ILaiyaraaja-The Wonder!

Out of the 12 Vaishnavite saints-called as Aazhwars- Nammaazhwar is considered to be very special.

The 12 Aazhwars composed verses in Tamizh totaling 4000 in number and this compiled work is called as the ‘Naalaayira Divya Prabhandam’. This treatise is considered to be very sacred..

But is not the Bhakti element alone that attracts Literature lovers to this work. The Language and the Description make this a poetic work making even Non believers read and appreciate.

Let us go back to Nammaazhwar now.

Out of the 4000 verses, he composed 1296 verses-about 32%.
He composed these under four different headings-Thiruviruthham,Thiruvaasiriyam,Periya Thiruvanthaathi, Thiruvaaimozhi- and these are considered to give the essence of Rig, Yajur, Sama and Atharva Vedas respectively.


In one of his verses, he says, ‘He is present here if we believe He exists.He is present here without any form if we believe He does not exist.’ Being’ and ‘Not Being’ are his characteristics.’

உளன் எனில் உளன்,அவன் உருவம் இவ் உருவுகள்;
உளன் அலன் எனில்,அவன் அருவம் இவ் அருவுகள்;
உளன் என,இலன் என,இவை குணம் உடைமையில்,
உளன் இரு தகைமையொடு ஒழிவு இவன் பரந்தே.


It does sound philosophical but what is life without philosophy?
And reading this gives one pleasure whether one concurs with this or not.

It is even said that after Nammaazhwaar was born, he was like a still- born baby for 16 years after which he started composing the verses.

He was a Wonder!

If Nammaazhwar composed the maximum number of verses, Madurakavi Aazhwaar composed the minimum no.of verses-just 11.

And these 11 were not on the Almighty but on the person he considered as his Guru, Guiding force, and leading light.

Yes, he considered Nammaazhwar as his Guru and propagated the verses of Nammaazhwaar.

In one of his verses, Madurakavi Azhwaar says ‘Talking about my Guru gives me immense pleasure. I shall roam around singing his verses. I do not know anything else.’

நாவினால் நவிற்று இன்பம் எய்தினேன்.
மேவினேன் அவன் பொன்னடி மெய்ம்மையே!
தேவு மற்று அறியேன் குருகூர் நம்பி,
பாவின் இன்னிசை பாடித் திரிவேனே.

On this auspicious day, it gives me immense pleasure to talk about a person whom I consider as my Guru.

He is divine like Nammaazhwar and is a wonder.

Luckily, for this Nammaazhwaar, there are lots of Madurakavi Aazhwaars..


He made me realise what music is..

He made me understand Music.He made me appreciate Music.

He taught me the nuances through his compositions.

He made me develop interest in many good things in life.

One of my objectives in life is to propagate his compositions (many unknown) and try and analyse the finer elements in his music. My real journey began more than one year back when I started sharing my observations with like- minded people.

Today, I am taking up a composition that is very special to me. Not just to me but to many of my friends who have listened to this song.

I consider this composition as one of his masterpieces.

It is ‘Engengo Sellum’ from ‘Pattakkathi Bhairavan’(1979).

This composition is based on Sudhha Dhanyasi.

The structure is:
Sa ga2 ma1 pa ni2 Sa/Sa ni2 pa ma ga2 sa.

Since the interludes are in Western Classical style, the Ragam tends to deviate but this makes it more beautiful!

Let us now look at this marvel.

The Composition starts with the Guitar giving feather like touches. The Violin Orchestra now gives the melodic stimulation. The Music that follows fondles us!

The Pallavi is full of deft phrasings and is ingeniously structured.
What does one say about the voices of SPB and Janaki. Sweetness personified.

The first Interlude pulses with energy. The Violins play with vivacity and suddenly we see the magic. The Double Bass makes its entry as the Violins change track and continue to play. It is the beautiful blending of delicate and sonorous sounds.

We are wonder- struck by the potency, intensity and the glow!

But this is only the beginning.

The Charanam is ornate with subtleties.

It starts with a long sojourn in ‘Aaaa..’ followed by ‘Naan KaaNbathu Un Kolame..’.As we begin to lose ourselves, it is magic again.
’Angum.. Ingum… Engum… ‘ reverberate.

The echo-like effect is produced by using three different pairs of Swaras continuosly- gapa.. nipa… Sapa..

As if this is not enough, we see the same effect in the last line ‘Nee..Nee..Nee’ .

Raaja-The Magician!

Raaja-The Wonder!

The second interlude has relishable twists and turns.

We see the beauteous landscape with the sun painting the sky at dawn.

The Sun now slowly spreads its golden rays.

We see the small raindrops falling from the heavens.

We see the iridescent Rainbow hues.

As the Guitar is played, we see the delectable converging of a cadence of colours.

The Stones in the Mountains turn into beautiful Flowers.

It is thrilling.

It is spectacular.

This composition has purposeful innovative phrasings laced with clarity.

It is exotically redolent and aesthetically linked.

It is a veritable feast.

எங்கெங்கோ செல்லும் நம் எண்ணங்கள் இங்கே நாம் கண்டோம் அவர் வண்ணங்கள்.
நம் வாழ்க்கை வானில் நிலாவே..
அவர் அன்றும் இன்றும் என்றும் ராஜாவே!

Our thoughts go here and there..
We get to see his colours now..
He is the Moon in our Life.
King-then, now and forever!

Get this widget | Track details | eSnips Social DNA

ILaiyaraaja-Musician Extraordinaire!

Tamizh language is extraordinary.

Yes.. It is more than 3000 years old and it is a language still in use unlike other classical languages.
But it is extraordinary not just because of this fact.

The literature of Tamizh is very rich and incomparable with any of the major languages.
Starting from the Sangam literature-that itself has 18 works- it has the five major epics, five minor epics, ThirukkuraL, Pazhamozhi,Aaththichoodi, Kamba RamayaNam..just to name a few.

Apart from these, there is an endless list of works in Bhakti literature that include Thevaaram, Thiru Arutpa, Naalaayira Divya Prabandham,Thiruppugazh etc.,.And of course, one of the greatest poets in the world Subramaniya Bharati’s works..

What amazes one is not just the list but also the range of subjects and emotions covered by the literature.

There is valour, love, preaching, devotion, affection, life style, nature..
All these told with a unique sense of aesthetics!

Look at the following verse from KuRunthogai, that is part of the Sangam literature composed more than 2500 years back.

The Heroine waits and waits months together for her beloved to arrive.
Finally, he arrives.

Her friend addresses the Hero:

“Melt all the butter from all the cows of all the cowherds in the woods of Nalli who has strong Chariots,
Mix it with the steaming rice from the dense white paddy of Tonti fields.
Heap them in seven bowls and offer it all to that crow that cawed those good omens
Bringing guests and an end to the grief that has been wasting the girl’s arms
Even so, the offering would still be too little.”


