ILaiyaraaja- The Free-spirited Musician

 

What are conventions?

A set of beliefs? Things which are followed traditionally?

First of all, how do we know if the beliefs are true or false?

Rather than making you confounded with a flurry of questions, let me explain the context.

Traditionally, it is believed that those days women were confined to their homes and were immersed only in activities related to their families, were not educated and therefore did not have independent thinking, leave alone expressing themselves.

Nothing can be far from truth than this if we consider the tamizh sangam age. There were many women poets who not just had a flair for the language, who not just had a natural ability to compose poems, but were also not hesitant to express themselves using simile from nature. Most importantly, topics which even now are considered taboo were touched upon by these poets with consummate ease.

Here is an example.

The lady is awaiting the return of her beloved who had promised to be back by monsoon. She sees a stag(male deer) who keeps looking for his pair-a doe. In short, the pair is separated. Instantly, she fears if her beloved too will witness such a sequence. Then, as if to console herself, she tells her friend that he will not see this. On the other hand, he will see the signs of monsoon- by sighting a pair which is together- think of me and come back to me immediately.

 

சென்ற நாட்ட கொன்றை அம் பசு வீ

நம் போல் பசக்கும் காலை, தம் போல்

சிறு தலைப் பிணையின் தீர்த்த நெறி கோட்டு

இரலை மானையும் காண்பர்கொல் நமரே?

புல்லென் காயாப் பூக்கெழு பெருஞ்சினை

மென் மயில் எருத்தின் தோன்றும்

புன் புல வைப்பிற் கானத்தானே.

 

The kondrai flowers are as pale as the complexion of my body now. The place he has gone to now has the long branches of kaaya trees which are full of dry flowers resembling the delicate neck of a peacock. Will he also spot the stag with twisted antlers(horns) which keeps searching for the small headed-doe(which is his pair)? No, I don’t think so. He will look at the signs of the monsoon and come back to me immediately.

This poem was written by Avvaiyaar, one of the women poets in the sangam era. I am not getting into the myths surrounding this name as it is beyond the scope of the discussion now.

What makes this poem unique is that the state of the mind of a woman is described by a woman and not by a man, which usually is the case(even now). Secondly, the kind of symbolism in the poem, makes it even more special.

Kondrai flowers- the pallor because of separation.

Dried Kaaaya flowers- his state of mind again because of separation.

Deer and Doe- He and She.

Peacock- Monsoon.

More than anything else, one feels the emotions even as one reads the lines. It also shatters the assumptions about the state of women and also goes to show how iconoclastic women were during that era in the Tamizh land.

The lady in the song of the day is as independent and as unconventional as the heroine in that verse and the poet who wrote the verse.

While listening to ‘Maanada kodi’ from ‘Mudal Vasantam’(1986), what strikes us the most is the feeling of unbounded joy in the voice(Janaki). This is because of the way the entire composition has been conceived, structured and executed.

For starters, the composition is based on a raga called Suddha Saveri. This very fact itself is interesting and intriguing at the same time. Suddha Saveri is a pure classical raga not generally used in film music. I must hasten to add that ILaiyaraaja has used it more prolifically than anybody else, though a couple of composers have made an attempt to use this raga. Branding any particular raga as ‘classical’ does by no stretch of imagination means that other ragas are not classical. But the fact is some ragas are more classical and the reasons are many though I would refrain from touching upon these now considering the fact that this discussion revolves around other factors and that the relevance will get lost if I start drowning myself into serious technical aspects.

The composition starts with the akaaram which is backed by the very subtle sound of the bells. This piece itself is enough to impact our full sensorium. It in fact even goes beyond that and gives an illusion of floating in the air. As if to give a contrasting feeling, the keys enter with a bang, ably buttressed by the bass guitar and the percussion-which is resounding along with the ankle bells, sounding just the first syllable ‘ta’ of tisram. The flute takes over and playing with finesse, expands the melody with the strings sounding ‘ta ka dhi mi ta ka’ in pure Suddha Saveri. The keys bend gracefully and as if charmed by this sound, the birds chirp.

