத் தவறிழைத்த
கோநகர் சீறினேன் குற்றமிலேன் யானென்று

இடமுலை கையால் திருகி மதுரை
வலமுறை மும்முறை வாரா அலமந்து
மட்டார் மறுகின் மணிமுலையை வட்டித்து
விட்டாள் எறிந்தாள் விளங்கு இழையாள்

Was this justified? Well, this is not a debating forum and what matters here is the literary value. If not for this incident, would we have got one of the greatest works in world literature ‘Silappadikaaram’?

Anger used destructively and yet earn appreciation and encomiums.

This has happened in music as well. Angered by not attaining salvation, Saint Tyagaraja composed many songs chiding and scolding Rama. He attained salvation and the music world became richer by some outstanding compositions in popular as well as rare ragas.

ILaiyaraaja was given a situation of a lover showing his anger on the Goddess for losing his beloved (who did not die but was taken away by her people). How did Raaja sir depict that anger? First, he chose a raga considered to be soft-in its name as well as in the sound! Next, he used some stupendous swara combinations. The character does not shout.But the swaras seethe with anger.

Poojaikkaaga vaazhum poovai from Kaadal Oviyam (1982) is based on Malayamaarutam(which literally means breeze from the mountain). We not only see the radical but also the musical genius. Let me explain. There are essentially three stayees(octaves) in music, mandra staayee(lower),madhyama staayee(middle) and taara staayee(upper). Generally, songs (classical and film) are composed in the  madhyama staayee and higher octave notes are used by the composer during the course of the composition. However, the mandra staayee is reached by some classical musicians during the ‘aalaap’ and this gives a special colour and flavour to the raga being rendered. It also needs a superb control over the voice, a firm grip on the raga and of course rigorous practice.

If not used wisely, there are chances of its sounding cacophonic. Precisely because of this reason, there are just handful compositions with mandra staayee swaras in film music. It also needs a highly talented singer .In Poojaikkaaga, the mandra staayee swaras are used wisely and also brilliantly made to combine with madhyama stayee and taara staayee swaras to show the anger of the character. Deepan Chakravarty, one of the dynamic and melodious voices in Tamizh Film Music does a fabulous job and renders it with consummate ease.

The speciality of the first line is that except for the starting notes-dha Sa- all other notes are descending(avarohaNam).  And what a beautiful descent it is! Saninidhadhapa twice followed by nidhadhapapaga twice and dhapapagagari once, brilliantly ending with ri sa sa.

The second line is a marvel too with the swara ‘ni’ is juxtaposed between the madhyama stayee sa and the mandra stayee sa. in the beginning after which it is the ascent(avarohaNam) with the swaras starting with the sa either following a beautiful pattern like sa ri ri ga/sa ri ga/ri ga pa/ga pa dha/pa dha dha ni.

The mridangam starting just towards the end of the first aavratanam and the subtle variations in the chatushram pattern in the two lines are hallmarks of the Laya genius. We shall of course see more about Laya Raaja in the interlude and the CharaNams.

Even the graceful Veena is ebullient while the vibrant strings are aggressive in the first interlude. The Flute dazzles and we see a very different Malayamarutam. The strings then move with verve and also mathematically play with the mridangam as

1 2 - -/1 2 - -/1 2 – 4  5  6 7 8.

The first two lines of the CharaNam are full of vim and vigour.The Strings and the Veena follow exuberantly for a full aavartanam.  The following two lines are virtuous with sangatis. The magic starts after this.

The second part of the next two lines-ragasiya raNam and unadarpanam - is in the lower octave with the swara dha. repeating itself 5 times after the ni. .

This is slightly modified in the following line with the lower octave adhu and iru alternating between the two mid octave phrases ponnezhil silai and en vasam ilai..

The toughest and yet most musical part is the next line where the lower octave notes in a group of four are followed by the same notes in mid octave yet again in a group of four –

dha.dha.dha.dha./dha dha dha dha/ni.ni.ni.ni./ni ni ni ni

It takes an ascent as it is followed by the mid-octave sa(4 times) and the upper Sa(4 times).

We see a beautiful pattern in the last line too, but this time a laya pattern- ta kit a/ta ka dhi mi ta/ta ki ta/ta ka dhi mi ta/ta kit a/ta ka dhi mi ta/ta ka dhi mi/ta ka dhi mi.

Melodious and Rhythmic anger!

ILaiyaraaja-The Sculptor-Part II

‘‘Put Mind over Matter.’’

This is what the Self-Improvement Gurus tell us.

What guides our lives-the Mind or the Intellect?
Are we all led by our emotions or are we moulded by our thinking?

Well, it is a very vast and deep subject and my intention is not to get into this and find answers.

Let me confine my discussion to fine arts.

Take any art form.

The Artiste feels.
The Artiste emotes.
The Artiste thinks.
The Artiste expresses.

Feelings, Emotions, Thoughts, Expressions.
There is an inextricable link between all these.

And this is what an art form is all about.
Of course, finally the quality depends on how capable, and spontaneous the artiste is..

In my previous post, I had discussed about how fine arts was an intrinsic part of ancient Tamizh culture.

Saaththanaar, author of ‘Kooththa Nool’-which is the first authentic book on classical dance in Tamizh-says

‘Tastes emerge from the feelings within and these are expressed as dance.Feeling is the soul, Taste is the Mind, and expression is the body’.

அகம்உயிர் ஆகச் சுவைஉளம் ஆக
இழைஉடல் ஆக இயல்வது கூத்து.

It is a cryptic verse with very deep meanings but what was written nearly 2500 years ago holds good even now.

And this is applicable to any art form.

‘Kooththa Nool’ has two sections, 'Suvai' and 'Thogai' with 153 and 162 verses respectively and says that the sound, the letters and the music emanated from the Dance of the Lord.

