ILaiyaraaja-Musician without Boundaries..

Plus a change, plus c’est la meme chose’.

This is a French term and it means ‘The more things change, the more they remain the same’.

Sounds paradoxical..

But if we delve into this we find that it does make sense.

Let us take Music.

New discoveries and inventions have taken place in the last so many years. But has there been an instance of a new Note or Swara being discovered or invented?

What is amazing is that these seven notes are universal and are present in all forms of Music though they are called by different names.

More than anything else, what this means is that Music cannot be bound by anything.

It has no boundaries.

And more importantly, Music cannot be the preserve of some people or a section of people.

Can the air present in the atmosphere be the sole property of just a few people?

Depending on its character, air takes various forms like the wind, breeze, storm etc.,
Can we say that one form is a copy of the other?

It is very unfortunate to note that certain Musical forms tend to get identified with certain communities/class.

Going back to where I started, lot of innovations and improvisations have taken place in Music but still Music is Music. It has not changed.

We are very fortunate to have one composer who is literally a living legend and who has done many innovations without in anyway spoiling the flavour of Music.

The kind of innovations he has done is not simple-though some people think it is too simple-and needs years and years of research.

One such innovation was ‘Paadariyen Padippariyen’ from Sindhu Bhairavi. I call this an innovation not without any reason.

Let us now look at the sequence in the movie.

A very popular classical musician is performing on stage.A section of the audience is not attentive and this is spotted by a lady in the audience .

She gets up and requests the musician to sing songs in familiar language to hold audience interest .The great Musician ridicules this and goes to the extent of denigrating Folk Music.

He also challenges her to sing a folk song .

The lady responds and sings ...

What should also be of particular interest is the ‘Kirtana’ rendered by the Musician just before this altercation takes place.

The Kirtana is ‘Mari Mari Ninne’ which was originally set to Kambhoji Ragam by Saint Thyagaraja.

This Kirtana and the song that follows have been set in ‘Saramati’ ragam by the Maestro.

A section of the media did not want to waste this opportunity and tried its best to provoke classical musicians saying 'Raja has insulted Thyagaraja and has brought disrepute to Carnatic Music'.

Ironically enough , another section of the people who say they want a casteless society but still cling on to the caste factor whenever it favours them hailed Raja as theone who conquered the bastions of upper caste by 'tampering' with the classical structure.

Both the sides missed a point.

'Classical Music is not the preserve of one community or religion'.

Let us first see if it was in deed a crime or a sin to change the Raga of a song from that of the original?

Annamacharaya-who lived at least two centuries before Saint Thyagaraja-composed thousands of songs in various Ragas. The Great Legend of Carnatic Music, Smt.M.S.Subhulakshmi has rendered many of these songs in completely different ragas.

So can one say that Smt.MSS insulted Annamacharya?

Songs penned by Gopalakrishna Bharathi from the ‘Nandanar Charithram’ are sung in different ragas totally at variance with the Ragas mentioned by the composer. In fact, I have heard one particular song ‘Vazhi Maraithirukkuthu’ being sung in three different Ragas.

So is it possible to conclude that the Carnatic Musicians do not respect the Musical skills of such a great composer like Gopalakrishna Bharathi?

Subramaniya Bharathiyar had great knowledge in Music and he tuned all his songs. The song ‘Chinnanchirukiliye’ was tuned by him in Bhairavi ragam.The great film Music Composer Shri.C.R.Subburaman changed it into a Ragamalika and people identify ‘Chinnanchirukiliye’ only by this tune now.

Did CRS mean any offense to Bharathi?

The Thyagaraja Kirtana ‘Manasuloni Marmamulu Telusuko’is sung in Hindolam by some people and in Varam by some others.

Does anybody know as to which one is the correct version?And are these people insulting the Saint?

The answer to all these questions is a big NO.

In a similar vein, ILaiyaraaja whose respect for Saint Thyagaraja knows no bounds will be the last person to insult the Saint.

The problem is that Music is being wrongly identified and considered as a social issue and because of this the Classical Form is being associated with a particular Religion/Community.

The Bravado of such people is ludicrous. These self styled torch- bearers of society have their own agenda and most of their arguments are nebulous.

If they feel that Raja sir has hurt the sentiments of music lovers and in the process a particular community, they are thoroughly mistaken.

And if they continue to identify any form of Music with any community, it is them-and not Raja sir- who insult Music.

Let them understand that the Music of the movie was widely appreciated by many
well-known musicians including the great legend Maharajapuram Santhanam!

And let these people also understand that Music cannot and should not been seen with a coloured glass and that it is a sacrilege to give communal and caste colour to Music.

I am writing all these because though it is easy to ignore comments made with mala fide intentions, it also becomes necessary to tell the truth so that people are not misguided unnecessarily.

Let us also get some facts right.

The tune of the song ‘Paadariyen Padippariyen’ was not lifted from any folk song.

Only the lyrics –and that too the first two lines- have been used. The original tune has traces of Karaharapriya ragam.

Raja was looking at a Kirtanam with a start (eduppu) after one and half beats and he found ‘Mari Mari’ fitting the bill.