திண்தேர் நள்ளி கானத்து அண்டர்
பல்லா பயந்த நெய்யில் தொண்டி
முழுதுடன் விளைந்த வெண்ணெல் வெஞ்சோறு
எழு கலத்து ஏந்தினும் சிறிதென் தோழி
பெருந்தோள் நெகிழ்த்த செல்லற்கு
விருந்துவரக் கரைந்த காக்கையது பலியே.

The cawing of the crow is believed to announce/indicate the arrival of a guest or somebody very close to us.

The friend says that even if the Heroine offers many bowels of rice to the crow that cawed the previous day, it may not be equal to the happiness she has now or the suffering she underwent waiting for you.

In the process, the poet also describes the beauty of the land of their leader ‘NaLLi’ who ruled the ‘ThoNdi’forest.

This verse was composed by a lady ‘Nachchellair’ who earned the sobriquet of ‘Kakkai Paadiniyaar’ meaning the one who sang about the crow.

Poetic imagination and beauty at their best!

Like Tamizh literature, the composer so revered and loved by many is also extraordinary.

Not just because he has composed music for more than 875 albums.
But because of the range of subjects and emotions his music encompasses.
And because of the felicitous use of the best things in International music and the way these have been applied to suit the situations in the movies.
And because of the aesthetic quality of the compositions..

As we have been seeing in this thread, he has used (and been using) Indian classical ragas in the process bringing out the beauty and the essence of the ragas, a task not that easy in the environment he is living in.

He has an uncanny understanding of poise of the Ragas and his conscious assimilation of different forms of Music makes him and his compositions unique!

Today, we are going to see his usage of two allied ragas in one composition.

The two ragas are Arabhi and Saamaa.

The Arohana of the two Ragas are the same as that of Sudhha Saveri.While the Avarohana of Aarabhi is complete with all the seven Swaras, Saamaa drops ‘Ni’ in the Avarohana and has only six Swaras.

Arabhi’s structure is sa ri2 ma1 pa dha2 Sa/Sa ni3 dha2 pa ma1 ga3 ri2 sa while Saama’s structure is sa ri2 ma1 pa dha2 Sa/Sa dha2 pa ma1 ga3 ri2 sa.

But the major difference lies in the way the two Ragas are rendered.

The Phrases-‘pa pa ma ga ri’ and ‘sa dha’ ‘ri sa’ ‘ma ga ri sa.’- give us Arabhi while ‘sa ri sa ri ma ga ri ‘ ‘sa dha pa ma ma pa ma ga sa ri’ ‘dha ri ri sa’, dha sa ri ma ga ri ga ri sa ri ‘ give us Saama.

The speciality of Saamaa is the very soft rendering of ‘Ma’. This Raga gives us mental peace.It is not without reason that Saint Thaygaraja sang ‘Saanthamu Lekha Sowkhyamu Ledhu’(there is no happiness without Mental Peace) in Saama.

Sadaasiva Brahmendra sang ‘Manasa Sancharare Brahmani Maanasa Sancharare’in Saama-meaning ‘Oh..mind!Undertake your pilgrimage in the Brahmam!’

A Raga for tranquility and peace!

Let us see the composition of the Maestro.
It is ‘Mannavane Mannavane’ from ‘Thanthu Vitten Ennai’(1992).

We get to see the Aesthetic Simplicity with Flashes of Brilliance as the composition starts with the percussion.

The opening is very different with the percussion sounding ‘ta ki ta ta ki ta ta ka’followed by the strings, violins and the Flute in lower Octave.

The rhythmic pattern not only makes us sway but also takes us to the Palace of the King.

A Musical Palace!

The Pallavi gives Arabhi in a burnished form in the voice of SPB and Janaki.
The line ‘Kannithamizh thene’ pours like Honey into our ears.

In the interlude, he is able to produce amazing sounds not just because of his Music Knowledge but also because of his predilection to do things differently and beautifully!

The violins cruise over a gradual incline as the electronic instruments follow suit. The Guitar plays with a flamed intensity. The violins take over again with sprightly elegance. Towards the end, we see the resplendent flashes of the bass.

But what is gripping and to a great extent the cornerstone of the composition is the Charanam. We hear phrases of Saama brilliantly juxtaposed giving a Poignant Feeling.

The lines ‘Eduththu naan padiththa ettu kaNakku’ and ‘Indru vanthu sernthathamma’are in Aarabhi entwined with subtle shades of Saamaa. The following two lines are in Aarabhi.

Saamaa is in full flow as the line ‘Nallathoru paadam solla kaadhal vaguppu..’

Scintillating stuff!!

In the second interlude, Janaki hums with elegant fluency to the joyful accompaniment of the strings, the violins and the flute.The richness, the verve and the vibrancy are astonishing.

In the gorgeous multi dimensional musical canvas, we get to see the niceties and the nuances.

It transcends the grammar and bridges the gap between the traditional and modern.

It gives us perpetual joy and eternal bliss.

இந்த மன்னவனின் இசை கன்னித் தமிழைப் போல் என்றுமே தேன் தான்!

The music of this King is as sweet as the language of Tamizh!

Get this widget | Track details | eSnips Social DNA

ILaiyaraaja-The Colossus!

Why, man, he doth bestride the narrow world
Like a Colossus, and we petty men
Walk under his huge legs..”

says Cassius to Brutus about Julius Caesar in William Shakespeare’s immortal classic.

Colossus?

It is not an ordinary word.
It denotes a person or a thing that is extremely important or large in size.

Why did Shakespeare choose to use this word?

Julius Caesar transformed the Roman Republic to Roman Empire.He seized Rome when he was just 19.He conquered Gaul and extended the Roman world beyond the North Sea.He then became the Master of the Roman Empire.

Historians place the generalship of Caesar as one of the greatest military strategists and tacticians who ever lived.
He was also an excellent communicator and a great Orator.

Colossus..yes the apt word used by the World’s preeminent Dramatist.
Shakespeare dominates the English-speaking literary world. Indeed, Shakespeare is the gold standard. It is a fact that English language owes a lot to Shakespeare.

I would say Shakespeare himself was a Colossus..

Tamizh language has also seen some of the world’s greatest poets.
Kamban is one of them.

The regular followers of this thread know why he is great since I have quoted his verses time and again here.

Rama goes around the town of Mythila before his betrothal.

The ladies of the town rush to see him and fall for him instantly.
Kamban says, ‘Tired of shooting the Arrows bedecked with flowers continuously, Manmadan- now takes his Sword out’.


வைய்யம் பற்றிய மங்கையர் எண்ணிலார்;
அய்யன் பொற்புக்கு அளவிலை;ஆதலால்
எய்யும் பொற்சிலை மாரனும் என்செய்வான்?
கையம்பு அற்று உடை வாளினும் கைவத்தான்!

What is so special about this verse?

Manmada is considered to be the god of Love as per Hindu mythology. It is believed that his ‘flowery arrows’ cause people to fall in Love (or even the other way around!).

