The place I live is surrounded by trees.
No.. I don’t live in a forest nor do I live in a village. I am a resident of Chennai, a Metropolitan City.
Then, isn’t it surprising that trees do exist in residential colonies in a metro city?
I must indeed thank my stars for this because somehow the building where I live, has managed to escape the onslaught of some of the insensitive residents who care more for their cars and parking space and little for the environment.
Thanks to these trees, there is often music all around.
Early morning, we are greeted by the birds whose songs in the Major scale drive away the laziness.
Come dusk and we hear the chatter of the birds, that include the crows. But even the chatter is musical.
During the night, the call of the birds is somewhat intermittent. It becomes musically eerie around midnight. Just three hours after this, is the beginning of the Brahmma Muhurtam and the little birds sing the Vedas.
I hardly get to see these birds. In fact, I am not Salim Ali and have never succeeded in identifying the birds-except a few. But the fact remains that their music inspires me so much everyday.
I am not a poet nor am I a musician. But I have often wondered at the sheer brilliance of some of the poets and musicians who with their enchanting compositions make us ‘feel’ the nature. We get transported to that world experiencing the beauty ourselves.
And how great that experience would be, if only we read the poems/listen to the music in the kind of environs similar to the one described by me?
I am sure such poets/musicians were (are) great lovers of nature. That is why, they are able to make us feel, enjoy and appreciate the beauty. They also have an uncanny knack of using Nature as an allegory of human emotions.
Almost all Sangam Tamizh poets had this ability.
See this poem from ‘AinkuRu nooRu’, a collection of 500 poems written by 5 different poets-100 by each poet. This one was written by ‘Peyanaar’ and it is about a warrior who thinks of his home (and obviously about his beloved) as the war gets over:
He sings in his mind,
‘Time to return home
This is winter and the red jasmine buds that look like the kingfisher bird
Are opened by the honey-bees that have fluttering wings
I shall see my poetic beauty whose forehead is as sharp as the sword’.
பிணிவீடு பெறுக மன்னவன் தொழிலே
பனிவளர் தளவின் சிரல்வாய்ச் செம்முகை
யாடு சிறைவண்டு அவிழ்ப்பப்
பாடல் சான்ற காண்கம்வாள் நுதலே.
Look how the poet has used similes to depict the emotions.
Fluttering honey-bee- Restlessness of the warrior
Red jasmine buds- His lover’s forehead
Kingfisher- Warrior
Winter- His somber mind (due to separation)
Honey-bees opening the buds-Union
Poetic ecology!
Now, let us turn our attention on the Musical ecologist, who with his sheer love for Nature, has been giving us some immortal compositions that make us appreciate Nature’s beauty more.
The song of the day is one such composition.
‘Manjum KuLirum’ from the Malayalam movie ‘Sandhyakku Virinja Poovu’ (1983) is based on Suddha Saveri, a pentatonic raga with classical overtones.
The structure of the raga is: sa ri2 ma1 pa dha2 Sa/Sa dha2 pa ma1 ri2 sa.
On paper, the raga is very similar to Mohanam and Madhyamavati. Substituting ‘ga’ for ‘ma’, we get the former while the latter is obtained by substituting ‘dha’ by ni2.
However, Suddha Saveri has a unique flavour and has a classical beauty of its own.
‘Manjum kuLirum..’ starts with the musical depiction of the blossoming buds. With a striking clarity of intonation, Janaki hums in the higher octave. We hear the cuckoo’s call as the flute responds to the aalaap. The akaaram continues with an intrinsic charm and ends with the makaaram .The raga is sketched in a matter of seconds. The santoor smiles in appreciation while the flute takes a trip with felicitous fluidity. The guitar repeats the ‘makaara’ swaras and the strings lead us to the Pallavi.
The Pallavi in the voice of Krishnachandran and Janaki has nuggets of grace embedded in it with the Flute following the first two lines. The pause for 4 Tisram cycles-embellished by the melodic instrument that plays only the second syllable ‘ki’ in ‘ta ki ta’is exquisitely tender.
The first interlude is etched with melody.
The strings scoot in western classical style and the single synth violin responds in style. Unobtrusively, this enticing pattern is repeated four times.
The string of the violin is now plucked with the fingers-without bowing- exactly at ‘Ta’ in ‘Ta ki ta’. After 4 cycles, all the three syllables-ta ki ta- are played. Even as this colourful sequence is on, the flute takes a spirited gait giving the burnished form of the raga. The piece is musically nuanced and rhythmically engaging.