The original raga of ‘Mari Mari Ninne’ was changed because Raja felt that Saramati would suit the sequence.

He is a Musician without any boundaries and that is why his Music is being appreciated all over the world.

Now let us look at the composition-Paadariyen Padippariyen.

As mentioned earlier, it is based on Saramati(and not Charumathi as some people choose to call it!).

Saramati is derived from the 20th Melakartha Natabhiravi and its structure is sa ri2 ga2 ma1 pa dha1 ni2 Sa/sa ni2 dha1 ma1 ga2 Sa.

The arohana is the same as that of Nata Bhairavi and the avarohana is that of Hindolam’s.

This Raga is relatively new and does not find a mention in many of the older texts. Among the Trinity, only Saint Thyagaraja has used it in ‘Mokshamu Galadaa’

‘Paadariyen..’ begins rather imperceptibly.

As the Mridangam starts in folk style, we get hooked on to it. The Pallavi itself gives a wonderful sketch of the Raga.

The Violin interlude plays the Arohana and Avarohana pattern of the Raga just to indicate the simplicity!

Words without expressions and Swaras without meaning will lead one nowhere and this is what is conveyed in the first charanam.It also says that ‘Music is from the sound of Nature’.

The sangathi following the line ‘Ellame Sangeetham thaan’ is without any frills and at the same time is gripping.

The Second Charanam pleads the Musician to also think of layman and asks him if there is anything wrong with this.

The flavour of Todi Ragam after the line ‘Sonnathu Thappa Thappa’ is Brilliant.This simple usage has layers and layers of meanings!

The Kalpana Swaras are part of a classical Music Concert and shows the creativity of the Musician and his knowledge of Talas.

Here the Folk style song has the Kalpana Swaras neatly hemmed.

It reflects the expertise and the sensitivity of ILaiyaraaja.

Swaras are corralled and are sung with gusto.

It slowly gathers momentum and it is a slew of Swaras rendered in a very fast pace indicating chockablock of emotions.

‘Mari Mari Ninne’ is rendered in pure Classical Style in the end proving the fact that Music is in deed universal and is omnipresent in a mottled form.

Yes, Music is an experience that transcends formal parameters. It has no boundaries or any divisions.

I am an illiterate..I do not know any grammar..All I know is to appreciate music in its full form..

பாடறியேன் படிப்பறியேன் பள்ளிக்கூடம் தானறியேன்
இசையை இசையாக ரசிப்பதை மட்டும் அறிவேன்!

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ILaiyaraaja-The Unpretentious Musician!

‘’I go down to their level and then try to take them along with me to a higher level. It sounds easy but is difficult in practice.’’

‘’The setting does not matter. It is the intent that matters’’.

These are the words of Rahat Fateh Ali Khan, one of the popular Sufi musicians.

Rahat and his uncle, the great legend Nusrat Fateh Ali Khan were accused by the ‘purists’ of taking the Qawwali and Sufi Music to Marriage Halls and films.

This throws up lot of questions.

Should Classical arts be confined to the closed walls?

If yes, why?

If no, then should the form change?

Should it be too simplified?

In the name of ‘simplification’, should the artiste stoop to ‘conquer’?

Where does one draw a line?


Let us look at the questions one by one.

Classical Arts can never be the preserve of certain class of people. No single community can claim to be the owner of any Art Form.In fact, I discussed this at length in my post on ‘Paadariyen..’ sometime back.

All forms must reach the masses and only then can they grow.

But the danger is that in the name of ‘simplification’, some artistes –musicians and dancers- make it too simple that the classical essence itself is lost.

Instead of raising the bar, these artistes lower it finally ending up with gimmickry.
What starts off as ‘taking to the masses’ and ‘playing to the gallery’ takes the shape of (at times taking no shape!) a ‘Mass Product’.

What is shown and demonstrated then is the ‘capability’ of the artiste to perform gymnastics in fine arts.

It is here that the words of Rahat -‘It is the intent that matters’- assume significance.

If the intent is good, the mission will be successful.

Therefore, whether it is Music in Films or Music in a typical Classical Platform, what matters is the objective of the artiste, the way he/she is able to execute and most importantly the ability of the artiste to take the audience/listeners to a higher plane.

Though purists frown as soon as a mention is made of ‘Film Music’, it is an accepted fact that Films have played a very big role in propagating classical arts.

And the man hailing from a very small village called Pannaippuram in Madurai district has strived hard to popularize Classical music.And he did this without any pretentions.

He has simplified the form without in anyway tampering with the aesthetic values.

He has used very popular Ragas giving us the essence.

He has used very rare Ragas(some of the ragas were not known or used by the classical musicians until he brought them out-examples being Sallapam, Rasika Ranjani, Samudra Priya etc.,)

He composed using only the ascending notes- a new and novel concept- but not at the cost of classicism.

He composed using just three notes.

He applied the concept of Sruti Bedam .

He used very intricate Tala(rhythmic) patterns.

The point here is that the layman would not have understood many of these concepts.
But they enjoyed (and continue to enjoy) for the sheer happiness and pleasure the music gave (gives).