Now, the ladies of Mythila look at Rama and the beauty is too much for them to bear. It is too much to bear for Manmada as well since he is too busy aiming the arrows and beyond a point pulls out his sword!

Kamban-the Colossus describing Rama-the Colossus!!

Shakespeare and Kamban-two of the greatest poets.

We all should consider ourselves to be lucky for living in the era of a musical genius.

Film music took a new Avatar with his entry.

His usage of Ragas, Scales and Talas showed us all a new dimension in music.

Not only is he spontaneous, but also that he is innovative.

He is an artiste, and a scientist.

Music is in his heart and in his head.

He is a Colossus!

Today, we are going to see an old composition of his in a very classical and special raga.

First the Raga.

It is Keeravani,the 21st melakarta.

It is special not just because it is a very classical ragam. In Western Music, it is called as Harmonic Minor Scale.

This Raga is very deep and has a unique melodic quotient.

The structure is sa ri2 ga2 ma1 pa dha1 ni3 Sa/Sa ni3 dha1 pa ma1 ga2 ri2 sa.

Raaja sir has composed many songs in Keeravani.

This was one of his first Keeravanis.

The song is ‘MalargaLile..Aaraadanai’ from Karumbu Vil(1979).

The beginning of the song is very interesting.

The violins sound like the bee and the strings show the blooming of the flower. We are welcomed with a flowery smile. The chorus greets us with effervescence and the violins follow suit. The flute wafts through the air and we see the nature’s pulchritude.

With gentle breeze kissing the flowers, the bees get ready to drink the honey, the Tabla plays the Chatusram beats.The flowers nod their heads in appreciation.

We see the Raga merging with the nature with the sangatis of the chorus.

The Pallavi starts with the inimitable Janaki’s voice taking us to the garden of Keeravani that is adorned with pure swaras and beautiful sangatis.

The swaras take joyous flights with the veena and the violins and start dancing gracefully with the chorus voice. Keervani draped in silk saree!

The silk saree suddenly changes to a silk gown as we see the western contours of the Raga.The flute is unable to control its joy and plays with glee!Looking at this marvel, the Veena decides to join and starts dancing.

Malaysia Vasudevan sings like a trained classical musician in the Charanam that is beautifully etched.

The first two lines ooze with classicism, the third line has the vigour and vitality and the last line shines with luster.

The second interlude is dotted with very fine phrases.It is a Musical Revue in the beautiful Raga called Keeravani.

It starts with the chorus rendering ‘ta na na na..’with gusto.The Veena plays with high splendour and this is repeated by the chorus as ‘Dhi ra na dheem dheem ta tam ta na na na na na’.

It reaches the high points of the Raga with the silky glides when we get to see the western contours again seamlessly.

Impeccable!

The composition is appended with a wonderful sangati in the end when the lines of the pallavi are repeated.

We feel the unobtrusive energy imbued with authority.

We see the emotive facets of the Raga in this composition.

It is piercing and at the same time gives us ineffable peace.

We see the slew of swift prayogas that shows us the underlying tenor of the raga.

We see the pure Indian Classical form melding with the Western Classical form proving yet again the universality of Music.

ஸ்வரங்களால் இசைக்கு ஆராதனை !

Get this widget | Track details | eSnips Social DNA

ILaiyaraaja's Music is Meditative!

Human mind is unique.

Unique not just because it feels things;
not just because it thinks;
not just because it perceives;
not just because it analyses;
not just because it reasons.

These of course are some of the important characteristics of our mind.

But there is yet another aspect that makes it unique and special. It is the capacity and capability to will.


Is this good or bad? Is it positive or negative?
It depends on how we channelize it. I would prefer ‘channelising’ to ‘control’.

But how does one do this? Is this possible at all?

For a moment, let us stop troubling our minds with such questions and think of any pleasant experience.

It could be a visit to any picturesque place..It could be the smile of a child..It could be a look at a painting..It could be listening to good music.

While experiencing any of these, how did we feel?

Happy?? Yes..of course.

But there would also have been moments when we were focussed only on the subject.
Moments when we were totally absorbed in the beauty.
Moments when we were aware .
Moments when we were alive to the situation.

A defining moment though it would have lasted just a fraction of a second.

And this is what is called as Meditation.

Like many wrongly understood and misinterpreted words in English, Meditation also has been misunderstood.

Many still feel the process involves utmost concentration and therefore is difficult.Some also feel Meditation is forgetting oneself.
These are wrong notions for meditation is a process that makes us more aware. It is an experience and the mind automatically gets channelized without any effort.

Bharati calls this as the light that shines brightly in the mind
‘Ullaththanaiththilum UlloLiyai..’(உள்ளத்தனைத்திலும் உள்ளொளியாய்)

AaandaL calls this as the seed sown in the mind
‘Vellathu Aravil Thuyil Amarntha Viththinai Ullaththil KoNdu (வெள்ளத்து அரவில் துயில் அமர்ந்த வித்தினை உள்ளத்துக்கொண்டு).

There are various techniques and forms of meditation and my intention is not to get into all these.

I feel one of the best methods of meditation is listening to music.
Music and meditation have a lot in common apart from the M factor.
While listening to good music, we tend to get totally involved.

We are aware and alive.

Silence envelopes us.

We are in a state of tranquillity.

We are in a state of Bliss.

Saint Thyagaraja- for whom music was a way of life – experienced this state quite often.That is why we are transported easily to that state when we listen to his compositions rendered by great musicians.

He considered Nadopaasana as a form of meditation.

In one of his Krithis, he calls Lord Krishna as Gaana Moorthy-Form of Music.

The Krithi is ‘Gaana Moorthe Shri Krishna VeNu Gaana Lola..’.

There are a lot of great things about this Krithi like the all the first letters in the Charanam starting with the letter ‘na’ and talking about ‘nara’(Arjuna) and ‘narasimha’(half man half animal,an avatar of Lord Vishnu)

But the most significant one is the first word of the Krithi itself. Generally ,we do not find the name of the raga in a Thyagaraja Krithi(unlike Muthuswami Dikshithar’s who made it a point to include the name of the Raga in most of his compositions).

Yes..the Raga itself is called Gaana Moorthi.

Gaana Moorthi is the third Melakartha and the structure is

Sa ri1 ga1 ma1 pa dha1 ni3 Sa/Sa ni3 dha1 pa ma1 ga1 ri1 sa.

It is a Vivadi Raga with the ‘ga’ being the Vivadi swara.

It is this Vivadi Swara that distinguishes this Raga from Mayamalawagowla.
But look how different the two ragas sound!

Another great musician for whom Music is a way of life has given a wonderful composition in this Raga in one of his albums.

The album is ‘ILaiyaraaja’s Geethanjali’ and the composition is ‘VetrigaLin Mudhal PoruLe’ on Lord Vinayaka.

It has no percussion and is sung as a ‘Virththam’.

The composition has a very divine beginning.
We hear the sound of the temple bell.

