ILaiyaraaja - The Thought-provoking Musician..

Is illusion good or bad?

Spiritualists and Philosophers generally consider anything which is deceptive as not good not trustworthy. Of course, it doesn’t need a philosopher to tell us this as we as human beings have an innate wisdom that makes us not to fall into the trap of falsities.

But aren’t illusions enjoyable too?

See this poem:

தேனுகர் வண்டு மதுதனை உண்டு தியங்கியே கிடந்ததைக் கண்டு 

தானதைச் சம்புவின் கனியென்று தடங்கையிலெடுத்து முன் பார்த்தாள்

வானுறு மதியம் வந்ததென்றெண்ணி மலர்க்கரங்குவியம் என்றஞ்சிப்

போனது வண்டோ பறந்ததோ பழந்தான் புதுமையோ விதுமெனப் புகன்றாள்.

Drunk with the taste of honey, the bee lies on the ground. An young girl mistakes it to be the ‘Naval’ fruit(a native fruit, an equivalent of the English fruit Blue berry) and takes it in her hands. The bee wakes up. Her face looks like the moon and her palm looks like the lotus flower. Fearing that the ‘lotus’ would close its ‘petals’ in the night-when the moon raises in the sky- the bee flies away.. ‘Can a fruit fly?’ asks the girl in bewilderment!

That poem is part of ‘Viveka ChintamaNi’, a collection of poems composed by various poets in that beautiful language called Tamizh.

We see two different illusions in the poem-bee’s and the girl’s. And how poetic these illusions turn out to be! In a matter of four lines, the poet describes the beauty of the girl, the beauty of the bee and the law of nature.

Aren’t illusions beautiful and enjoyable too?

In the poem, the bee was in an inebriated state. Or should I say, ‘a kind of inebriated state?’

Nearly 3 decades ago, a classical musician was in that state. And he goes to the concert in that state-not to listen but to perform. How would he sing? Or rather what would he sing?

ILaiyaraaja was given this situation by the director. And thus was born the song, ‘Poomaalai Vaangi Vandhaan’(Sindhu Bhairavi/ 1985).

But what I find amazing in this song is not just the choice of the raga Kaanada and its beautiful usage but also the fact that delusion and illusion run as undercurrents in the composition.

Let us start with the choice of the raga. ‘Kaanada’ is a vakra raga which surely has the capacity to take a listener to a different level and state. So, it is not without any reason that the composer chose this raga(though if asked about this, he would say, ‘it just happened!’ with a broad smile).

Secondly, such kind of ragas which go more by the ‘pidis’(signature phrases) and less by the aroh/avaroh structure are relatively easier to handle in an elaborate carnatic concert than in a film composition. To bring out the essence of such ragas calls for a profound understanding of theory and practicals.. Needless to say Raaja sir came up trumps in this aspect.

Let us now see the composition from the beginning to appreciate it better.

Clothed in musical sensitivity and sounding eloquent and gentle, the composition starts with the aalaap in the mesmerising voice of Yesudass and I must say that there are touches of Darbari in this. Probably, this too was intentionally done keeping ‘illusion’ in mind!

The Pallavi starts after a very brief sally in mridangam which plays the tisram beats, ta ri ki ta thom/ ta- tom . Interestingly enough, the very first two phrases- niSa nipapa ma gama- give the outline of the Kaanada in a trice. The brilliant composer that he is, he goes to the mandra staayi ni(lower octave ni) in the last phrase and then climbs up-ni.saripa maga ma ri -yet again using the prayogas of the raga. Isn’t it a complete Kaanada now?

Yes, here there is no illusion!

What matter in a composition are not just the swaras and the raga but the way these are used. Note how the lines sound with a twinge of pathos. Goes to show that music is beyond swaras and ragas..

After a delicate and a light stroke of melody on the keys lasting 4 tisrams, the violin dazzles in the first interlude. Illusion yet again! This dazzling violin plays Kaanada in pure Carnatic style even as the subtle violins back it in western style. The group of violins follow with aesthetic grace and elegance. The veeNa and the veNu repeat this melody with verve while the guitar gives a diffused glow of light.