But I also know many people who got interested in classical music after listening to his compositions( a classic example is ‘yours sincerely’!).

Today, we are going to see an interesting composition of his.

Contrary to what is believed (of course by people who have not listened to many of his compositions), he has composed lot of songs in Hindustani Ragas.

Today’s Composition is also based on a Hindustani Raga.

The Raga is ‘Shudhh Saarang’ and the composition is ‘Oru Devathai’ from the Film ‘Naan Sonnathe Sattam’.

‘Shuddh Saarang’ is a very melodious Raga and it uses both the variations of ‘ma’ like many Hindustani ragas.

The Structure is:

sa ma1 ri2 ma2 pa ni3 Sa/Sa ni3 dha2 pa ma2 pa dha2 pa ma1 ri2 sa.

Now, let us look at the composition.

The Chorus voice spreads, swarms and warps. Suddenly, the violins loom into view.
The Flute and Strings stir to life and we get to see the Angel..

The intricately carved Pallavi sounds stunning with the voices of SPB and Asha Bhonsle. The line ‘En Manathil Puthiya RagangaL’ is exotic.

The Flute then plays with lucidity while the Guitar undulates gently with a satiny texture. In fact, one gets a taste of Hamsanadam- a Ragam very close to Shudhh Saarang.
The Violins give some unique touches mesmerizing us.

The Charanam can be divided into three parts.

The first one ‘Kaattinil Poo Vaasam’ and ‘Kadalinil Mazhai’ is scintillating with the sweet voices of Asha and SPB.

The second one ‘Anbenum..’ is tender.

The third one ‘Naan seitha..’oozes with zest.

The second interlude is caparisoned with beautiful orchestration.

The vivifying Flute is followed by the chorus voices singing with insouciant grace.

It is then the encompassing sweep of the violins as the Guitar plays with stylized musical fervour.

The composition is a continual rain of honey.

It is built on the edifice of beauty.

It gives us an exquisite image of the Raga.

It is a delightful treat.

It is the song of the angel….It opens our Hearts and pierces inside..

தேவதை வந்தது.மனச்சிறைக் கூண்டைத் துளைத்துச் சென்றது.

ILaiyaraaja's Music is Omnipresent and Omnipotent!

‘There's music in the sighing of a reed;
There's music in the gushing of a rill;
There's music in all things, if men had ears:
Their earth is but an echo of the spheres.’

Said Lord Byron .


Subramaniya Bharati went one step ahead.

Listening to the song of a cuckoo, he wants to become a cuckoo himself . The cuckoo inspired him so much that he dedicated one of his works to the bird.
Titled ‘Kuyil Paattu’(Song of the Cuckoo), this work of his is one of the beautiful works ever with Philosophical contours in Tamizh language.

‘It seems that
The breeze is mixed with nectar,
With the lightning showing its face,
The Beauty Queen from the Heaven
Descending in the form of music.
I am in a state of ecstasy
Listening to this song of Cuckoo
And I want to become a Cuckoo
To say many unknown things to this world!’


இன்னமுதைக் காற்றினிடை எங்கும் கலந்ததுபோல்
மின்னற்சுவைதான் மெலிதாய் மிகவினிதாய்
வந்து பரவுதல்போல் வானத்து மோகினியாள்
இந்த உரு எய்தித் தன் ஏற்றம் விளங்குதல்போல்

இன்னிசைத் தீம்பாடல் இசைத்திருக்கும் விந்தைதனை
முன்னிக் கவிதைவெறி மூண்டே நனவழியப்
பட்டப் பகலிலே பாவலர்க்குத் தோன்றுவதாம்
நெட்டைக் கனவின் நிகழ்ச்சியிலே கண்டேன் யான்
கன்னிக் குயிலொன்று காவிடத்தே பாடியதோர்
இன்னிசைப் பாட்டினிலே யானும் பரவசமாய்
'மனித உரு நீங்கிக் குயிலுருவம் வாராதோ?'
குக்குக்கூ என்று குயில் பாடும் பாட்டினிலே
தொக்கப் பொருளெல்லாம் தோன்றியதென் சிந்தைக்கே
அந்தப் பொருளை அவனிக்கு உரைத்திடுவேன்.

People like Byron and Bharati worshipped nature. They saw music everywhere. They knew that Music is omnipresent and omnipotent.

That is why their works continue to exist.

Coming to think of it, can there be anything in this world that is not musical?
If only we realise this fact, there would be no quarrels, squabbles, fights, wars and the world would be a better place to live.

Let us celebrate music on this special day.A day when Film Music acquired a new dimension.

Like Byron and Bharati, this gentleman saw music everywhere.
Not only did he see music, but also that he understood it.

Not only did he understand it, but also that he improvised it.

Not only did he improvise it, but also that he made it sound simple.

Not only did he make it sound simple but also that he made it sound very different.

Not only did he make it sound different but also that he made it sound very melodious.

In this thread, we have been seeing the classical and finer elements in his music.

This special day’s composition is also very special befitting the occasion.
Special because it talks about music itself. Can there be a better way of wishing a special person on this special day?

The composition is ‘Vaana Mazhai Pole Varum GaanangaL’ from ‘Ithu Namma Bhoomi’(1992).