Our eyes closes automatically as the bell sounds 16 times.Is it just the bell?

What we hear is the Om.

‘Om’ is a combination of ‘A’ ‘U’ and ‘M’.Unlike what is popularly believed, it has no religious significance.It is the base.It is the Life.It is the salvation.

In other words, it is the music.

Another bell joins beautifully at the 14th strike.

The melody that follows stirs us.

The Veena plays the Thaanam .
The heightened resonance gives a sense of calmness.


Then the magic happens....

We hear the divine voice of the Master himself.

‘You are the beginning. You are the Knowledge.
You are the Truth. Arts attain meaning with your blessings.’

The Veena now flows with lucidity; with depth; with crispness; with fluidity.

The voice now continues,
‘You are the remover of obstacles.Your blessings reach even an ordinary man.
You give us all great things in this world’.

It is a dexterous display of Veena as it shows the wonderful vistas of the Raga.

The Raga now glows luminously with the voice lighting up all directions.
The melting phrases follow with the Veena digging deep and bringing out the nuggets of Gaana Moorthy.

Harmonious Precision!

‘Your name is enough to bring us glory.We pray to you..’

We see the silvery expanse of very fine sand.

We see the cerulean blue waters.

The raga enters us imperceptibly and lingers on with tenderness.

We are steeped in tranquillity.

We feel the stillness.

Silence envelops us.

We are focussed and involved.

We are in a state of meditation!

AnaiththiRkum Muthar PoruL Isai..

Music is the beginning and is the ultimate!

ILaiyaraaja's Music-Traditional and Modern!

‘’Not all tradition is to be valued. Tradition that does not respect the rights of individuals as people, need to be changed…. Tradition is born out of circumstance and the need of the hour or the power of the hour. Situations change, our perspectives change.”
says Mallika Sarabhai, a well known classical dancer(and the daughter of one of the greatest scientists in India Dr.Vikram Sarabhai).

She goes on to say: “Art in India has never been for entertainment. On the contrary, it was for enlightenment, but became extra-curricular with the advent of the Europeans. It is the most core-curricular… Either we teach tradition or its application, but rarely realise that India is about the interconnection. If I teach Bharatanatyam and do not teach how it could be used in different ways in society, we are completely missing the point.”

One may agree or disagree with these points but the fact of the matter is that these words make us think.

One of the recent grammar text in tamizh, ‘Nannool’ written by PavaNanthi AdigaL says,
‘Pazhaiyana Kazhithalum Puthiyana Puguthalum Vazhuvala Kaala Vagaiyinaane’
பழையன கழிதலும் புதியன புகுதலும்
வழுவல கால வகையி னானே

It means, ‘'the old order changes yielding place to new'’.

What is tradition all about?

Is there a link between tradition and modernity?

Can one say that all classical forms are traditional and therefore are not relevant?

Or can we say that Tradition has no place in modern society?

Does being traditional mean believing in everything(including the existence of God) ?

Does being Modern mean being rational?

Is there any connection between spirituality and science?

Here, I am forced to quote Pope Bendict XVI:
‘’There is no opposition between faith’s understanding of creation and the evidence of the empirical sciences’’ ..

I am also forced to look at Indian Mythology.

Most of us are familiar with the concept of Dasavataram of Lord Vishnu.But how many of us know that it strictly follows the Theory of evolution?

The first Avatar was Fish.
As per Science, life in this world started with water and aquatic life.

Next came the amphibians and the second Avatar was tortoise.

Land animals are the next and we have the Boar(pig) as the third Avatar.

Half –animal and half-man and we have the form of Narasimha.

A dwarf and there we have Vaamana.

A angryman or a hunter is next and we have the form of Parasurama as the next Avatar.

A Complete Man and it is Rama.

Playfulness, Cunningness...
Krishna.

An enlightened man and we have Budhdha.

A superman who will save this world and it is Kalki.

Let us for a moment assume that the Dasavatharam (and even God for that matter) is just a figment of imagination.But can we not appreciate the knowledge and wisdom of our ancestors who were able to give us the theory of evolution much before a man called Charles Darwin discovered this?

Now is this not proof enough to show that science and spirituality-modernity and tradition- go hand in hand?

There are a lot of things for us to learn in tradition.At the same time, sticking to or following tradition strictly without any questions will do us no good.

Even in the Upanishads, there is a character called Nasiketas who is said to have questioned even Yama-the Lord of death as per Hindu mythology.
Therefore, Tradition needs to be respected. There has to be a value system.

But one also needs to change with time.As Mallika says, Tradition that does not respect the rights of individuals will have to change.And this is applicable to all forms of arts as well.

For example, the Bharatanatyam that we know today was called as Sadir and was once the preserve of a particular community -and was mainly performed in the courts of kings and Zamindars and in temples- until Shrimati.Rukmani Devi rebelled and brought it to the public domain.

In Carnatic music , concerts had no structure until a gentleman called Ariyakudi Ramanuja Iyengar devised a structure and even now a typical concert more or less follows the pattern set by this legend.

Tamizh film music had pure Carnatic music during early years.Slowly this got diluted and then the genre called ‘light music’ evolved.

It was only after the entry of a gentleman from a remote village in Madurai district that things changed for the better.

Not only were we exposed to the beauty of known and unknown ragas.We were exposed to counterpoints and Harmony.

While we learnt to appreciate Thyagaraja and Dikshithar better, we also learnt to appreciate Mozart and Bach.

We were exposed to ‘Gruha Bedam’ and ‘modulation’.

It was not just classical music that we got to know.We got to know about Rock, Pop as well.

In short it was a blend. A blend of all the great music of the world.

A marriage between Tradition and modernity.

In this Blog, we have been seeing his use of traditional ragas in films.

Today, we are going to see yet another traditional Ragam.
This beautiful Ragam is Lalita.

In my post on Sriragam, we saw as to how Muthuswami Dikshitar sang a krithi in Lalita.
Today, we are going to see the use of Lalita ragam by our Maestro.
The song is ‘Idazhil Kadai Ezhuthum Neram ‘from ‘Unnal Mudiyum Thambi’(1988).

Lalita is derived from the 15th melakarta Mayamalavagowla and its structure is
Sa ri1 ga3 ma1 dha1 ni3 Sa/Sa ni3 dha1 ma1 ga3 ri1 sa.

Let us now look at the composition.

We see the overwhelming beauty of the raga just with the sound of the bells.The violins beckon us as the guitar plays with pulsating vibrancy and the flute hums.
The Guitar continues to give beauteous shades and the violins add colour.

The gentle and majestic voice of SPB and the captivating voice of Chitra show us the contours of the raga with some beautiful sangatis in the pallavi itself.There is a short anupallavi as well adding to the beauty.

What follows as the interlude is sedulous craftsmanship!

We get to see Laya Raja,and Raga Raja as the rhythm and melody merge.The Raga shimmers and the Tala reverberates.The delectable beats appear again and towards the end making it an aural treat. In the 8 beat adi tala cycle ,the first and the third beats are further broken into 2micro beats-that is they are played in double speed.