It also says that ‘Om’ is the beginning and the end for everything.

The author seems like a good psychiatrist, philosopher and most importantly an intellectual.

The link between human life and the Nava Rasaas have been described in detail by the author.

The 108 Karanaas and the 12 essential Karanaas, and the synergy between ‘Tandavaa’ and ‘Laasya’ have also been elaborated by the author.

Therefore as mentioned in my previous post, ‘Tolkaappiyam’, the text on Tamizh grammar talks about the classical dance, ‘Pancha Marabu’and ‘Kooththa Nool’ are texts on the Grammar of Classical Dance.

There is also another text called ‘Bharatha Senapathiyam’.

Apart from these texts that are exclusive books on Grammar, classical dance finds a mention in Sangam Literature, works that preach Wisdom and Values like ThirukkuraL, Naaladiyaar etc.,

However, it is the description about Classical Dance in ‘Silappadhigaaram’ that calls for special mention and appreciation.

In fact, the ankle-bell(silambu) plays a major role in the story –though it happens towards the end.

Ilango AdigaL, the author elaborates on the qualifications of a Dance Teacher, Percussionists,Vocalist,Flautist, and the person(s) playing the ancient instrument ‘Yaazh’.

In my previous post, I had given a sample verse on the qualities of a dancer.
More about what ‘Silappadigaaram’ talks about Classical Dance in my next post.

Let us now focus our attention on the Sculptor who has been ardently and tirelessly sculpting mesmerizing music for the last three decades.

Time now to look at the second composition from ‘ULiyin Osai’.

It is ‘Abhinayam Kaatugindra AaraNge..’

The song rendered by the classical musicians Sudha Raghunathan and Bombay Jayashree is another beautiful sculpture.

ILaiyaraaja the Magician, pulls another rabbit from his hat..

Why do I call this magic?

Let me explain about the composition and then we will know.

The composition starts in Ragavardhini, the 32nd Melakartha.

It is a Vivadi Ragam whose structure is

sa ri3 ga3 ma1 pa dha1 ni2 Sa/Sa ni2 dha1 pa ma1 ga3 ri3 sa.

The ‘ri’ is the vivadi note in this raga.

This Raga sounds a lot like Charukesi, the 26th melakartha since six notes are the same except the ‘ri’.

The composition has other ragas as well and I shall touch upon the ragas and their structures as I go along.

The mini ensemble of the percussion instruments in the prelude gives an energetic beginning.

The Pallavi is stupendous with the use of vivadi note right at the beginning sets the tone.

After a mini ensemble yet again, the anupallavi glides smoothly.

The first interlude is stupendous.
It has brilliance as well as beauty.

The violins play only the swaras of Charukesi first. The percussion gives a repartee.
Now, the violins play with the prominent vivadi note giving the shade of Ragavardhini.

After the reply from the percussion, the two pieces are played again now one after the other. The Veena accompanied by a very subtle Flute then plays Charukesi with the violins replying in Ragavardhini. This pattern-but with different notes-is repeated once again.

The Flute then manages to escape from the clutches of Veena and plays a dominant Ragavardhini and then the violins also have the final word and play Ragavardhini with disdain.

Now do you understand why I said it is Brilliant and Beautiful?

The Contrast and the distinction shown by the Master since it is a competition between two dancers..

The first Charanam has pithy passages.

It moves, undulates, swirls, whorls, sways, and takes a curve.
Geometric Motifs!

Just towards the end, there is a short swara singing passage and as we look forward to the next interlude, there is felicitous turn of the passage.

The rhythmic pattern changes to the 5 beat ‘khanda nadai’ and we hear the ‘Ta ka ta ki ta’ with the dominant manjira (cymbals).

This surprise twist takes a further intricate turn as the raga changes to Karaharapriya, the 22nd Melakartha whose structure is

sa ri2 ga2 ma1 pa dha2 ni2 Sa/Sa ni2 dha2 pa ma1 ga1 ri2 sa.

A majestic and a serene raga, the beauty of the raga is shown in just a few willowy sancharaas.

As the line ‘Piththam Thalaikkeri’ ends, we are in for another pleasant surprise.

Using just five swaras-'sa ri ga pa ni'-of Karaharapriya, we get to hear Rathipathipriya, another beautiful Raga.

Now, Abheri-another Raga derived from Karaharapriya omitting ‘ri’ and ‘dha’ in the arohana-darts in as ‘Udanpirappu..’ is rendered.

The sangathis following this are wonderful.

As we lose ourselves in the lovely nooks, the Raga changes again.

Now it is Pantuvarali, the 51st Melakartha whose structure is

sa ri1 ga3 ma2 pa dha1 ni3 Sa/Sa ni3 dha1 pa ma2 ga3 ri1 sa.

So far, we saw Raga Raaja.Time to have a look at Laya Raaja.Though there are lot of intricate patterns throughout, let us look at the pattern that I consider as most beautiful.

The pattern following the line ‘Thadi Edukka thavarum Indri..’is

‘Dhin – Ta – Ka ‘ 3 times and then ‘Ta Ka Dhin – – ‘

And the one following ‘Nilam Nokki..’is

‘– – Ta – Ka Ta – Dhin– – ‘ twice.

The sweeping crescendos reach an acme.

With authentic interpretation of Ragas, the composition appeals to us emotionally.
We feel the vibrations, think and express our appreciation.
The spontaneity of the composer is obvious.

Is this not a genuine artiste’s work all about?

அபிநயம் காட்டுவது பரதத்தில் மட்டுமல்ல.அவரது இசையும்தான்..

Abhinaya is not just in Classical Dance…It is in his Music as well..