It is based on a raga called Raageshree.

Raageshree is a Hindustani Raag derived from the Khamaj thaat(equivalent to Carnatic Harikamboji).
Its Aroh is ni2 sa ga3 ma1 dha2 ni2 Sa and Avaroh Sa ni2 dha2 pa ma1 ga3 ri2 sa.

‘pa’ is used very sparingly and the phrase ‘Sa ni ni dha ma ga sa’ adds beauty to this Raag.

As per the texts, this Raag is sung in the night and is majestic and meditative.

The song starts with the distinctively mellifluous humming of Yesudass.
The Pallavi woos us with its simplicity.It is reposeful and has a sense of quietude. Very soft framing of the Pallavi. The tabla beats evoke a focussed ambience of a Gazal.

‘Music pours like the rain from the heavens.The clouds sing melody. This music lasts forever’.

In the first interlude, the flute brimming with vim and vigour plays with undulating energy to the accompaniment of modern percussion instruments. The tender but deep Sitar gives the Flute and angelic strength as the Flute elegantly sings like a cuckoo.

The CharaNam is deftly framed giving us an enchanting harmony.

The first two lines are exquisite while the next two lines have liquid glides. The last line gives a sparkling finish.The icing on the cake is the sympathetic strings(resonance or auxiliary strings found in the Hindustani instruments like Sitar and Sarod).

‘The mind and the heart are relaxed in the night with music.It gives a healing touch. Flower blooms in the Dry rock and the Steel becomes moist with music’.

It is ‘Hop, skip and jump’ in the second interlude as we see the shades of western music with modern instruments that play with insouciance. The exquisite Sitar appears now with grace and style. We now enjoy the moments of beauty as the swaras are sung.

Free flowing expressions at its best!

The malleable phrases continue in the CharaNam.

‘Who has soaked honey in the voice of the cuckoo?
Who has made the heart so light-as light as the music?
I do not need the Stage..I can sing in a small room.
Do the cuckoos sing to attain name and fame?
I am happy to sing and this is enough!’

The composition caresses us gently like a breeze.

We see the Snow-capped Mountains and the Dollops of snow.

We see the ripples of melody as the droplets of rain furrow down.

We see the emerald green valley and smell the fresh grass and the flowers.

We see the serene blue translucent lake and we see ourselves there.

We are in communion with nature.

His Music is omnipresent and omnipotent.

நிலைக்கும் கானம் இது..நெடுநாள் வாழும் இது!

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ILaiyaraaja-The Magician!

''Language is the Music of Nature'' said William Wordsworth.

I would like to modify this and say ''Music is The Language of Nature''.

There is Music in Nature.

Natural elements like Rivers, Mountains and the Sea not only produce Music but also have produced great Musicians.

Take River for example.The Great composer in Carnatic Music, Saint Thyagaraja grew up in Thiruvaiyaru(confluence of five rivers).

Bhadrachala Ramadasa lived by the side of the River Godavari.

The great Shehnai Maestro Bismillah Khan ‘s heart was Benaras , a city that is surrounded by the River Ganga.

Beethoven and Mozart lived in Austria where the River Danube flows.

Mountains too have produced great Music.

One of the greatest composers of modern era was born and brought up in an obscure village surrounded by Western Ghats.A quiet River also flows near the village.People who have been to Pannaipuram know how serene and divine the place is.The picturesque scene has to be seen to be enjoyed.

Having grown up in such an atmosphere and environment , is it any surprise that he is able to give enchanting Music to us?

His Music takes us from the Ephemeral to the Ethereal.

He has used popular Ragas, and rare Ragas;

He has used simple rhythmic patterns, and unusual /complex rhythmic Patterns;

He has used simple techniques, and complex Techniques.

Today let us look at yet another composition of his..

The Kannada film ‘Nee Nanna Gellalare’ is replete with some excellent compositions.

‘Anuraga Enaithu’ is one such composition.It is based on Dharmavathy-the 59th Melakartha.

Dharmavathy a magnetic aura.

The Raga evokes a feeling of nostalgia .

Though it is very close to some very popular Ragas like Simhendra madhyamam,Gowrimanohari, and Kalyani , the Raga is unique..

The structure is sa ri2 ga2 ma2 pa dha2 ni3 Sa/Sa ni3 dha2 pa ma2 ga2 ri2 sa.

Anuraga’ starts with the sweet sound of the Guitar.When Dr.RajKumar sings ‘I Love You’, the orchestra repeats it .

It is not just the Orchestra that repeats this. Quietly surrounded by the Grandeur of the composition, we also sing

‘I Love You’.

The Sweet Guitar appears again in the first interlude followed by the brilliant flute .

After this it is sheer Magic.
The Dilruba suddenly starts playing Chakravagam-the 16th Melakartha.

It is Gruha Bedam (or Sruti bedam) with the shift taking place from 'ri'.

The seamless transition is Mind Boggling!

The Charanam continues in Chakravagam until the last line where it catches up with Dharmavathy.

The second Interlude is another beauty.

The chorus sings in Dharmavathy and we quiver.