Composed with fecund imagination, the lines in the CharaNam elucidate the raga. If the repetitive ‘dhanidhanidha’ phrase in the beginning is enticing, the repetition of ‘pa’ is inebriating. Of course, upper madhyama(Ma) in the penultimate line and in the last line takes us to empyrean heights. We are grounded again towards the end when it glides to the mid octave ‘ma’. Instance of illusion yet again!

The second interlude sees an uninterrupted flow of mellifluence. First, the flute sparkles with a blend of charm and poignancy. Couched in winsome melodic language, it produces sheaves of melody with only one-string backing it. The veeNa replies with its unique tenderness. It seems as if the veNu and the veeNa are involved in an exercise of gradually discovering the hidden aura. The keys seem to make some tender overtures to the violins which play subtly first and then vividly, sketching the raga beautifully in the process.

Splendour of expressiveness!

Aren’t illusions poetic and musical?

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ILaiyaraaja- The Solicitous Musician

Empathy!

How important is this in an artiste’s or in a poet’s life? Or is this important or is this needed at all?

When a painter sketches something- a real-life character, an incident from mythology/history, picturesque scenery and so on- does he/she empathise with the subject concerned? Or does he/she keep away and stay aloof like a water drop on a lotus leaf?

What impact would these have on the artistic sensibilities of the artiste?

In a similar vein, when a poet describes something, does he/she get involved with the character? Is it possible to compose a poem with the poet acting like a catalyst? And if this happens, can a reader empathise with the subject?

Since I cannot quote –or rather do not want to quote- any work of a painter here, let us look at poetry, which all said and done is another form of art.

The lover is travelling to meet his beloved. It is ages since he saw her and his feelings cannot be described.  How does the poet describe this?

அஞ்சுவது அறியாது அமர் துணை தழீஇய
நெஞ்சு நப் பிரிந்தன்று ஆயினும் எஞ்சிய
கை பிணி நெகிழின் அஃது எவனோ நன்றும்
சேய அம்ம இருவாம் இடையே
மாக்கடல் திரையின் முழங்கி வலன் ஏர்பு
கோள் புலி வழங்கும் சோலை
எனைத்து என்று எண்ணுகோ முயக்கிடை மலைவே.

Not knowing fear, my heart has left me to embrace my beloved.

ALAS! Is it of any use when the arms that can embrace her tight, are here.

The distance between us is huge, and in between there are tigers which roar

Like the dark ocean waves, and roam with venom

In the woods whose numbers I cannot count.

Oh..What do I do now?

This is from KuRunthogai, which is part of the 2500 year old Tamizh Sangam literature. KuRunthogai is part of ‘ettuthogai’ and is a collection of 400 poems written by various tamizh poets. This particular poem was written by ALLoor Nanmullaiyaar.

Put in one line, the gist of the poem- The heart desires, but the physical body is unable to achieve as there are obstacles to be crossed.

Coming to think of it, the subject is not that easy to handle and unless the poet brings out the emotions appropriately and make us sympathise and empathise with the Hero, the poem will not carry any value even if word play is resorted to. And this is possible only if the poet himself empathises with his Hero, feels for him and even cries for him.

Read the poem again and you will know how the poet has communicated the emotions. The differentiation between the heart and the hand and what difference this makes to any human being are not just poetic but also are thought provoking.

And this is the difference between a Master poet and an ordinary poet.

It applies as much to a musician as it does to a poet.

When a situation is explained to ILaiyaraaja, he visualises the same through his mind’s eye, transports himself to that world, converts the images to musical images and then gives out the tune. All these happen in a jiffy.

That is why, we are able to identify with the situation ; that is why, our emotions are kindled; that is why, we are moved.

I do not have to explain the situation of ‘Enna Saththam Indha Neram’ from ‘Punnagai Mannan’(1986) as it is well known to many. Even if one doesn’t know, it doesn’t matter. What matters is what you experience while listening to the song and not what I tell you.

Now, how does he bring out the emotions?

1.By tuning it as soft as possible.

