ILaiyaraaja – The Seraphic Musician

What is Meditation?

Is it closing our eyes and chanting something repeatedly?

Is it focussing on an object with our eyes open?

Is it staring at the light?

Is it just focussing on our breath?

Well, it is all these and something much more. The fact of the matter is – Meditation or the state of Meditation can only be experienced and can hardly be explained, however great the person’s vocabulary is.

Suffice to say that people experience inner calm and tranquility and at the same time feeling energetic. Potential Energy and Kinetic Energy, in action at the same time.

There is something beyond Meditation and this is called the Samadhi state. Not many can experience this state and not many have experienced this state. Transcending the duality of the matter and the mind, the body and the mind, the existence and non-existence, it is an experience of oneness and the ultimate bliss. Some rishis in the past and some saints in the present ( more recent, though this is subjective!) have experienced this state. As far as I know, RamaNa Maharishi experienced it, going by the writings about him and the kind of experience I get when I visit his Ashram.

There was one more person, who I feel must have definitely experienced this. And that is, AruNagirinathar.

How do I know?

Not an easy question to answer and just like how one cannot define a Meditative state, this too cannot be explained. But having read many of his verses under different works, it is just my feeling and at times, I go by what I feel because of my percipience.

Let me quote just one of his verses- though there are many- to tell you all why I feel what I feel:

 

ஆனா அமுதே! அயில் வேல் அரசே!

ஞானாகரனே! நவிலத் தகுமோ

யானாகிய என்னை விழுங்கி வெறும்

தானாய் நிலை நின்றது தற்பரமே?

Raja4376 · Aana amude

In short, he says – Oh the one who is holding the Vel! The one who is the nectar!! Explain that state where I forget the ‘I’ and be one with You.

This is verse no.28 in that work called ‘Kandar Anuboodhi’.

Does he stop with this?

See this now:

குறியைக் குறியாது குறித்து அறியும்

நெறியைத் தனி வேலை நிகழ்த்திடலும்

செறிவற்று உலகோடு உரை சிந்தையும் அற்று

அறிவற்று அறியாமையும் அற்றதுவே!

Raja4376 · KuRiyai KuRiyadu

I forgot my relations, my mind, my speech, my knowledge and my ignorance the moment He taught me the right way to meditate and this is pure bliss.

This is verse no.42.

If you are insightful, you will make the connection between the two. If I were to describe it, I would just stop with saying ‘Esoteric’.

AruNagiri experienced that bliss, that eternal light.

We mortals too, can experience something close to it, depending on how wise we are. Take the song ‘AruNa KiraNa Deepam’ from ‘Guru’ (1997). Whenever I listen to it, I experience something different; something unique; something divine; something esoteric.

The composition based on KeeravaNi (or Harmonic minor) and is set in Mishram. These details are not as important as the way these are applied. For a change, let me take up each aspect and then go on to the main subject.

Laya:

I said it is set in Mishram ( 7 beat- cycle). But the prelude goes plainly in 4, with the brass flute and the horns even playing 1 2 3 4 after a while. The percussion which appear much later (0.58) play in 4. It is only when the chorus starts (1.23) that it shifts to Mishram.

The percussion sounds 1, 4 and 6 (ta, ta, dhi) in the 7-beat cycle. After two cycles, the strings join in and play 1 2 3 4 5 6/1 2 3 4/ 1 2 3 4( ta ka dhi mi ta ka/ta ka dhi mi/ta ka dhi mi).

The Pallavi in the voice of Yesudas too follows the same pattern – Aruna ( 1 2 3 ) KiraNa ( 1 2 3 ) Deepam ( 1 2 3 4) Paaba ( 1 2 3 4). Let it be understood that Mishram in ‘mel kaalam’(faster mode) is 7x2.

The first interlude follows the same pattern, though the percussion takes a break. The group of violins that appears in between sounds ta ki ta/ta ki ta/ta ka dhi mi/ta ka dhi mi, so obviously that one forgets if these are melodious instruments or percussive instruments ( melodious percussive, probably). The most beautiful part occurs towards the end of the interlude when an instrument plays a sustained melody subtly for 2 cycles.