The Violin Orchestra takes over and we Sway..

And as we Sway, the shift takes place again.

The Flute plays Chakravagam!

If only we had the powers to see Raja’s Music in Visual Form, we would see Natural Beauty at its best.

We would see the Snow-Capped Mountains.
We would see the Azure Blue Sea.
We would see the Marble like River.
We would see the Trees in Verdant Green.
We would be in Nature’s Womb.
We would be Stranded in Paradise!

What an exhilarating experience!

Dhramavathy rains while the Chakravagam peeps out like the sun light!

We see the Rainbow.The seven colours seem like the Seven Swaras.

And that is the real Anuraga...

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ILaiyaraaja-The Poetic Musician!

Sita and Rama see each other and it is ‘Love at First Sight’.Rama leaves the place and Sita is tormented by his thoughts.

Tamizh Poet Kamban describes this wonderfully:
Sita says,

‘His Dark Hair, His Moonlike Face,
Long Hands, Mountain like Shoulders,
Even Before seeing these, I lost myself to His Captivating Smile !’

இந்திர நீலம் ஒத்து இருண்ட குஞ்சியும்
சந்திர வதனமும் தாழ்ந்த கைகளும்
சுந்தர மணிவரைத் தோளுமே அல
முந்தி என் உயிரை அம்முறுவல் உண்டதே

In my post on Gambheera Nattai, I had mentioned about the phrase ‘Ittathu Kettanar Eduththathu KaNdar’.

Kamban the magician, wields his magic wand and it is beauty all around. In a single stroke, he paints the picture of Rama and the longing and pain of Sita.

ILaiyaraaja’s Music is also similar to Kamban’s poetry.

He weaves his composition so beautifully and like Sita who lost herself in the captivating smile of Rama, we too lose ourselves while listening to his music.

Not only does he tune his compositions tastefully but also embellishes them with meaningful Orchestration.

In his Palette, we see new colours.

In his Smorgasbord of Music, we find vareity..

Today, we are going to see a very interesting Raga used extensively by Raja.

It is the Raga Jog.

Jog is a very exquisite Raga and it depicts longing and pain.

It has a Pentatonic Structure and is identifiable by its characteristic use of both the variants of ‘Ga’(ga2 and ga3) .

The Arohana has a simple pentatonic structure -sa ga3 ma1 pa ni3 Sa- while the avarohana has a devious(vakra) form and uses both the variants of ‘ga’.

Jog is a Hindustani Raga. Though there is no carnatic equivalent, Nattai and Gambheera Nattai are somewhat closer to this Raga.

Let us now see how the Maestro has used this Raga.

The Swaras of Jog are literally spread in a gradual way with extensive improvisation in ‘Metti Oli Kaatrodu En Nenjai Thaalaatta’ from ‘Metti’.

It starts with the entrancing Aalap of Janaki and as one begins to drown in the nectar, Raja’s Aalap appears and it is Harmony with wonderful counterpoints.

The strings follow and they pull the string of our Hearts. The short and sweet Flute piece is like a scimitar piercing our hearts.

The Tabla throbs with the Bass Guitar and it is mesmerizing indeed!

We are swallowed by the sheer Intensity and Vibrancy of the single violin that plays in Indian Classical style seamlessly moving to the Western Style.The Flute and the Strings march in now and it is a Cathartic Experience.

The Second Interlude is a sheer joy as Janaki traverses different Sthayis(octaves) going from the ‘Thara Sthayi’(higher octave) to the ‘Mandra Sthayi(lower octave) with consummate ease.

And as she sings ’ Thuruthoo Thuththoo..’in a sinuous pattern , the Swaras come together and it looks as if Time itself has frozen...

We feel the Time and Space have no meanings when we listen to ‘Oru Pattampoochi..’ from ‘Kaadhalukku Mariyathai’.

As Yesudoss hums Jog, we see the beautiful Butterfly..

It flaps its wings gracefully to the beats of the Synthesiser …

Lo and behold..

The Butterfly takes its flight and what a lovely flight it is. It crosses swathes of land and groups of colourful flowers as the Dilruba plays followed by the small and long flutes.

As Yesudoss sings ‘Poovana Ilanenju..’ in the second interlude in a Qawali style, the butterfly lands on a Flower to the accompaniment of Dilruba .It then rains Honey as Jog is sprayed all over.

The Chatusram beats that keep changing intelligently and the special sound effect of ‘Knock Knock’ when the word ‘Thattugindrathe.. ‘ are all the indelible and inimitable mark of the Master!

The Raga moves like a Round Ball in ‘Vatta Pandu Thottu ViLaiyada’ from the Film ‘Chinna Vadhyar’.

The pattern of the beats and the instruments make us feel the ‘Moving Ball’.

The gleaming ball moves traversing the craggy surface.

We see the off break, the leg break and the googly in the first interlude.

It becomes a slower delivery in the Second Interlude and one feels the ‘Reverse Swing’ as the Strings play!

New Vistas of Jog are seen in ‘Vanjikkodi..’from ‘Kanna Unai Thedugiren’.