2.By using a very versatile raaga.

3.By using percussion sparingly and softly.

4.By using minimum number of instruments.

5. By using silence.

The versatile raaga is ‘Sindhu Bhairavi’. Though any raaga can be used in any situation, the brilliance of the composer is shown in the way he uses it.

Let us see this aspect and a host of other aspects as well.

The composition starts without a prelude. Just a sustained sound for a few seconds and lo and behold we have the Pallavi.

A simple group of swaras- pa dha1ma1pa ga2 ri1 sa sa- and we have that grand raga called Sindhu Bhairavi sit in front of us with folded hands. The mandra stayee nishadam(lower octave swara ‘ni’) appears in the end (of the first line) and the devotion is complete.

Isn’t this what is called as ‘simple and yet powerful’?

As if to denote the surge in emotions, the higher octave swaras(Sa Ga Ri) appear at the end of the Pallavi as a sangati.

SPB’s voice throbs like a lover in search of his beloved and adding to this throbbing are the rhythm guitar, the bass guitar and the drums. The last mentioned, sound as softly as possible, even stop during the third and the fourth lines and appear again with soft intensity in the end.

Imperceptibly Perceptible!

As the Pallavi ends, there is silence. This continues for a count of two tisrams.

The brass flute makes an impromptu entry and brings a breath of fresh air calming the mind further in the process. It is soft, subtle and refined. The dynamic saxophone enters and twinges the heart. It is delicate and yet strikes like a thunder and sparkles like a lightning. It glides on, finally giving a stamp of distinction and giving an echo effect. Probably, it echoes the feeling in our heart.

The lines in the CharaNam have that aesthetic touch and are full of nuanced niceties.

The sudden jumping of swaras from the dhaivatam(dha) to the upper octave gandharam(Ga) towards the end of the second line, appearance of the upper octave gandharam(Ga) immediately after the mid-octave gandharam(ga) in the beginning of the fifth and the sixth lines and the sudden introduction of the chatushruti rishabham(Ri2)-which is very much allowed in Sindhu Bhairavi- in the second half of the fifth and the sixth lines, show the musicality of the composer. More than the musicality, it is that ‘appropriateness’ which makes him a composer par excellence.

As I said, anybody can use any swara (within the structure of the raaga) at any point, but where one uses, how one uses and why one uses make a huge difference- a difference between a genius and a mortal.

There is silence again between the first CharaNam and the second interlude.

Two different sounds from the keys surround the guitar and play one after the other now with the bass guitar treading its own path. The guitar plays with a vivacious vibrancy while the keys move with uncanny instinct. Beauteous shades of different lights. The brass flute is sublime and is plaintive as well. It seems as though the guitar and the brass flute converse with each other to seek the Truth.

The saxophone pulsates with life. It gnaws. It pokes. It haunts. It touches ecstatic realms of music..and life.

It is like the heart which looks for the arms.

Emotions, Empathy, Music..and ILaiyaraaja- Can these be separated?

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ILaiyaraaja - The Revolutionary Musician

 If I say Subramaniya Bharati was a poet par excellence, it is like saying ‘Rose is beautiful’ or ‘Jasmine gives fragrance’. 

At the same time, certain things even when repeated infinite times do not lose their value. On the other hand, the more we repeat, the more the value goes up.

Why was  Bharati considered a revolutionary poet?

He simplified Tamizh poetry by using simple words so that it reached the common man.

At a time when the Tamizh society was soaked in casteism and oppression of women, he had the audacity to not only question these in his poems but also did his best for these evils to be eradicated from the society.

His poems on India and the freedom movement spread like forest fire igniting the minds of the people.

Though all his works were special, I consider ‘Paanchaali Sabatam’ as very special. The reason is simple. He wanted to write something very powerful against the British rule and wanted it to be symbolic. Taking just one very important episode from the Mahabharat, he expanded it. Bharat Maata was symbolised as Paanchaali (Draupadi). Needless to say that the Britishers were Kauravas and the people were PaaNdavas. At least to my knowledge, no poet in the world has taken one episode from any epic and used it as a symbol. It gives me Goosebumps even as I write this.