What makes the Pallavi stand out is the podi sangati in the third line(thottaththu pookkaL). It is bewitchingly beautiful. What is exquisite about the entire Pallavi is the melody from the keys between the lines. This melody can also be called the leitmotif, as it keeps occurring now and then.

The strings in the beginning of the first interlude seem as if they are climbing up a hill, albeit effortlessly. The santoor interjects briefly before that magical instrument called flute enters. An instrument which is already magical assumes greatness and reaches gargantuan proportions in the hands of a true magician. And this is what happens here. Straddling between pure classicism and folk, the flute moves tantalisingly close to our heart showing us the visions of nature in its pristine form. This indeed is a surreal experience, accentuated by the strings which play in the higher-octave and the call and response between the flute and the santoor towards the end.

Balance between subtlety and grandeur. This is how one can describe the lines in the CharaNams which move softly and with flourish, bespattering droplets of honey and revealing the beauty of the raga called Suddha Saveri, with the initial akaaram - 4 cycles of tisram- and the ending humming- 2 cycles of tisram- looking like the raisins on an Indian sweet.

The flute does it again in the second interlude. But as one would expect from this composer, this time it is different. First, it plays an alluring melody. The strings respond with sobriety. This happens twice and the third time when it plays, the guitar-which had been silent all along- shows up and what a moment it is!

Known for its beguile and its fluidity, the guitar gives an incredible smile which even makes the flute bow down in appreciation. The keys follow with reverence and the strings move with ardour, symbolising the entire theme. The flute enters again and plays with translucence. The strings follow, but what happens now towards the end, is something which is indescribable. The flute, which until then was playing in higher octave, plays in the lower- octave which almost sounds like a whisper.

A whisper which gives us the meaning of ‘unconventional’.

A whisper which makes us feel nature.

A whisper which shatters all myths..

…about music and about women!

ILaiyaraaja-The Hypnotist!

Many times I have wondered about the science (or is it an art?) of hypnotism. My exposure to hypnotism is mainly confined to what one sees in Indian movies where the patient is made to lie down on a couch and the balding doctor asking him to go to a certain age in his childhood, prodding him with questions like ‘What do you see now’, ‘What do you experience now’ with the patient recounting an incident that unfolds before us in a much dramatized form. I would think, ‘Is this possible at all?’

Once, when I was about 12, I happened to watch a Magic show where the magician made a child ‘sleep’ in the space between the floor and the ceiling defying gravity. I did not understand how this was possible. After reading some books, I gauged that it is nothing but taking control over others’ minds and one acquires this skill with constant practice.

I am not qualified enough to go beyond this on this topic. However, I find hypnotism as a metaphor very interesting. In the following poem from the Tamizh sangam work ‘kuRunthogai’, the man  hypnotised by the looks of his beloved, says, ‘Her thorn like teeth that shine through the nectarine red lips, her silk- like hair with the fragrance of sandalwood, her huge liquid eyes, her mesmerising smile..oh how elegantly she looks!’.

உள்ளிக் காண்பென் போல்வன் முள்ளெயிற்

அமிழ்தம் ஊறும் அஞ் செவ்வாய்க் கமழ் அகில்

ஆர நாறும் அறல்போல் கூந்தல்

பேர் அமர் மழைக் கண் கொடிச்சி

மூரல் முறுவலொடு மதைஇய நோக்கே.

It is obvious from this poem written by ‘EyiRRiyanaar’(எயிற்றியனார்) that the man was hypnotised by the looks of his beloved and just thinking about her was enough for him to go into a trance.

We, the readers too get hypnotised while reading such poems or while listening to great music.

‘Kaadal Mayakkam’(Pudumai peN-1984) is one of the innumerable compositions of ILaiyaraaja which has always held me in a trance. Based on Suddha Saveri, a very classical raga which has five swaras- sa ri2 ma1 pa dha2 Sa- in the ascent and in the descent, the composition has a unique magnetic charm.