The Trumpet-with the support of Bass Guitar- spouts and splashes the notes giving a ‘Jazzy’ feeling.The Flute lets out a plaintive cry.

In the Second Interlude, the Raga shines luminously even as the inexorable Flute carries us to a Divine World!

‘Be Fearless!’ says the responsible father to his children.

In ‘Peygalai Nambathe’ from ‘Mahanadhi’ , one is stumped by the vivacity of the composer and the composition.

The sound produced by a ‘contraption’ is very amazing in deed!

The vibrant sound of Ghatam adds to the beauty while the very different voice of the ‘Grandma’ is exuberant.

All the percussion instruments are in perfect synchrony in their ensemble.

One need not fear….

When Raja’s Music fills the air and sings a Lullaby, do we need to fear at all?

மெட்டி ஒலி போல் காற்றோடு அவர் இசை நம்மத் தாலாட்டும்பொழுது பயம் எதற்கு?

ILaiyaraaja's Music is Universal!

‘Nadaloludai Brahmananda Mandave Manasa..’

‘Sangeetha Sastra Gnaanamu Saaroopya Sowkyathame Manasa’

These are the first lines of two Krithis(in Kalyanavasantham and Mukhari Ragams respectively) of Saint Thyagaraja.

The greatness of a composer is shown by the way he presents his compositions.Thygaraja Krithis are considered unique not just because of the Bhakti Bhava but also because of the Structure of the Krithis, the Versatility, his use of Ragas and most importantly his approach to Music.

So steeped was he in the Ocean called Music that whatever he gave us are all gems precious enough to last nearly two centuries(and I am sure centuries to come).He also had the audacity to compose in very rare ragas like Gurjari, Rasaali, Veera Vasantham,Sudhha Bangala, Navaroj-just to name a few-apart from the heavy and popular Ragas.

In many of his Krithis, one can find his musings about Music and what Music means to him.The Krithis mentioned above are just two examples.He says ‘We achieve the Blissful state by the Resonance of Music and by having Deep Knowledge of Music’ .

I can find lot of similarities between Saint Thyagaraja and ILaiyaraaja.

Raaja’s Music is also unique because of the way he presents them.He is also very versatile and is known for giving very different structures in terms of the Swaras, Ragas and Talas.He has also composed in very rare ragas-Ragas which none of his predecessors dared to try in Films.

Most important- his compositions have also stood the time and I am sure would last generations to come!

The objective of this thread is to bring out the classical elements in Raja's music as already mentioned in the beginning.

But some of you might be wondering if all Film songs are based on Ragas..

And if so what is the difference between a Film song and a typical Classical song(sung in concerts)..

What is it that separates a pure classical song from a film song..

I shall confine my discussions to Raaja's compositions alone.

I have framed some questions and have tried to handle them one by one:

1.How do we confirm that a song is in a particular Raga and as per the Raga Lakshanam?

2.Are songs like ‘Kaatril Enthan Geetham’ and ‘Mandram Vantha’ based on Western Scale Harmonic Minor, or are they based on the Carnatic Ragam Keeravani?

3.Songs like ‘Vaidehi Raman’and ‘VanthaaL Mahalakshmiye’ sound very pure but a song like ‘Gangaikkarai Mannanadi’ does not give that effect.Why?

4.What makes him (Raaja) choose a Raga for a composition?

5.At times he gives a heavy classical dose-for example the Swaras in ‘Indraikku Enintha ‘ and at times he dilutes the classical elements.One version of ‘Chinnakannan Azhaikkiran’ sounds very classical while the female version has dominant use of Western style Orchestration giving us a feel of fusion.

Let us take the questions one by one.

1.Carnatic Music is unique in having the concept of Gamaka.What is a Gamaka?It can be defined as a smooth and a unique way of moving from one note to the other.In simple words, it is a kind of oscillation of a note (or notes).One can see rich Gamakas(depending of course on the Musician) in a Carnatic Music Concert.

But the difference is that while a Carnatic Music Concert lasts a minimum of one hour , a film song lasts a maximum of 5 – 6 min.Within this stipulated time, the composer has to first fulfill the requirement of the situation(in the movie), think whether the Tune and the Music would be accepted by the audience, and convince the Directors/Producers/Distributors/Heroes .

Not an easy task at that!

Given these constraints, Raja has successfully given Classical Ragas, has experimented with Talams and has also used complex concepts like Shruthi Bedam.

He has given many Ragas in their pure form.However, there have also been occasions where the song would not follow the structure of the Raga..

If the composition more or less follows a pattern, then it can be classified under the particular Raga with the same pattern.

2.’Kaatril Enthan Geetham’ is based on pure Keeravani.

I do not see any reason for this being classified under the Western Harmonic Minor Scale just because both use the same notes.One of the major differences between a Scale and a Raga is the Gamaka aspect.

The notes in a Western Scale would sound plain while each note has a meaning and life in Carnatic Music.(By saying this I am in no way trying to make one system superior to the other since I love Western Classical as well).

How can a song that starts with a beautiful Aaalap be classified as a Western Scale?In fact, there is no usage of any alien Swara throughout the composition.