It is spiritual radiance as the flute takes over.The delectable beats appear again and towards the end making it an aural treat. In the 8 beat adi tala cycle ,the first and the third beats are further broken into 2micro beats-that is they are played in double speed.

The charanam is suffused with melodic phrases.

It is languid in the beginning and rapid in the end.
The first two lines are diaphanous.
The next two lines have rich tones and depth.
The lines that follow glow and reache a towering crescendo making it an esoteric experience.

The second interlude has unusual phrases.
It starts with the Piano showing an entirely different face of the ragam.It is a soft shower of swaras.The flute then coaxes us with a sparkling and colourful melody with the guitar guiding us to the path to the heaven.

It is simple.

It is the luxuriance of sweetness and softness.

It is gentle.

It is powerful.

It has a winsome smile.

It makes us cry.

It is a supple.

It dominates us.

It is tradition and modernity blended together..

(அவரது) இசையில் நம்மை மறந்திருக்கும் வேளை இது!

Time for us to forget ourselves in his music!

Get this widget | Track details | eSnips Social DNA

ILaiyaraaja-The Maverick!

“In art and in science, discoveries are made by breaking the rules.”

“How can we use our creative imagination to visualise the invisible? I am fascinated by the nature of creative thinking; the mind’s ability to transform information from everyday experiences into the most sublime works of art, literature, music and science. Is there anything that links the thought processes of the world’s greatest artists like Picasso and the world’s greatest scientists like Einstein? And if so, what is it? Can it make us more creative?”

These are the words of Arthur Miller(not the playwright),the physicist-writer who has authored books like ‘Empire of the Stars’, ‘Einstein, Picasso: Space, Time and the Beauty that Causes Havoc’ and ‘Insights of Genius: Imagery and Creativity in Science and Art’.

Creativity is a very interesting subject. How is it that some people are more creative than others? How different is the thought process of a creative person from that of others?Do they think differently? Is there a special ‘chip’ inside their brains that makes this possible?

Though there is a lot of advancement in technology, I feel it is still very difficult to find out what happens in a creative person’s brain.

Maybe it is the right brain that is more active.
Maybe they are conditioned by a set of chromosomes.
Maybe it is in their genes.

Sometime back-while discussing about ‘KalaivaaNiye’, I had talked about the third eye concept.

Apart from all these factors, the ability and the audacity to break the rules distinguish these people from others.

But let it not be misconstrued that criminals and politicians who break rules are creative.

We are talking about constructive creativity.

Take AandaL for example.

Born in the 8th Century, she had the audacity to openly declare that Lord Vishnu would be her Groom and she would claim him at any cost , composed 143 verses in chaste tamizh.

She also invented a concept called ‘Paavai nonbu’and sang 30 poems.The fomer called as ‘Naachiyaar Tirumozhi’ is part of the Vaishnavite Treatise –Naalaayira Divya Prabhandam-and the latter is called as ‘Tiruppavai’.

Even after 1200 years, the month of maargazhi is synonymous with AandaL and every nook and corner of Tamizh Nadu reverberate with Tiruppavai.

Forgetting the religious/spiritual angle, let us look at it from the literature and the sociological angle.

Considering the position of women in the society where women were never encouraged to choose their grooms on their own, it takes a lot of courage on the part of a girl to openly ‘announce’ her choice and go around the town singing about him.

AandaL was hardly 12 years old when she composed the verses. But the command over the language and the similes and the metaphors used are mind- boggling and one is awestruck.

Scholars now say ‘AandaL tamizhai aandaL’(AandaL ruled the language of tamizh).

Look at the way she addresses the cuckoo bird:

‘O! Tiny cuckoo, pecking, budding leaves of Greenish-Red in the grove of Honeyed Mangoes!
My Lord, who skillfully wields the bow Sarangaa, A Lovable Suitor, concord with me;
We enjoy secret codes that He and I alone know;
O! Cuckoo, if you call Him to come soon as He is far away
You shall witness stipulations I set for Him!’


சார்ங்கம் வளைய வலிக்கும் தடக்கைச் சதுரன் பொருத்தமுடையன்
நாங்கள் எம்மிலிருந்தொட்டிய கச்சங்கம் நானும் அவனும் அறிதும்
தேங்கனி மாம்பொழில் செந்தளிர் கோதும் சிறுகுயிலே!திருமாலை
ஆங்கு விரைந்தொல்லைக் கூகிற்றியாகில் அவனை நான் செய்வன காணே!

Note the words ‘secret codes that He and I alone know’and ‘witness stipulations set for Him’.

There are both esoteric and exoteric meanings to this.

But as I said, let us focus only on the literary and the sociological aspects.
Great command over language! But more than this her assertiveness and the audacity to dictate terms.

That is why, AandaL was a maverick.

The gentleman from a small village in Tamizh Nadu whose music mesmerizes and hypnotises millions of people across the world also thought differently.

In fact, the main reason for his appealing music is because of the way he handles any composition.

Be it the orchestration, arrangement, the Rhythm, the tune itself everything was(is) different.

He was the first film music composer to have paid attention to the Bass work.

He was the first film music composer to have used counterpoints to a great extent.

He was the first film music composer to have used the concept of Gruha Bedam.

He was the first film music composer to have used so many Ragas.

He was the first film music composer to have handled many Vivadi Ragas.

These are just some samples and there are many more..

He dared to think differently and had(has) the capability to translate his thoughts to action.

Today, we are going to see yet another composition of his where he weaves magic in terms of the orchestration and the tune.

The composition is ‘Sundari Kannal oru Seithi’from Dalapati(1991).

Let us see why it is magical.

The pallavi is based on Kalyani, a very popular Ragam whose structure is

Sa ri2 ga3 ma2 pa dha2 ni3 Sa/Sa ni3 dha2 pa ma2 ga3 ri2 sa.

The tune beautifully transforms itself in the interludes and the Charanams into Kosalam whose structure is

Sa ri3 ga3 ma2 pa dha2 ni3 Sa/Sa ni3 dha2 pa ma2 ga3 ri3 sa.

Kosalam is a Vivadi Ragam and we have already discussed the concept of Vivadi Ragam in this thread.

As one can see, on paper the difference between Kalyani and Kosalam is only in the ‘ri’.

But look how it changes the entire complexion.

The composition starts with humming of the violins.The lilting Flute kisses us gently like a breeze.Punctuated with the right kind of speed and suppleness, the Violins now march gracefully.

The scintillating bells welcome us as the Pallavi starts.

The Pallavi is soft and melting with the voices of SPB and Janaki.The Flute appears gracefully between the lines stirring us.We begin to drown ourselves in the nectar when the change happens.

So far it was gentle love.Now it is a gory war.The transformation is amazing in deed!

The drums play with majestic grandeur while the wind instruments give out a war cry.