Meditative?

The percussion appears only in the second part of the first interlude. It takes a break again for a while when the chorus renders the wordings and appears again albeit subtly and gradually after that.

It is the bells that sound the taaLam in the first segment of the second interlude.

KeeravaNi/Harmonic minor :

The western contours are felt almost throughout with a host of instruments, but the Indian counterpart (though this may not be an ideal term) is felt in the Pallavi, in the middle part of the first interlude. The ‘akaaram’ of Yesudas in the CharaNams, speaks for itself. But the O. Henry Raaja does it again. The beginning of the first interlude goes to Saaranga TarangiNi, a raga which has no connection or relation with KeeravaNi. This continues for about 20 seconds until the horns take it back to Harmonic minor(KeeravaNi).

It happens again in the second interlude but this time, it changes to the Major scale (4.15) and continues in this scale with the brass flute and horns in full flow. The chorus too hums in the same scale and just before it completes the humming (4.41), it goes back to the minor scale.

Orchestration:

There is a kind of an eerie beginning with a single instrument sounding like a clock and a host of instruments sounding suddenly with a bang. But it is that silence (0.29- 0.33) which makes a difference. After all, isn’t silence musical and meditative?

The strings sound soft and soothing while the brass flute moves with a flourish. The oboe which takes over is bewitching and when juxtaposed with the flute, the experience is exhilarating. The strings then move with a purpose after the chorus and this could be because of the backing of the rhythm in Mishram.

The brass flute after the first few phrases are rendered by Yesudas, is alluring and at the same time graceful. When Chitra renders the lines, the subtle strings and double bass, back her voice while the horns sound with assiduity when the chorus sings ‘Brahmma Naadam..’, which itself is like a crescendo.

The tantalising melody of the oboe is complemented by the supple strings. The oboe and flute vivify the atmosphere before the leitmotif appears.

The lines in the CharaNams are backed by the very subtle strings, in line with the mood.

If the bells sound with a sense of uncanniness, the flute moves with finesse sketching something in the process. Like a karma yogi, the two sets of strings move in a linear way with the oboe just nodding its head. It is that flute which plays along with the chorus, bending, meandering, and straddling the octaves, which leads us to something.

Is it a diffused glow?

Is it the eternal light?

Is it that state of Samadhi?

AruNagiri and AruNa Kirana Deepam will probably give an answer.

 

ILaiyaraaja – The Blissful Musician

“Oh! What shall I do!!”

Does this sound like a plaintive cry of a helpless creature?

Or does it sound like a statement of a confused man who is all at sea?

Or is it just an ordinary statement of a person caught in the throes of Life?

It will surprise many if I say that it is a line from a poem and that the poet utters it out of ecstasy.

Ecstasy sounding like helplessness and despondency?

Let us look at the entire verse and then see if we can find the answer.

‘Oh my Lord! My Pure leader! One who rules me!!

One who can take any form at will! One who is the handsome Bull!

One who is laying down with the lotus like eyes closed in that magnificent place called Thirukkudanthai, which itself is like the red lotus on the water!

Oh, what shall I do!!’

 

எம்மானே! என் வெள்ளை மூர்த்தி! என்னை ஆள்வானே,

எம்மா உருவும் வேண்டும் ஆற்றல் ஆவாய் எழில் ஏறே,

செம்மா கமலம் செழு  நீர் மிசைக் கண் மலரும் திருக்குடந்தை

அம்மா மலர்க் கண் வளர்கின்றானே! என் நான் செய்கேனே!

Is it clear now- at least to a certain extent- as to why the poet Nammaazhwar sounds so ecstatic?

I will not do full justice if I fail to explain certain things hidden in this verse, like the pollens hidden inside a flower.

In the first line, the Lord is addressed as ‘White leader’(it is ‘veLLai’ which is symbolic of purity and for a moment, let us keep the racist view and interpretation, aside!), while in the very next line he calls him ‘Handsome Bull’. Needless to say, Bull represents black. So, contrasts?