Before we get on with the composition, a word or two about the raga.Suddha Saveri is very close to other popular ragas like Mohanam and Madhyamavati in terms of the struture, but sounds very different. While the other two mentioned ragas can be made to sound light in film music, it is almost next to impossible to make Suddha Saveri sound light. Maybe, this is one of the reasons for composers’ reluctance to use this raga in film music. But as we all know, ILaiyaraaja is quite different and has used this raga in  folksy environment(‘Kovil maNi osai’-Kizhakke pogum rail, ‘Manjum kuLirum-Sandhyakku virinja poovu), in a masala duet(‘Sugam Sugame’), as the song of a young girl(MalargaLil aadum-KalyaNaraman) and in many other varied sequences.

‘Kaadal mayakkam’ starts with the short akaaram of the female voice(Sunanda). As this akaaram is on, the chorus starts reciting in harmony. This part alone is set to khandam beats(5 per cycle) in ‘mel kaalam’.  With fervour, the Bell tolls and the Veena starts playing in Chatushram ably supported by the mridangam.. We see the raga’s appeal and grace in this piece that almost reminds us of a ‘taanam’. The strings take melodious strides with the flute singing like a cuckoo.

Chiselled perfection!

The Pallavi rustles with a cherubic charm with the rollicking Mridangam and the subtle guitar throbbing with melody and love. The sangatis in ‘Degam’,’Megam’, the harmony with the chorus joining, the sudden jump to the upper ‘Ri’ from ‘dha’,the short sangati (RiSadhaSa) after ‘silirkinRathe’ and the shrill flute at the end of ‘kaadal’ and ‘kaNgal’, carry the stamp of the genius.

The first interlude starts with the mellifluous strings moving somewhat leisurely. Even as this is on, a new set of violins playing totally different sets of swaras join. The suave flute repeats this with a smile on its face. With palpable vigour, the violins play in higher octave. The chorus appear again singing ‘nom tom tanam ta’. It is then a riot of colours with the flute playing classical Suddha Saveri which is superimposed on the chorus which has the guitar backing. Towards the end, the guitar playfully plays an alien note or two and the awestruck flute sings like a cuckoo, all in a matter of seconds.

The CharNams have passionate passages.

We also see the brilliance of the composer in structure of the CharaNams:

1.The sangati after the first line has the avarohaNam followed by the arohaNam.

2.The fourth line goes upto the upper ‘Ma’.

3.The last line going in a group of 3 swaras, with the first 3 groups going in descent-Ri Sa pa, Sa dha ma, dha pa ma- and ending with ‘ri sa ri’.

Classically marvellous!

The second interlude shows yet another dimension and also takes a lesson or two on how to use guitar in carnatic ragas.The first guitar piece is soothing and almost sounds like a Veena. The percussion is minimum here with the drums appearing only now and then during the gaps. The following guitar piece moves with a sense of reverie ably supported by a sharp percussion that plays ‘ta ka dhi mi’’ta ka dhi mi’.. The male voice and the chorus repeat the guitar bit. The flute takes over and moves with energetic briskness. The Masterstroke appears in the end with the higher octave violins bringing in the alien vivadi note showing shades of Raag Jog!

இது ஒரு இசை மயக்கம்!

 

ILaiyaraaja-The Musical Ecologist!

The place I live is surrounded by trees.

No.. I don’t live in a forest nor do I live in a village. I am a resident of Chennai, a Metropolitan City.

Then, isn’t it surprising that trees do exist in residential colonies in a metro city?

I must indeed thank my stars for this because somehow the building where I live, has managed to escape the onslaught of some of the insensitive residents who care more for their cars and parking space and little for the environment.

Thanks to these trees, there is often music all around.

Early morning, we are greeted by the birds whose songs in the Major scale drive away the laziness.

Come dusk and we hear the chatter of the birds, that include the crows. But even the chatter is musical.

During the night, the call of the birds is somewhat intermittent. It becomes musically eerie around midnight. Just three hours after this, is the beginning of the Brahmma Muhurtam and the little birds sing the Vedas.

I hardly get to see these birds. In fact, I am not Salim Ali and have never succeeded in identifying the birds-except a few. But the fact remains that their music inspires me so much everyday.

I am not a poet nor am I a musician. But I have often wondered at the sheer brilliance of some of the poets and musicians who with their enchanting compositions make us ‘feel’ the nature. We get transported to that world experiencing the beauty ourselves.