The short and sweet strings at the end of the interlude blow like a gentle breeze.
The first line of the CharaNam gives the essence of the raga.
The following lines show the contrast, beautifully mixing the alien swaras with the flute echoing with passion. It also gives a ‘Pahaadi touch’ to Suddha Saveri.
The last line is placid with both the voices joining together towards the end.
The second interlude sees a profusion of very interesting patterns.
There is counterpoint with two sets of strings- one dazzling and the other musingly melodic-playing different sets of notes.
Suddenly, we see vignettes of a coastal Kerala village. It is a spell of elegant melodic passages as the voice echoes.
The profusely fascinating flute glows aesthetically.
Natural beauty at its best!
His music is as charming and cool as the early morning mist..
Friday, 25 May 2012
Sunday, 20 May 2012
ILaiyaraaja-The Aesthetically Flamboyant Musician..
All are geniuses flamboyant?
In fact, some are geniuses solely because of their flamboyance and since my objective is not to get into this and stir up a Hornet’s nest, let me focus on some other geniuses who generally have a subdued flamboyance. But what happens when this flamboyance raises its hood (with or without their being aware) at times?
Among other things, it shows yet another dimension of the Genius. But most importantly, ‘aesthetics’ -that runs as an undercurrent in the works of the geniuses - combines with Flamboyance resulting in a veritable fare.
Take the great AruNagirinathar whose works include the Tiruppugazh, Kandar Alankaaram, Kandar Anubhooti,Kandar Andathi.. and many more. Some of his verses have been quoted in my earlier posts ‘ILaiyaraaja-The Beautiful Musician’, ‘ILaiyaraaja-The Spontaneous Musician’, ‘Natana Raaja-Part 1’, ‘ILaiyaraaja-The Effervescent Musician’.
Now, let us look at this verse (people who cannot follow Tamizh, pl. note that the first two words in each line are the same.:
‘சித்தத் தரங்கத்தர் சித்தியெய் தத்திரி கின்றதென்னர்ச்
சித்தத் தரங்கத்தர் சந்ததி யேசெந்தி லாய்சலரா
சித்தத் தரங்கத்தர் ரக்கரைச் செற்றகந் தாதிங்களிஞ்
சித்தத் தரங்கத்தர் சேயா ரணத்தந் திகிரியையே’
‘Sidhdha tarangaththar sidhdhiyey thaththiri ginRathennar
Sidhdha tarangaththar santathi yesenthi laaysalaraa
Sidhdha tarangaththar rakkarai seRRakan thaathingaLinj
Sidhdha tarangaththar seyaa raNaththan thigiriyaiye’
Now, let me split the words to convey the proper meanings:
சித்த தரங்கத்தர் சித்தி எய்த திரிகின்றது ஏன்(அர்ச்ச)
சித்து, அத்தர், அங்கத்தர் சந்ததியே செந்திலாய்(சலரா)
சி தத்தரம் கத்து அரக்கரைச் செற்ற கந்தா திங்கள்,(இஞ்)
சி தத்து அரங்கத்தர் சேய் ஆரண தந்தி கிரி ஐ ஏ.
I can give the word by word meaning for people who are interested. For now, let me give the gist:
‘Oh Lord who is the son of Parameswara ; the One who destroyed the Asuras; the One who is worshipped by the Vedas; the one whose abode is the ‘Sengottu Hill’- Tell me this: Why do people who cannot control their wavering minds, perform pooja and pray to you just to while away their time?’
Though this is just the summary, there are a lot of beautiful things about this poem.
First and foremost is the way the (same) two words are used in all the four lines, conveying different meanings in each line.
Second is the way Lord Muruga is described.
He is called as the one whose father wears the garland of bones and is worshipped by one and all (second line).
Then to describe His virtue of destructing the evil forces, AuNagiri says, ‘You killed the Asuras who with their bloated egos came running and shouting from the seas’ (third line).
We see the poetic beauty in the next line as he describes the tower of Sri Rangam. The poet says ‘The Moon crawls on the wall of the temple(to show how tall it is..).’
Now, where did the Lord of Sri Rangam come into picture here?
He brilliantly gives a link here. ’The Vedas recited by Brahma, who is the son of the Lord of Sri Rangam, worship You!’
The first line is a marvel.
‘Why do people whose minds are as wavering as the waves of the sea look for salvation just by doing Pooja without realizing the value and roam around?’
In fact, he conveys what he wants to convey in the first line itself-unlike most of the poems where the last line is a clincher. The other three lines are just ornate.