The sonorous chorus gives an eerie feeling. The Bass instruments juxtaposed with violins give an elgant touch to the war.

The Charanam is full of sensitivity as one sees a very different kind of romance in Kosalam.

It is a sketch of graceful silhouettes with charming shades of love in the background.

The first two lines are rendered with poise and panache.

The next two lines are suffused with love and separation.

The last two lines are adorned with charm and effervescence.

The second interlude is impeccable as love and war are deftly interwoven.

It crackles with energy.

It bursts with different colours, each colour being distinct.

It has subtle overtones.

It glides smoothly.

It gives a surreal silence.

It moves us intellectually,mentally, and emotionally.

It is Musical Mastery at its best.

Work of a Maverick!

அவரது இசைக் கண்ணால் ஒரு செய்தி சொன்னால் எந்நாளும் நல்ல தேதிதானே!

His Musical Vision makes all our days great!

Get this widget | Track details | eSnips Social DNA

ILaiyaraaja-The Sculptor-Part V

Each Moment is a Surprise,
Each Moment A Dream,
Each Moment is A Pleasure,
Is It Possible To Express?’

‘KaNamthorum ViyappugaL Puthiya Thondrum,
KaNamthorum Vevveru KanvugaL Thondrum,
KaNamthorum Navanavamai KaLippugal Thondrum,
Karudhidavum Sollidavum Ellitho?’

கணந்தோறும் வியப்புகள் புதிய தோன்றும்;
கணந்தோறும் வெவ்வேறு கனவுகள் தோன்றும்;
கணந்தோறும் நவநவமாய் களிப்புகள் தோன்றும்;
கருதிடவும் சொல்லிடவும் எளிதோ?

This is the description of the evening sky by Subramania Bharati in ‘Paanchaali Sabatham’.

A close look at this song suggests many things.
The passing of time.. the uncertainty of life.. the beauty of life.. the beauty of a moment.

Let us take ‘moment’.It is amazing to know how different things happen in a moment..and how it changes the entire perspective.

Very recently, we saw in the Olympics how a split second could make a huge difference.In the final analysis, it is the fraction of a second that separated the winners and the vanquished.

In Cricket, the duration of a shot is hardly a second but the way it is executed can change the course of a match itself.

In Music and Dance, timing is as important as oxygen is to all living things.

Carnatic music lays lot of emphasis on the tala and Kaalapramaanam.
Similarly, in Classical Dance, a small slip in Tala is enough to disturb the entire composition.

If we take life itself, a very small event that happens in a moment is enough to change everything.

Life, Games,Music and Dance cannot be separated and there is a clear link between these.

In the previous four posts, we saw the history of Dance and Music in Tamizh society and Literature.

Starting from Tolkappiyam, many texts like Pancha Marabu, Kooththa Nool, Bharata Senapathiyam have defined the grammar of classical dance.

‘Silappathikaaram’ gives a perfect description about Classical Dance and Music.


‘MaNimekalai’- considered to be an offshoot of ‘Silappathikaaram’ since MaNimekalai was the the daughter of Madhavi and Kovalan- also talks a lot about the dance.

Written by ‘Seeththalai Saaththanaar’, the text mentions about Tala Aruthi,the eleven different forms of dance-as already mentioned in detail in ‘Silappathikaaram’-the two forms of ‘Kooththu’ and the existence of a grammar book on ‘Bharatam’.

In another major text, ‘Seevaka ChintamaNi’, the chief protagonist, Seevakan himself is a dancer.

In Bhakti Literature,texts like Thevaram and Tirumanthiram talk a lot about the dance of Siva.

Some verses in the ‘Naalayira Divya Prabhandam’ describe the dance of Krishna.

‘Thiruppugazh’ written by AruNaGirinathar has lot of verses that use the dance syllables.In one of the verses, ‘Athala Sethanaar aada’, he makes all the gods in the heaven dance.

These are some of the glimpses from literature.

If we look at the different periods, during the sangam period, all art forms were their best.

After this, there was a lull as the Tamizh land was ruled by strangers called ‘KaLappiRars’.In fact, this period is supposed to be a dark period in the history.

The Pallavas took over and this period was the Golden Period.All major art forms flourished.The dance sculptures at Maamallapuram still exist and tell us the aesthetic sense of the Pallavas.

After this was the Chozha period and the Bruhadeeswara temple at Thanjavore depicts 81 karanaas out of the 108 Karanaas.The Nataraja temple at Chidambaram and the Saarangapaani temple at KumbakoNam have all the 108 karanaas depicted.

This shows the passion and the dedication of our ancestors and how deeply they were involved in fine arts.It also shows that fine arts was an intrinsic part of their lives.

Folk dance forms like Karagaattam, Oyilaattam, Mayilaattam also flourished. Unlike what some of the purists think, these forms are not appendages of Classical forms and have their own beauty.

Let us now see the composition from ‘ULiyin Osai’ where the folk forms have been described.

It is ‘Alai Ellam’.

The composition has a folk flavour and is a mélange of different ragas and changing rhythmic patterns..

As the master himself renders ‘Alai ellam’ with evocative grandeur, we see the beautiful sea and the fertile land. We see the waves in ‘KaadugaLil..’ and as we hear ‘Pattuk Kodi’, we are plunged into the sea of music.
The different facets of Tisram decorate the sea.

Until now,it is Sudhha Saveri whose structure is sa ri2 ma1 pa dha2 Sa/Sa dha pa ma1 ri2 sa.

The Raga now changes to Pahaadi as the prelude starts beautifully.

Pahaadi’s structure is sa Ri2 Ga3 Pa Dha2 Pa Dha2 Sa in the Arohanam and Sa Ni3 Dha2 Pa Ga3 Ma1 Ga2 Ri2 Sa Ni3 sa. Other alien swaras peep in now and then and that adds to the beauty of the Raga.At times, because of its structure, it can easily be mistaken as Mohanam with alien Swaras or even Shankarabharanam.

The Pallavi now starts vibrantly.

The rhythmic pattern in Tisram is again a treat.

In the first interlude, the Flute plays with tenderness infusing joy.

It is a view of the sea and land at the same time from a mountain as the Charanam gives shades of Shankarabharanam, Maand and Pahaadi.

It gives a serene feeling!

The second interlude and the Charanam weave beautiful patterns as we hear the Kummi.It is the intermingling of depth and appeal.

It is a sudden ebullient swirl as we hear the percussion in the music that follows.The rhythm changes.The raga changes to Karaharapriya and Natabhairavi and is sprinkled with Manji, another raga that has contours of folk.

It is rendered with gusto.

It is a cascading profusion sung and played with electrifying vim and vigour.

The Rhythmic pattern changes.

The Ragas change.

But each and every moment is a surprise;each and every moment a dream;each and every moment a pleasure.

And this is what is his music all about!

It makes even the waves dance!!

அவரது இசையில் அலையெல்லாம் நடனமாடும்!