In ‘Paanchali Sabatam’, the angry Bharati dominates the aesthetic Bharati. So much so that in a work which has 559 stanzas, only 5 stanzas describe  nature’s beauty. And the placement is perfect. PaaNdavas travel to Hastinapuram to play the game of dice and on the way, Arjuna- who for all practical reasons is considered to be a connoisseur- describes the beauty of the sky during dusk to Draupadi:

பாரடியோ! வானத்திற் புதுமை எல்லாம்,

பண்மொழி!கணந்தோறும் மாறி மாறி

ஓரடி மற்றோரடியோடு ஒத்தலன்றி

உவகையுற நவநவமாத் தோன்றும் காட்சி,

யாரடி இங்கு இவை போலப் புவியின் மீதே

எண்ணரிய பொருள் கொடுத்தும் இயற்ற வல்லார்!

சீரடியால் பழவேத முனிவர் போற்றும்

செழும் சோதி வனப்பையெலாம் சேரக்காண்பாய்.

‘Oh the one whose speech is as melodious as music! Look at the sky and see how the colours change-each one so different from the other. How much one may have to spend if such a spectacle is organised on the Earth. The beauty of the sun-who is praised by all Vedas- is in full glory!’

(I have tried my best to translate this wonderful verse. But it is always better to read the original in Tamizh!).

Like Bharati, we have another revolutionary living in the current era. If the former revolutionised Tamizh Poetry, the latter revolutionised film music. Since a lot has been said about this, I would prefer to move on to the main topic.

When Bharati wanted to write about getting India free from the foreign rule, he used symbolism. When ILaiyaraaja wanted to compose a song in a particular raga, he used a technique. He wanted to compose a song in Sarasangi (by mistake, he mentions this as Latangi even as his hands play the swaras of Sarasangi. Just a slip which happens to all human beings and nothing needs to be read into this. I have heard some people say ‘he does not even know the name of the raga’. Absurd!).  

He goes on and explains what he did. He took the gandhara (the swara ga) of Sarasangi as the aadhara(base) sa and composed a song. This concept is called as the Graha Bedam and I have already explained about this concept in many posts in the Orkut community.

This graha bedam on ‘ga’ in Sarasangi is something very special and I am not sure even if any classical musician has ever tried this. Please note that graha bedam is guided by some rules. Though one can try graha bedam on all 6 swaras, it may not yield a valid raga. One can at the most get 2 or 3 ragas (the exceptions being Shankarabharanam, Kalyani, Hanumatodi, Kharaharapriya, Harikambhoji, Natabhairavi. I have already explained about this in my post on ‘Vaidehi Raman’).

Sarasangi is in the Graha bedam group of Dharmavati and Chakravagam. If the ‘ma’ of Sarasangi is taken as the base, it becomes Dharmavati and if ‘pa’ is taken as the base, it is Chakravagam. This being the case, what was the Maestro talking about?

If the ‘ga’ is taken as ‘sa’, we get ‘sa ri1 ga2 g3 pa dha1 ni2 Sa’ which is not a valid raga. This is where the genius comes to the fore.

Sindhu Bhairavi is one raga which strictly does not go by and structure and the bhava of the raga can be shown by experts in just one or two swaras. Almost all the swaras can be used in the raga and the raga sketch is shown not by arohana/avarohana but by the way the swaras are used. The Maestro who is well adept with all these nuances makes the ‘new raga’ sound like Sindhu Bhairavi. I think saying ‘like’ is wrong. It is Sindhu Bhairavi by all means.

So, what kind of thinking is this? Let psychiatrists say that -that is if they know music or at least can appreciate music- and we shall focus on the composition.

A subtle Guitar sound is followed by a zealous humming by Uma RamaNan. With a shapely finesse, the Bass Guitar responds to the humming and the Lead Guitar taps on the shoulder of its cousin-the Bass Guitar- with a monarchic dignity. Impeccable and Instinctive!