But look how beautifully the words dance in those lines.
Most importantly, he conceals the words and leaves it for us to split and understand the real meaning.There is a deep philosophy in this itself, but I leave it to you to decipher..
What is of utmost interest to even non-tamizhs is the way the entire poem has been constructed.
Is this not what we call as ‘aesthetically flamboyant’?
The Emperor of Film Music is flamboyant at times. But just like the great AruNagirinaathar, his flamboyance too is aesthetic.
The song of the day is a popular composition, ‘Aasai nooRu vagai’ from the 1983 film ‘Aduththa Vaarisu’.
If one says it is based on VakulabharaNam,-the 14th melakarta- he/she is not way off the mark. However, a very close look suggests that the composition avoids/skips the swara ‘ga’ completely.
The Raga text ‘Sangeeta Swaraprastara Saagaram’ of Naadamuni PaNditar calls this raga-that is VakulabharaNam sans ‘ga’ as ‘Nandini’.As far as I know, nobody else has used this raga so far.
As some of you know, VakulabharaNam has a lot of Arabic flavour. What is to be noted is that Nandini too retains that flavour and is in fact slightly more zestful than the parent raga.
This is the structure of Nandini:
Sa ri1 ma1 pa dha1 ni2 Sa/Sa ni2 dha1 pa ma1 ri1 sa.
‘Aasai nooRu vagai’ has some more hidden beauties and let us look at those.
The Trumpets blow in the higher octave. The Bass bursts into melody. The Trumpets and the Guitars now dance with flamboyantly and gracefully. It is an enthralling dance with vibrant intensity.
Spontaneous elegance!
The percussion plays ‘ta ka dhi mi ta ka’ twice and takes us to the Pallavi.
The first two lines of the Pallavi is conceived brilliantly. I am saying this essentially for three reasons. Let us see the first and the second one now and the third one a little later.
The swaras are ‘sa ni2 sa ni2 sa ri1/ sa ni2 sa ni2 sa ri1/sa . . . . .’
1.Note that these are lower octave notes while the prelude is dominated by the higher octave notes.
2.These swaras and the pattern sound like ‘Saama veda’.
The following line is full of vibratos rendered with zeal by Malaysia Vasudevan.
The higher octave notes ‘Ri1 and Sa’ sandwiched between the lower octave ‘pa dha1 ’ and ‘ni2 dha1 pa dha1’ make the last line a pleasant rendezvous.
The incandescent brass flute in the first interlude brings in romance.As the subtle bass guitar and the Bells mingle with the flute, we are in for another surprise. Shehnoy, considered (by film music directors) to be an instrument for pathos, jumps with joy vivifying the atmosphere.
The trumpet now moderates the proceedings, at the same time goading the Bass Guitar which moves with gusto.
The first two lines of the CharaNam is dominated by the ‘panchamam’(pa) which pairs with the ‘sa’, ‘ma’ and ‘dha’. Makes us wonder yet again at the intuitive conception of the composer.
Before I go to the third line, it is now time to explain ‘Reason no.3’.
I had mentioned that the first two lines of the Pallavi follow ‘sa ni2 sa ni2 sa ri1..’.
The third line of the CharaNam-‘Ingu sorgam mannil varum sontam mannil varum..’
follows ‘ pa dha1/ Sa ni2 Sa ni2 Sa Ri1/ Sa ni2 Sa ni2 Sa Ri1 Sa’- that is the lower ‘sa’ and the lower ‘ri1’ are substituted by the upper octave notes.
To understand what this means, sing the Pallavi(2 lines) and then sing ‘Sorgam mannil varum..’.Do you find the similarity and the difference?
Similarity is in the notes and difference is in the octave!
One more beauty is that the Pallavi and the CharaNams that start in the lower ‘sa’ end with the upper ‘Sa’.
In the second interlude, the Bass Guitar pulls our heart strings. We see a confetti of beautiful fireworks as the flute sizzles. The chorus gives out an ecstatic cry and the brass flute takes over bringing a sense of plenitude. The brass section continues with the torrential pour from the trumpets, trampoline and other wind instruments.The mandolin at the end bows in Arabian style!
A multitude of desires.. But our desire is to listen to his music forever.
ஆசை நூறு வகைகள் இருந்தாலும், நமது ஒரே ஆசை அவரது இசையை எப்பொழுதும் கேட்டுக்கொண்டே இருப்பது!