Similarly, the song ‘Keeravani’(Paadum ParavaigaL) has a lot of Gamaka phrases and cannot be classified as Harmonic Minor.The Orchestration is of course Westernised but this aspect is part and parcel of a Raja composition.

'Mandram Vantha Thendralukku'(Mouna Ragam) 'Malargalile Aradhanai’(Karumbu Vil),’Thangachangili’(Thooral Ninnu Pochu) are some of the other examples of pure Keeravani which have Western Orchestration .

But it is also a fact that since the notes of Natabhairavi, Keeravani, and Gowrimanohari make Melodic Minor Descending, Harmonic Minor and Melodic Minor Ascending respectively, Raja has used these in a lot of his compositions.

The basic reason is that Raja understands the World Music very well and is striving to give us -ordinary mortals- the taste of Great Music without any boundaries .Let us see some examples of compositions that can be classified under ‘Western Scale’- though not very strictly ..

’Raja Raja Sozhan’ does follow the pattern of Harmonic Minor and in the Charanam, we find the use the other Ni and the other Dha.This is purely a Western concept of modulation.But a close observation and listening would suggest that the song follows the Indian concept of Raga(Keeravani) as well until this point.

‘Uravenum Puthiya Paathai’ based on Natabhairavi (Melodic Minor) is another excellent composition which sounds a lot like Western but again there are Carnatic concepts like ‘Kaarvai’s as well.

The notes of Shankhrabharanam form the Western Major Scale.So can we say that ‘Poove Ilaya Poove’(Kozhi Koovuthu) or ‘Erikkarai Poongatre’ follow the Major scale?

No.....

But ‘Kanavil Mithakkum’(EeravizhiKaviyangal) is very close to being called a Western composition.I would say this is one of his masterpieces somehow gone unnoticed.The modulation in the Pallavi during phrases ‘Ennathin Inbangale’.. is something out of the world.

‘Naane Naana’(Azhage Unnai Aarathikkiren) is another different composition.It is indeed a pleasant surprise that this is based on Harikambodi, a very classical Raga(Melakartha no.28).

However, this is a composition with pure Western orchestration.The Western style of rendering make it unique.But still, the phrase ‘Mella Mella’ in the Pallavi does use ‘Sangathi’.Yes, a ‘purist’ may not accept this as Harikhambodi since the Gamakas are absent.

This different composition without any scale change-except in two phrases in the Charanam where the other Dha is used – can be called as a different Harikambodi!

I am also reminded of my alltime favourite ‘Engengo Sellum’ where the tune more or less is based on Sudhha Dhanyasi but the Orchestration is purely Western Classical.

3.’Gangai Karai Mannan Adi’ may not give the effect of ‘Thaaye Yesodha’ simply because a Todi cannot be sung in such a fast pace in a Carnatic Concert.However, it was composed this way in keeping with the situation in the movie.

That of course brings us to (4).

4.What makes him choose a particular Raga is a question I think even he might find difficult to answer.

People who have worked with him say that as soon as the situation is explained to him, he starts writing the notes and it flows like a river.

I am not sure if it will be possible for a scientist to record as to what happens in his brain when he writes the notes.

What can one say about this genius?

5.Abhogi in ‘Indraikku En Intha Anandame ‘ sounds pure and the ‘Kalpana Swaras’ have also been used .This could be because the Director was convinced about it .

And ‘Kaalai Nera Poonguyil’ in the same Abhogi sounds so different because the situation would have demanded it.

ReethiGowlai in ‘Chinna Kannan Azhaikkiran’ is pure not just because it was Dr.Balamuralikrishna who rendered it.. It is because of the reason that the ReethiGowlai pattern with the necessary Gamakas and the Prayogas were used.

Janaki version-especially the Orchestration-is different because it is a pathos song.In fact, until 1977, nobody had even tried out this kind of an Orchestration in pure Western Classical style.

I also find that the Carnatic Reethigowlai that sounded so pure in ‘Chinna Kannan’, ‘Thalayai Kuniyum’ and ‘Raman Kathai KeLungaL’ sounds somewhat western in ‘Meetatha Oru Veenai’ despite being set to the five beat Khanta Chapu Talam.

Again ..it is because of the various constraints which we have already seen.

The fact of the matter is ILaiyaraaja is giving us the various facets of World Music in each of his compositions stretching the Boundaries but never crossing the Border(of aesthetics!).

‘ Avar Madai Thiranthu Thaavum Nadhi Alai
Manam Thiranthu Koovum Isaikuyil’

He is like the River in Full Flow ..
His Music is the natural music of the cuckoo..

ILaiyaraaja-The Spontaneous Musician!

’Music and silence combine strongly because music is done with silence, and silence is full of music’’

said Marcel Marceau.

Marcel was a French mime artiste and was the world’s most famous mime who created ‘Bip’, the white-faced clown.

Marceau has performed all over the world and spread L'art du silence meaning the ‘Art of silence’.

He respected silence and considered it as an art.

Is silence full of music?
I am not sure if many will agree with this.

For a moment, think of trees; think of mountains; think of snowfall; think of sculptures; think of a painting.

Do these speak? Do these make sounds?