With this, the series on the history of Classical dance and music in Tamizh literature and soceity comes to an end.

Though I had read lot of things before, I must acknowledge the information provided by Prof.Raghuraman in the book titled 'Tamizhar Natana Varalaaru' !

Get this widget | Track details | eSnips Social DNA

ILaiyaraaja-The Sculptor-Part IV

In Mathematics, there is something called Duality. It is nothing but translating one concept into other concept by means of an involution operation.

It is a very interesting concept and I feel it has lot of relevance to the Human life and Nature.

Most of the things we see in this world come in pairs.Let us take the organs in the human body.. Eyes, ears, hands, legs, nostrils.. In fact, the nostrils play a very major role in keeping us mentally and therefore physically fit.

These pairs perform coordinated actions.
We also have pairs that are contrasting by nature.
Black/White, Potential Energy/Kinetic Energy, Head/Tail, Positive/Negative.

In Chinese philosophy, there is something called the Yin/Yang theory-two opposing and at the same time complementary aspects of one phenomenon.

In Quantum Mechanics, we have the wave-particle duality according to which matter and energy exhibit both wave like and particle like properties.

In a similar vein, I feel Dance and Music always complement each other. There are people who say ‘Dance cannot exist without music;but Music can exist without Dance’.
On the face of it, it may appear to be true.

But in reality music is as much dependent on dance as dance is on music. Is dance just body movements? Is it just facial expressions? Is it just jumping around or moving around?

No..It is much beyond all these.

It is a form of expression.

Let us look at Music.Is Music just singing (or playing an instrument)?Is it just Raga/Tala or scales? Is it just juggling of notes?

Music is also a form of expression. The artiste expresses himself/herself rhythmically. Can this not be called as dance? Don’t we say the Swaras danced when that artiste sang?

I am reminded of a Lecture/Demonstration at the Music Academy more than 20 years back when a very famous classical dancer said this:

‘I see Music. I hear Dance’.

Might sound too far fetched and exaggerated.But it is true.

The dancer is a great scholar who has done lot research on dance and folk music and I am sure this statement came straight from her heart.

Music and Dance complement each other.

And that is the reason ILango AdigaL paid importance to music as well while talking about dance.

In the previous posts, we saw how Silappathikaaram covered the various aspects of dance and how ILango AdigaL defined not only the structure of classical dance but also the qualities of musicians and the stage dimensions.

Today, let us see what he has spoken about Music.
In just one verse, he gives the names of the seven swaras as per Tamizh PaN.

குரலே, துத்தம், கைக்கிளை, உழையே
இளியே, விளரி, தாரம் என்றிவை
எழுவகை இசைக்கும் எய்தும் பெயரே
சவ்வும் ரிவ்வும் கவ்வும் மவ்வும்
பவ்வும் தவ்வும் நிவ்வும் என்றிவை
ஏழும் அவற்றின் எழுத்தே ஆகும்

Sa-Kural; Ri-Thuththam;Ga-KaikkiLai;Ma-Uzhai;Pa-ILi;Dha-ViLari;Ni-Tharam.

In another verse, he says PaNs(Ragams) are obtained by arranging the 12 Kovais(swaras) in a specified structure in the ascending and descending scale.

But more than all these, what leaves one wonder struck is his definition of Gruha Bedam-tonic shift. He calls this as 'Kural Thiribu'.

He says 'if the Thuththam(ri) of Mohanam is the base, it would give Madhyamavathi, if the KaikkiLai(ga)is the base it would give Hindolam, the ILi(pa) would give Sudhha Saveri and the ViLari(dha) Sudhha Dhanyasi'.

Is it not amazing that somebody in the Tamizh land defined all these as early as the 5th century?

And 16 centuries later, somebody again from the same land has been giving us some masterpieces. He too like ILango AdigaL is a perfectionist and at the same time innovative.

Duality?

Let us see the next composition from ULiyin Osai today.

It is ‘Kallai Irunthen Silaiyaai En Vadiththai..’

The composition is based on Sudhdha Dhanyasi.

A very interesting Ragam derived from Karaharapriya and its structure is
Sa ga2 ma1 pa ni2 Sa/Sa ni2 pa ma1 ga2 sa.

The composition starts in a very subtle way. We feel the mellowness and the force as we hear the humming. The long flute undulates while the string is infused with melody.

The Pallavi is zestful and tranquil.

As usual, the Laya pattern is interesting.The 8 beat cycle is divided into 2 parts of 4 beats each:Ta – Dhi Mi Ta Ka Dhi Mi with stress on the first ‘Mi’ giving a very special wavy effect.

It is verve and vitality personified.

The first interlude has a simple and ornate structure. It is just the Flute and the Veena mainly but has a quintessential flavour. The Flute has innate grace flamboyance while the Veena is gentle, and powerful. The percussion instrument‘s reply to the Veena is dexterous.

The Charanam is rich and serene. It is pregnant with weighty phrases and is very flexible. It is rock steady and traverses up and down. The Flute piece that is interspersed between the two lines glides smoothly and is tenacious.

The second interlude shows us a gorgeous landscape.

As we hear the Veena and the percussion, followed by the violins and the piano, we see the wide green valleys and the deep ravines.

We see the sun play hide and seek between the hills and the Rain from the Sky.

We see the gushing torrents and the steady slow stream.

It is warm and cold.
It is uncanny and easily comprehensible.
It is Sun and the Moon.

Stone and a sculpture.

And is this not duality?

அவரது இசை கல்லை சிலை ஆக்கும்;சிலையை மனிதனாக்கும்;மனிதனை தெய்வீக நிலைக்கு அழைத்துச் செல்லும்.

His music turns a stone into a sculpture; turns a sculpture into a human; makes the human reach divine state..

Get this widget | Track details | eSnips Social DNA

ILaiyaraaja-The Sculptor-Part III

This world is beautiful.

If we take time off from our busy schedule and start looking at things around us, we discover many new things (and old things). Some of these are amazing.

The stars, the moon, the clouds, the sky, the rain, the flowers..

Each and every time we look at these, we feel different; our experience is different; our thinking is different.

Finally it depends on how one perceives things/incidents.

The beauty of life is such that even little things play very big roles.

Take apple for example. What is there in apple? It is just a fruit, a very healthy and tasty fruit at that.

But when this apple fell from a tree, one gentleman thought differently. He started wondering as to why that apple had to fall..

He thought and thought and finally this led to something that formed the basis of Classical Mechanics and modern engineering.

Needless to say that the gentleman being referred to is Issac Newton and that he discovered the Universal Gravitational and the three Laws of Motion.

All of us know the story of the King of Scotland -who while sitting in a hut after being battered, bruised and driven out by King Edward I of England -saw a very tiny creature successfully spin a web after failing seven times. Inspired by this, he gathered his men and despite being badly outnumbered was able to drive out the enemies because of sheer determination.

Robert Bruce and Spider-are the names not synonymous?

Examples galore.