The Pallavi starts like a luminous halo and is amazingly ruminative with the Guitar and the Flute taking turns to back the vocals. The special ‘train like sound’ is worth mentioning. It sounds ‘ta ka dhi mi/ ta - - - in the ‘mel kaalam’- the ‘-‘ denoting silence. This happens only when Uma RamaNan sings with the percussion appearing when SPB renders the lines in the Pallavi.

Do not miss the predominant ‘Arabic flavour’ in the prelude and in the Pallavi. In fact, it runs as the undercurrent throughout the song.

The beginning of the first interlude is another master act. The Piano appears from nowhere rather unexpectedly. The sensitive eloquence with which it is sounded is amazing. It sounds for 10 maatras , there is silence for 2 maatras and the  guitar plays the balance 4. The guitar then continues its journey energetically with the Piano intricately following it. After showing us some beautiful shades of the Dusk, the two give way to the delectable strings. There are two different sets of strings as often playing the counter melody with the Piano too peeping in now and then. The melody is full of vigour and is yet sublime.

The lines in the CharaNams have some cosy patterns appearing sequentially. The lines are interspersed with Guitar playing different sets of notes each time. It varies from being resonant to being subtle teaching us lessons in music as well as in life.

The second interlude is a concoction of combinations. Backed by the Guitar, the Flute plays in higher octave. The Guitar plays some fluid phrases on its own. What follows is stupendous with the rhythm Guitar and the Drums playing ‘Ta ka dhi mi’ sketching a unique melody in the process and the Strings showing a kaleidoscope of melody. The Brass Flute plays with great solicitude.

We are frozen in the Transcendental.

He defies logic… and yet is logical.

He innovates…and yet is traditional.

He breaks rules…and yet follows rules.

……Just like the Sindhu Bhairavi ragam!

ILaiyaraaja's Music and Emotions-VIII-Erotic

 It may sound odd, but the fact is eroticism was a part of life those days. By ‘those days’, I mean until 5 or 6 centuries ago. To be precise, before the entry of the Britishers.

The Victorian morality brought in by the English changed the entire contours of our thinking and psyche so much so that it has now resulted in moral policing by vested interests. I know some of you or even many of you may disagree with me. While agreeing or disagreeing is one’s choice and is part of any democracy, I feel there is a moral obligation on my part to explain as to why I am making such sweeping statements.

Literature is the mirror of any society. Therefore, let me quote examples from literature to show how open the society and people were during those days. In fact, I had touched upon this subject in one of my posts in my other blog last year (http://ragamanjari.blogspot.in/2013/10/on-eroticism.html).

Now, look at this poem from ‘KuRunthogai’ which is part of the 2500 year old Sangam literature.

‘Herds of deer attack over ripe pods
of uLunthu plants, whose red
stems look like legs of quails.

The dew is harsh this winter and there is no other
medicinal cure other than his chest that embraces me’.

பூழ்க்கால் அன்ன செங்கால் உழுந்தின்
ஊழ்ப்படு முது காய் உழை இனம் கவரும்
அரும்பனி அற்சிரம் தீர்க்கும்
மருந்து பிறிதில்லை அவர் மணந்த மார்பே.

This poem was written Alloor Nanmullaiyaar, a woman poet. The intention behind mentioning the gender is surely not sexist. I just want to highlight the fact that eroticism was not the preserve of the male species alone those days. The poet herself was very prolific and wrote 9 poems in KuRunthogai and one each in AkanaanuRu and PuRanaanuRu.

The poem has two parts and though each part appears to be independent of the other, in reality they are not. The ‘attack’ of deer and the description of the ‘uLunthu’ plants (red stems) have a lot of inner meanings and I leave it to the imagination of the readers. The second part where she longs for the embrace of her Hero is described beautifully as well though it is more direct here.

Such erotic underpinnings were not restricted to the Sangam age alone. Bhakti literature is no exception. The poems of Thirumangaiyaazhwar, Nammazhvar ooze with eroticism. AandaL, who was a very small girl of about 10 or 12 when she wrote the Thiruppavai and Naachiyaar Thirumozhi pines for the Lord and one sees some beautiful love poetry there.