But the phrases just before the ‘black bull’ appears, also needs a close look. ‘Capable of taking any form’. What does this suggest? To me, it suggests Life itself. We encounter many things in Life and if we realise that everything-good, bad, ugly- is part of life, then Life becomes magical. Life and Divine are inseparable. The reference to Lotus here also suggests the ‘drops on a lotus leaf’.

These are just some of the esoteric meanings.

But I would like to go back to the original statement and ask a couple of questions.

Can ecstasy be a sign of helplessness?

If we become very happy and reach that state, is that a delusion?

Most importantly, why do we cry when we reach that state- is it because we find it hard to believe or is it because of something else?

We shall probably find answers towards the end.

Ecstasy is of course a divine feeling. But does it mean that only devout people feel it like how Nammaazhwar did? That one reaches that state irrespective of his/her scholarship or status, is a fact known to some. It could happen during any instance. But it is an irrefutable fact that one reaches that state while listening to music. I must hasten to add that the quality of music plays a huge role though ‘quality’ is a subjective term.

Subjectivity or objectivity is immaterial at times. ‘Aanandam Pongida’ from ‘Sirai Paravai’(1987) is a classic example of this.

Is it the raga which makes the composition great? Let us first look at the raga. Kharaharapriya is one of the most ancient ragas. Dating back to the Sangam era, during which it was called ‘Kodi paalai’. In fact, it happens to be one of the basic melodies as per Tamizh music. This raga , or rather the set of notes, exists as Kaafi in Hindustani music. It is also existing in Western classical music as a minor scale and is called Dorian in the original classical system in Greece. But what makes the raga great is not just its history or its universality. Rendered with some specials gamakams(oscillations), the raga shines like the moon radiating energy which can be called spiritual depending on how one sees it or even feels it.

As I keep saying ad nauseam, it is not the raga alone which makes a song beautiful and it is the way the composer uses it, fully understanding the spirit of the raga.

With the graceful swaras emanating from that classic instrument called the veena, and with the percussion and the subtle ankle bells sounding ta ki ta constantly, ‘Aanandam Pongida’ has a happy beginning. The strings in higher- octave infuse vigour and sail like a boat while the flute moves with flourish with the melody floating in the air which is redolent with spiritual fragrance. The guitar gives the signature notes of the raga in a flash.

The Pallavi (Yesudas and Sunanda) canters on and drenches us with happiness with the sympathetic strings appearing between the lines in the beginning. What makes it even more joyful is the ‘laali laali’ by the chorus which after singing in the mid-octave, switches over to the higher-octave.

Low, mid or high- happiness is eternal.

The guitar skitters. The strings scoot. As if enamoured by this spectacle, the veena enters and smiles with its swaras. The strings, meanwhile go on their own trip, somewhat different from the original trip. But it is the electric guitar, a rather unusual instrument for a classical raga, which steals the heart by playing a bewitching melody, even touching the descending notes of the raga with consummate ease. Just towards the end, the strings play in western classical style, proving for the n’th time that music is universal after all.

The lines in the CharaNams are soaked in classicism. The first two lines ooze the beauty of Kharaharapriya. However, the second line does require a special mention because of the glide from the higher notes to the lower notes in a jiffy. It is simply a definition of creative innovation.

The second half picks up momentum with the tisram beats in the next kaalam, taking us probably to the next level of happiness. Happiness anyway is a timeless experience.

As if to provide contrast, the entire second interlude has no percussion, though it follows the tisram pattern. The bells sound from the keys and the veena have a friendly banter to start with. What is unique about this banter is the way both play with relentless assiduity. What follows is tantalisingly beautiful. The strings play an alluring melody backed by another group of strings. The flute follows it up with a bewitching melody. This romance between the two sets of instruments makes us visualise flickers of light. Not to be left behind, the keys play the descending notes first and the signature notes next, lifting the spirits.The strings slow down, move like waves and the keys play the ascending notes in sets of 3- sa ri ga/ri ga ma/ ga ma pa.

And we cry- Oh what shall I do now?

Can ecstasy be a sign of helplessness?

If we become very happy and reach that state, is that a delusion?

Most importantly, why do we cry when we reach that state- is it because we find it hard to believe or is it because of something else?

 Don’t we see the divine smile of Nammaazhwar in the background?