But what these incidents tell us is that life shows us lot of things and it is up to us to observe and learn.

Apple and Spider.. two small things. Look how they have influenced science and history.

That is the beauty of life.

We find that in literature too, small things have played major roles.

A small gemstone influenced an entire epic.

‘Silappathikaaaram’(Story of the jeweled anklets) is considered to be one of the greatest epics in the world of Literature.In the words of the Czech Professor Dr.Kamil Zvelebil,

‘‘The epical poem of Silapathikaaram which by its baroque splendour and by the charm and magic of its lyrical parts belongs to the epic masterpieces of the world and should be admired and beloved by all in the same was as Poems of Homer, the Dramas of Shakespeare, the Pictures of Rembrandt, the Cathedrals of France and Sculptures of Greece’’.

What is this Silappathikaaram all about?

Kovalan and Kannagi lead a happy married life until Kovalan falls for a great dancer Madhavi and begins to live with her.Unable to bear the adoration and appreciation Madhavi was getting from others, he becomes jealous and deserts her.

He is penniless now and returns to Kannagi who offers to sell her anklet- filled with rubies-to get some money. They go to Madurai where Kovalan while trying to sell one of the anklets is caught by the guards of the Pandya King.The Queen’s anklets-which were filled with pearls- had just then been stolen and assuming that Kovalan was the culprit, the King orders his guards to kill Kovalan.

Kannagi throngs the King’s court and proves that her anklets were filled with rubies and not pearls. Realising his folly, the King dies instantaneously. Kannagai goes on to burn the city of Madurai.

Though there lot of great things about the way Ilango AdigaL has presented this simple but complex story, what attracts a connoisseur is the way he has structured the grammar of Music and Dance.

In the previous two posts, we saw the history of classical dance in Tamizh society.

Continuing with this, let us see how ‘Silappathikaaram ‘ has dealt with classical dance.

Ilango adigaL must have been a perfectionist.

He deals with each and every aspect of dance starting from the vocalist, the lyricist, the percussionist, the instrumentalists.

What amazes one is the way he has defined the structure of the stage. Not only has he given the dimensions of a stage but also that he has mentioned about the lighting, and the way the stage has to be decorated.

If the verse

எழுகோல் அகலத்து எண்கோல் நீளத்து
ஒருகோல் உயரத்து உறுப்பினது ஆகி
உத்தரப் பலகையொடு அரங்கின் பலகை
வைத்த இடை நிலம் நாற்கோல் ஆக
ஏற்ற வாயில் இரண்டும் பொலியத்
தோற்றிய அரங்கினில் தொழுதனர்
gives the desired dimensions of a stage,

தூண் நிழல் புறப்பட மாண் விளக்கு எடுத்து ஆங்கு
ஒருமுக எழினியும் பொருமுக எழினியும்
கரந்து வரல் எழினியும் புரிந்துடன் வகுத்து

talks about the lighting.

He then goes on to describe the ‘Pancha Sandhi’ Kavuththuvum-an item that is performed in the beginning to ward off evil forces-and then the 11 different dances called as ‘Pathinoru aadal’..

We shall look at the other descriptions about dance and Music in Silappathikaaram and in other Tamizh texts in the forthcoming posts.

Let us now look at today’s composition from ULiyin Osai.

It is ‘Kallil Uyir Kaattidalaam’.

As usual, there are lot of special things about this composition and we shall see them as we go along..

The sun paints the sky red. Flowers smile. Leaves nod their heads. Waves from the sea welcome us. It is a new day.. It is a new beginning..

The song flowers with a flourish..

The first few lines rendered without percussion(called as ‘viruththam’)is based on the Ragam Bowli.

This Ragam is generally sung in the mornings and is believed to bring freshness.

As the lines ‘Kallil Uyir Kaattidalaam’ start, we see the beautiful Kalyani in the heartfelt rendition by Sriram Parthasarathy.In fact, one sees shades of his Guru’s Guru(Shri.Seshagopalan) in his style of rendering this song.

The line ‘Vadikkindra SilaigaLil’ is wonderfully structured to give a very different effect.
The way the percussion is played just towards the end accentuates the effect.

The violins then breeze in with the Flute shining resplendently. The Veena and Flute combine and this invokes a unique ambience.

In the first Charanam, the Flags of the three major Tamizh Kings-Chozha, Chera and the Pandiya-kings are described. Tiger is Flag of Chozha and the sangathis flow to depict the tiger with the flutes playing welcome notes without any fear.

The Bow now bows in appreciation as the Raga beautifully changes to Dharmavathy. Appreciation here is not just for the Raga change but also for the thoughtfulness.

Let me explain.

Kalyani is the 65th Melakartha and Dharmavathy, the 59th.Every sixth Raga in the Melakratha scale have the same variants of ‘dha’ and ‘ ni ‘and therefore the ‘pa dha ni Sa’ segment(called as Uttaraanga) remains the same.The difference is only in the ‘ri’ ‘ga’ part. Now if the variant of ‘ga’ in Kalyani is changed(from ‘ga3’ to ‘ga2’), it becomes Dharmavathy.. And this is what the master has done.

After the Chera’s Bow, it is the Pandiya’s Fish.

After the Eyebrows, it is the Eyes.

Flute and the Veena act as the eyes and the eyebrows and establish an emotional connection.

The Pallavi again in Kalyani.

The Veena now eddies around Kalyani with the ghatam giving glistening strands of laya.

The meshing of Raga and Laya is gripping and gives us an esoteric feeling.

The intricate setting continues in the next Charanam with a kind of a teaser.

The Raga now changes to Hamsanandi and again there is a pattern.The Variant of ‘ri’in Kalyani is changed and logically it should be Gamanashrama-the 53rd Melakartha(59-6 or 65-12).But the magician now makes the ‘pa’ disappear and it becomes Hamsanandi, another beautiful Raga with the following structure

sa ri1 ga3 ma2 dha2 ni3 Sa/Sa ni3 dha2 ma2 ga3 ri1 sa.

The Raga moves very expressively until it meets a beautiful woman called Vasantha.

Yes, the Genius at work again.

In the line ‘Aananda Soundaryam..’ he changes the ‘ma’ and drops ‘ri’ in the ascent.
Sa ma1 ga3 ma1 dha2 ni3 Sa/Sa ni3 dha2 ma1 ga3 ri1 sa.

This Ragam is Vasantha.

The composition is multifarious with varied motifs. At the same time, there is a pattern and purpose.

It is an exhilarating experience.

It etches tranquility.

It is the language of subtlety.

Yes, juggling of notes is very subtle. The difference between one ‘ga’ and the other ‘ga’ is minute.. as minute as the difference between one ‘ri’ and the other ‘ri’.

Little things.. But don’t they play a big role?

And doesn’t he give life even to a stone with his music?

கல்லிற்கும் உயிர் கொடுப்பதல்லவா அவரது இசை?

Get this widget | Track details | eSnips Social DNA

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..