Some centuries later-say in the 13^th Century- Jayadeva composed Geeta Govinda and the Ashtapatis are considered to be some of the best love poems of the world. The 6^th Ashtapati describes almost everything about the act itelf in a matter of fact manner.

I shall quote such great poems in Tamizh and Sanskrit in my future posts. The point I am trying to make is that there is a thin line between eroticism and vulgarity and this line belongs to the writer/poet. At the same time, what is ‘aesthetically erotic’ may sound obscene or vulgar to you depending on the upbringing, culture, background and taste. So, I leave it to you to debate and decide. Other point of view is always welcome.

In any case, to continue the argument the logical question is ‘What do you think of Film songs-are these aesthetic or do they sound vulgar?’ Let me clarify now that the objective of this post is not to discuss about vulgarity or perceived vulgarity. As you all know, I am doing a series on emotions/feelings in his music and I thought eroticism cannot be and should not be left out. Therefore, let me focus on the song of the day which according to me is aesthetically erotic. Coming as it does from a gentleman known for his spiritual leanings, such compositions acquire more significant and important.

As I have written earlier in a couple of my posts, one of the many things that amazes me about him is his ability to get into the skin of the character while composing. I know there have been some criticisms against him for composing erotic songs. All I can say is these people miss the wood for the tree. I, as a music fan look at the musicality in such compositions. People who feel otherwise can skip listening to such songs. The control is in their hands. But finally, whose loss is it?

Without further ado, let me take up the composition.

‘En degam’ from Oru odai nadhiyagiRathu is a composition which is permeated with erotic contours and speaks volumes of the composer and the singer (Janaki). Based on Sindhu Bhairavi, the composition is backed by a dynamic laya pattern in Tisram played on the Tabla, just a few melodic instruments and the Bass guitar that is different from a majority of his compositions. How the last mentioned is different will be explained shortly.

The choice of the raga itself reveals the composer’s admirable level of his insight into its entrancing identity. Sindhu Bhairvi, as mentioned in my earlier posts here, is a raga which goes mainly by the bhava and it is sacrilegious to confine the raga in a particular structure. Having said that, I have hardly come across a composition as erotic as this one in this raga.

The composition starts with the horn which moves with a zestful vigour. After being alone for 7 tisram beats, its companions-the Tabla and the Jaalra- join and we see a gait full of potency. Bolstered by the presence of the two, the horn dances with glee and titillates us with a sangati and handing it over to the guitar just before the Pallavi blossoms in the ateeta eduppu.

The inimitable Janaki steals the show with an eloquent rich tone soaked in viraha. Two things to be noted here. The vibrant Tabla weaving different patterns in Tisram(note how it goes in ‘d..e..g..a..m) and the subtle bass guitar. The latter’s role is of course redefined in the CharaNams.

The first interlude has a tracery of melodic sounds. First we have the dynamic guitar. Is it one guitar? No, don’t we hear two different sounds? These two guitars are followed by the flute that charts its own course with radiance. The energetic guitar now takes us into the deeper layers with the flute peeping in yet again towards the end for a very short spell. Note the total absence of the percussion from the time the guitar takes over in the second part.

The CharaNams are full of voluptuously felicitous expressions. One sees the sparkle of the raga as well as the beauty of eroticism in all the lines. But what is of particular interest to the musically inclined and people who follow his compositions closely is his use of bass guitar here. Generally, he uses bass guitar subtly and the bass lines have a melody of their own in variance with the scale and the basic melody of the song. At times, the bass guitar is made to sound more dynamic too and also used as rhythm or in lieu of rhythm. But in ‘En Degam’, it echoes the notes of the vocals especially in the last two lines of the CharaNams. This pattern is unique and adds not only to the musicality but also to the feeling per se.

The Bass guitar literally empathises with the heroine here as the voice reaches a crescendo.

The horn enters again in the second interlude -though briefly-with a melodic charm. The calm demeanor of the flute makes us tranquil while the interjection of the guitar makes us energetic. Janaki’s voice that follows does the rest.

Delicate and Serene.

Is anybody flinching?