But can we not agree that all these are musical?

Most of us read books(hopefully!).
What happens when we read?
Are we not in our own world full of silence?
Don’t we enjoy those moments?
Are'nt those moments musical?

Silence is poetic.

Silence is musical.

Silence gives us eternal happiness.

Silence is blissful.

Mahatma Gandhi said, ‘’In the attitude of silence, the soul finds the path in a clearer light, and what is elusive and deceptive resolves itself into crystal clearness. Our life is a long and arduous quest after Truth’’.

Gandhiji’s quest for Truth and his experiments with Truth are well known (though J Krishnamurthi would say that we do not ‘experiment’ with Truth and that we only experience it).

In the Hindu philosophy, there is a concept of ‘Dakshinamoorthy’.Dakshinamoorthy is one of the forms of Lord Shiva and is called as the Mouna Guru(Guru of Silence!).

He is supposed to be the Guru of the ultimate knowledge and understanding.
Dakshinamoorthy is in the form of abstract yogic meditation brimming with eternal bliss.

Symbolically, it means we acquire eternal knowledge when we are in a state of silence.

AruNagirinaathar-who has composed many verses/songs on Lord Muruga like Thiruppugazh, Mayil Viruththam, Seval Viruththam and whose work Kandar Anthaathi was quoted in the post on ‘Nam thananam thana’(ILaiyaraaja-the beautiful musician), sang about this silence in two different works of his.

In ‘Kandar Anubhoothy’, he says ‘The Lord asked me to shut up and not to talk, but I do not understand what it means’- சும்மா இரு சொல் அற என்றலுமே, அம்மா பொருள் ஒன்றும் அறிந்திலனே .

while in ‘Kandar Alankaaram’ – a later work he says ‘You let me lose everything and let me go into the boundary of silence.’
எல்லாம் இழந்து சும்மா இருக்கும் எல்லையில் என்னை செல்ல விட்டவா!

All these people realised the importance of silence and celebrated silence.

One of the best music composers in the world also celebrates silence.

He loves silence. He reveres silence. He worships silence.

We see this not only in most of his songs but also in his BGM in movies.
He would leave meaningful pauses and moments of silence that would convey more than what an instrument or voice would have conveyed.

Like Marceau, he believed that music and silence combine strongly and that silence is full of music.

And this is the reason for his being a spontaneous musician because silence leads to tranquility and tranquility leads to spontaneity.

It is ‘Mounamaana Neram’ from ‘Salangai Oli’(1983).

Interestingly, it is based on a raga called Pahaadi.
I am saying ‘interestingly’ because Pahaad in Hindi means the Mountain and can there be any better place for silence than the Mountains?

Pahaadi is a Hindustani Raag and is very close to the Maestro’s heart.
The structure is : sa ri2 ga3 pa dha2 pa dha2 Sa in the Arohanam and Sa ni3 dha2 pa ga3 ma1 ga3 ri2 Sa ni3 sa.

Another version is-pa dha2 sa ri2 ga3 pa dha2 Sa/Sa ni3 dha2 pa ma1 ga3 ri2 sa ni3 dha2 pa dha2 Sa.

Please note that there are many versions of the structure and I have given just two versions.

Like most of the Hindustani Raags, alien swaras are widely used in Pahaadi.
In fact, the use of such swaras add to the beauty of the Raag.
To be more specific, the ga2 and dha1 give a beautiful flavour to the Raag.

This Raag-esp.in film music-is confused with Sankarabharanam or Mohanam and at times Sudhdha Saaveri also.
If Sudhdha Saaveri is sung in madhyama Shruti, we get Raag Pahaadi.

This Raag is romantic, gives a sense of longing, is joyful and is painful!

So many emotions in one Raag?

As mentioned earlier, Maestro has used this Raag prolifically and has given all the emotions mentioned (in fact even more!).

Let us now look at the composition of the day.

We see the niceties of silence in the prelude and the pallavi.

As we hear the bells and the guitar we feel the soft, gentle breeze. This gathers impetus as we hear the humming of Janaki that sounds serene and stirring.We discover the real meanings of quietude and tranquility.

The Pallavi emerges from the silence with splendour. It is mellow, exquisite, and imperial conjuring up a silhouette of silence.

In the first interlude, the piquant flute crisscrosses the spoken and the unspoken. It traverses through the arc of the raga’s deliciousness.
It is like the birds chattering their ditties.

The beginning of the Charanam is like a mild fountain.It becomes a lovely musical fountain that gathers momentum finally flowing like a quiet stream.

We see the nuances of the Raga in this stream.

The second interlude is ornate. It shows the varied textures of the raga. The flute interspersed with the other musical instruments plays with sensitivity.
It shows us the contrastive colours of the raga.

It is weighty and zestful. It is innocent and sharp.

It is languorous and lucid. It is straight and circumfluent.

The composition gives us an admixture of feelings-Joy,Pain,Romance,Longing.
What is elusive and deceptive resolves into crystal clearness.

Music full of silence and silence full of music.

That is Tranquility !

மெளனமான நேரம் அவர் இசை இருந்தால் போதும்!

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!

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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!

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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 !

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