In fact, some are geniuses solely because of their flamboyance and since my objective is not to get into this and stir up a Hornet’s nest, let me focus on some other geniuses who generally have a subdued flamboyance. But what happens when this flamboyance raises its hood (with or without their being aware) at times?
Among other things, it shows yet another dimension of the Genius. But most importantly, ‘aesthetics’ -that runs as an undercurrent in the works of the geniuses - combines with Flamboyance resulting in a veritable fare.
Take the great AruNagirinathar whose works include the Tiruppugazh, Kandar Alankaaram, Kandar Anubhooti,Kandar Andathi.. and many more. Some of his verses have been quoted in my earlier posts ‘ILaiyaraaja-The Beautiful Musician’, ‘ILaiyaraaja-The Spontaneous Musician’, ‘Natana Raaja-Part 1’, ‘ILaiyaraaja-The Effervescent Musician’.
Now, let us look at this verse (people who cannot follow Tamizh, pl. note that the first two words in each line are the same.:
‘சித்தத் தரங்கத்தர் சித்தியெய் தத்திரி கின்றதென்னர்ச்
சித்தத் தரங்கத்தர் சந்ததி யேசெந்தி லாய்சலரா
சித்தத் தரங்கத்தர் ரக்கரைச் செற்றகந் தாதிங்களிஞ்
சித்தத் தரங்கத்தர் சேயா ரணத்தந் திகிரியையே’
‘Sidhdha tarangaththar sidhdhiyey thaththiri ginRathennar
Sidhdha tarangaththar santathi yesenthi laaysalaraa
Sidhdha tarangaththar rakkarai seRRakan thaathingaLinj
Sidhdha tarangaththar seyaa raNaththan thigiriyaiye’
Now, let me split the words to convey the proper meanings:
சித்த தரங்கத்தர் சித்தி எய்த திரிகின்றது ஏன்(அர்ச்ச)
சித்து, அத்தர், அங்கத்தர் சந்ததியே செந்திலாய்(சலரா)
சி தத்தரம் கத்து அரக்கரைச் செற்ற கந்தா திங்கள்,(இஞ்)
சி தத்து அரங்கத்தர் சேய் ஆரண தந்தி கிரி ஐ ஏ.
I can give the word by word meaning for people who are interested. For now, let me give the gist:
‘Oh Lord who is the son of Parameswara ; the One who destroyed the Asuras; the One who is worshipped by the Vedas; the one whose abode is the ‘Sengottu Hill’- Tell me this: Why do people who cannot control their wavering minds, perform pooja and pray to you just to while away their time?’
Though this is just the summary, there are a lot of beautiful things about this poem.
First and foremost is the way the (same) two words are used in all the four lines, conveying different meanings in each line.
Second is the way Lord Muruga is described.
He is called as the one whose father wears the garland of bones and is worshipped by one and all (second line).
Then to describe His virtue of destructing the evil forces, AuNagiri says, ‘You killed the Asuras who with their bloated egos came running and shouting from the seas’ (third line).
We see the poetic beauty in the next line as he describes the tower of Sri Rangam. The poet says ‘The Moon crawls on the wall of the temple(to show how tall it is..).’
Now, where did the Lord of Sri Rangam come into picture here?
He brilliantly gives a link here. ’The Vedas recited by Brahma, who is the son of the Lord of Sri Rangam, worship You!’
The first line is a marvel.
‘Why do people whose minds are as wavering as the waves of the sea look for salvation just by doing Pooja without realizing the value and roam around?’
In fact, he conveys what he wants to convey in the first line itself-unlike most of the poems where the last line is a clincher. The other three lines are just ornate.
But look how beautifully the words dance in those lines.
Most importantly, he conceals the words and leaves it for us to split and understand the real meaning.There is a deep philosophy in this itself, but I leave it to you to decipher..
What is of utmost interest to even non-tamizhs is the way the entire poem has been constructed.
Is this not what we call as ‘aesthetically flamboyant’?
The Emperor of Film Music is flamboyant at times. But just like the great AruNagirinaathar, his flamboyance too is aesthetic.
The song of the day is a popular composition, ‘Aasai nooRu vagai’ from the 1983 film ‘Aduththa Vaarisu’.
If one says it is based on VakulabharaNam,-the 14th melakarta- he/she is not way off the mark. However, a very close look suggests that the composition avoids/skips the swara ‘ga’ completely.
The Raga text ‘Sangeeta Swaraprastara Saagaram’ of Naadamuni PaNditar calls this raga-that is VakulabharaNam sans ‘ga’ as ‘Nandini’.As far as I know, nobody else has used this raga so far.