And how great that experience would be, if only we read the poems/listen to the music in the kind of environs similar to the one described by me?

I am sure such poets/musicians were (are) great lovers of nature. That is why, they are able to make us feel, enjoy and appreciate the beauty. They also have an uncanny knack of using Nature as an allegory of human emotions.

Almost all Sangam Tamizh poets had this ability.

See this poem from ‘AinkuRu nooRu’, a collection of 500 poems written by 5 different poets-100 by each poet. This one was written by ‘Peyanaar’ and it is about a warrior who thinks of his home (and obviously about his beloved) as the war gets over:


He sings in his mind,

‘Time to return home
This is winter and the red jasmine buds that look like the kingfisher bird
Are opened by the honey-bees that have fluttering wings
I shall see my poetic beauty whose forehead is as sharp as the sword’.

பிணிவீடு பெறுக மன்னவன் தொழிலே
பனிவளர் தளவின் சிரல்வாய்ச் செம்முகை
யாடு சிறைவண்டு அவிழ்ப்பப்
பாடல் சான்ற காண்கம்வாள் நுதலே.

Look how the poet has used similes to depict the emotions.

Fluttering honey-bee- Restlessness of the warrior
Red jasmine buds- His lover’s forehead
Kingfisher- Warrior
Winter- His somber mind (due to separation)
Honey-bees opening the buds-Union

Poetic ecology!

Now, let us turn our attention on the Musical ecologist, who with his sheer love for Nature, has been giving us some immortal compositions that make us appreciate Nature’s beauty more.

The song of the day is one such composition.

‘Manjum KuLirum’ from the Malayalam movie ‘Sandhyakku Virinja Poovu’ (1983) is based on Suddha Saveri, a pentatonic raga with classical overtones.

The structure of the raga is: sa ri2 ma1 pa dha2 Sa/Sa dha2 pa ma1 ri2 sa.

On paper, the raga is very similar to Mohanam and Madhyamavati. Substituting ‘ga’ for ‘ma’, we get the former while the latter is obtained by substituting ‘dha’ by ni2.

However, Suddha Saveri has a unique flavour and has a classical beauty of its own.

‘Manjum kuLirum..’ starts with the musical depiction of the blossoming buds. With a striking clarity of intonation, Janaki hums in the higher octave. We hear the cuckoo’s call as the flute responds to the aalaap. The akaaram continues with an intrinsic charm and ends with the makaaram .The raga is sketched in a matter of seconds. The santoor smiles in appreciation while the flute takes a trip with felicitous fluidity. The guitar repeats the ‘makaara’ swaras and the strings lead us to the Pallavi.

The Pallavi in the voice of Krishnachandran and Janaki has nuggets of grace embedded in it with the Flute following the first two lines. The pause for 4 Tisram cycles-embellished by the melodic instrument that plays only the second syllable ‘ki’ in ‘ta ki ta’is exquisitely tender.

The first interlude is etched with melody.

The strings scoot in western classical style and the single synth violin responds in style. Unobtrusively, this enticing pattern is repeated four times.

The string of the violin is now plucked with the fingers-without bowing- exactly at ‘Ta’ in ‘Ta ki ta’. After 4 cycles, all the three syllables-ta ki ta- are played. Even as this colourful sequence is on, the flute takes a spirited gait giving the burnished form of the raga. The piece is musically nuanced and rhythmically engaging.

The short and sweet strings at the end of the interlude blow like a gentle breeze.

The first line of the CharaNam gives the essence of the raga.

The following lines show the contrast, beautifully mixing the alien swaras with the flute echoing with passion. It also gives a ‘Pahaadi touch’ to Suddha Saveri.

The last line is placid with both the voices joining together towards the end.

The second interlude sees a profusion of very interesting patterns.

There is counterpoint with two sets of strings- one dazzling and the other musingly melodic-playing different sets of notes.

Suddenly, we see vignettes of a coastal Kerala village. It is a spell of elegant melodic passages as the voice echoes.

The profusely fascinating flute glows aesthetically.

Natural beauty at its best!

His music is as charming and cool as the early morning mist..