As some of you know, VakulabharaNam has a lot of Arabic flavour. What is to be noted is that Nandini too retains that flavour and is in fact slightly more zestful than the parent raga.
This is the structure of Nandini:
Sa ri1 ma1 pa dha1 ni2 Sa/Sa ni2 dha1 pa ma1 ri1 sa.
‘Aasai nooRu vagai’ has some more hidden beauties and let us look at those.
The Trumpets blow in the higher octave. The Bass bursts into melody. The Trumpets and the Guitars now dance with flamboyantly and gracefully. It is an enthralling dance with vibrant intensity.
Spontaneous elegance!
The percussion plays ‘ta ka dhi mi ta ka’ twice and takes us to the Pallavi.
The first two lines of the Pallavi is conceived brilliantly. I am saying this essentially for three reasons. Let us see the first and the second one now and the third one a little later.
The swaras are ‘sa ni2 sa ni2 sa ri1/ sa ni2 sa ni2 sa ri1/sa . . . . .’
1.Note that these are lower octave notes while the prelude is dominated by the higher octave notes.
2.These swaras and the pattern sound like ‘Saama veda’.
The following line is full of vibratos rendered with zeal by Malaysia Vasudevan.
The higher octave notes ‘Ri1 and Sa’ sandwiched between the lower octave ‘pa dha1 ’ and ‘ni2 dha1 pa dha1’ make the last line a pleasant rendezvous.
The incandescent brass flute in the first interlude brings in romance.As the subtle bass guitar and the Bells mingle with the flute, we are in for another surprise. Shehnoy, considered (by film music directors) to be an instrument for pathos, jumps with joy vivifying the atmosphere.
The trumpet now moderates the proceedings, at the same time goading the Bass Guitar which moves with gusto.
The first two lines of the CharaNam is dominated by the ‘panchamam’(pa) which pairs with the ‘sa’, ‘ma’ and ‘dha’. Makes us wonder yet again at the intuitive conception of the composer.
Before I go to the third line, it is now time to explain ‘Reason no.3’.
I had mentioned that the first two lines of the Pallavi follow ‘sa ni2 sa ni2 sa ri1..’.
The third line of the CharaNam-‘Ingu sorgam mannil varum sontam mannil varum..’
follows ‘ pa dha1/ Sa ni2 Sa ni2 Sa Ri1/ Sa ni2 Sa ni2 Sa Ri1 Sa’- that is the lower ‘sa’ and the lower ‘ri1’ are substituted by the upper octave notes.
To understand what this means, sing the Pallavi(2 lines) and then sing ‘Sorgam mannil varum..’.Do you find the similarity and the difference?
Similarity is in the notes and difference is in the octave!
One more beauty is that the Pallavi and the CharaNams that start in the lower ‘sa’ end with the upper ‘Sa’.
In the second interlude, the Bass Guitar pulls our heart strings. We see a confetti of beautiful fireworks as the flute sizzles. The chorus gives out an ecstatic cry and the brass flute takes over bringing a sense of plenitude. The brass section continues with the torrential pour from the trumpets, trampoline and other wind instruments.The mandolin at the end bows in Arabian style!
A multitude of desires.. But our desire is to listen to his music forever.
ஆசை நூறு வகைகள் இருந்தாலும், நமது ஒரே ஆசை அவரது இசையை எப்பொழுதும் கேட்டுக்கொண்டே இருப்பது!
Monday, 14 May 2012
ILaiyaraaja-The Vivacious Musician..
AndaL was a great boon to Tamizh language.
The mastery of the little girl, who was just around 10-12 years when she composed 143 verses- which is now called as ‘Naachiyaar Tirumozhi’- and 30 verses of ‘Tiruppaavai’ ruled the language of Tamizh.
What makes her poems great are her choice of words, her creativity, innovation and most importantly her vivaciousness. Though these were composed around the 8th Century, the poems can be easily interpreted, understood, appreciated and enjoyed. At the same time, the poems have esoteric value too.
Look at this verse taken from her ‘Naachiyaar Tirumozhi’ (5th verse in the 9th Tirumozhi) where she describes the Lord of Tirumal-irum-solai (a place near Madurai):
‘Oh..Bees that hang in each bloom of fragrant flowers
At the Floral park that surrounds Tirumaal-irum-solai,
The springs, and the Red lotuses that toss their heads from the springs,
You remind me of Lord’s cerulean hue and his beautifully shaped eyes,
Please lead me to Him..’
துங்க மலர் பொழில் சூழ் திருமாலிருஞ்சோலை நின்ற
செங்கண் கட்டுமுகிலின் திருவுருப்போல் மலர்மேல்
தொங்கிய வண்டினங்காள்!தொகு பூஞ்சுனைகாள்!சுனையில்
தங்குசெந்தாமரைகாள்!எனக்கு ஒரு சரண் சாற்றுமினே!
Enamoured with the beauty of the place, the little girl jumps.Each and every creature in that place reminds her of the Lord. She addresses the creatures (bees,lotuses and other flowers, springs ) requesting those to show her the way to see the Lord.
True..the poem shows her unflinching and unimpeachable devotion to the Lord. But what it also does is that it transports us to that very place making us feel lively, joyful and vivacious..
After all, the vivaciousness of the geniuses is contagious…Right?
That is why, we all enjoy the music of this gentleman whose vivaciousness and energy levels are incredibly true.
On this special day when we all celebrate 36 years of his entry into film music, let us look at a composition of his which is as charming and lively as AandaL’s poems.
It is based on one of his favourite ragas (I am saying ‘favourite’ because he has composed hundreds of songs in this raga alone!).
This raag Pahaadi has already been discussed in my posts on ‘Mounamana Neram’(ILaiyaraaja- The Spontaneous Musician )and on ‘Ennaththil Edho’ (ILaiyaraaja-The Enlightened Musician).
This Hindustani raag is believed to have originated from the Tribes and it will be not be fair (I would say even a sacrilege) to mention a aroh/avaroh structure since it is not bound by any formal structure and is identified more by the feel than anything else.
However, this is one of the structures:
Pa Dha2 Sa Ri2 Ga3 Pa Dha2 Sa/Sa Ni3 Dha2 Pa ma1 Ga3 ri2 sa ni3 dha2 pa dha2 Sa.
The raag shines beautifully when alien notes are added to it.
The song of the day is ‘Pudhu VannangaL pongidum solai’ from the 1981 film ‘MurattukkaaLai’.
The composition starts without a prelude with the first two lines in the honey-soaked voice of Janaki moving with fluidity.
The alien notes are added precisely in the 3rd and the 4th line making it poetically beautiful.
The last line jumps with joy.
This composition in the Tisra pattern(3-beat cycle) also has the ‘ateeta eduppu’-that is the songs starts before the Tala cycle. The ‘samam’(beginning of the Tala cycle) is in ‘VannangaL’.
The first interlude is full of verve.
The Flute sings like a cuckoo daintily without any percussion.
The piped instruments join the flute now with the percussion nodding its head in Tisram. The strings follow suit.
The sprightly flute sings again. Mesmerised by this the birds start singing.
The strings dance and the Santoor swaggers gleefully.
The keys resonate with the strings playing single notes in the background.
As if this is not enough, the strings play in higher octave with the santoor swaying wondrously.
The CharaNam is beautifully structured and gives a rich imagery of Pahaadi.
Interspersed with the santoor, the first two lines saunter.
If the santoor for exactly 4 Tisrams at the end of the simple and beautiful 3rd line is stately, the next line that has elongated phrases is benign while the last line with the alien notes gives ineffable joy!
The anomalous second interlude is an aural treat.
It starts with the vocals-Janaki and chorus- singing joyously in folk style.
Though it is free flowing without any percussion, it follows the Tisram pattern. Exactly after 36 Tisrams, smiling santoor plays for 4 Tisrams giving way to the luscious flute that sails musically. We are transported to a village and we see the green fields, flowing water and a spotless sky.
A vicarious experience!
The colourfully plumaged strings now eddy against the guitar playfully and finally playing the same notes as the guitar.
Is this not what we call as vivacious?
புது வண்ணங்கள் பொங்கிடும் இசைச்சோலை!
The mastery of the little girl, who was just around 10-12 years when she composed 143 verses- which is now called as ‘Naachiyaar Tirumozhi’- and 30 verses of ‘Tiruppaavai’ ruled the language of Tamizh.
What makes her poems great are her choice of words, her creativity, innovation and most importantly her vivaciousness. Though these were composed around the 8th Century, the poems can be easily interpreted, understood, appreciated and enjoyed. At the same time, the poems have esoteric value too.
Look at this verse taken from her ‘Naachiyaar Tirumozhi’ (5th verse in the 9th Tirumozhi) where she describes the Lord of Tirumal-irum-solai (a place near Madurai):
‘Oh..Bees that hang in each bloom of fragrant flowers
At the Floral park that surrounds Tirumaal-irum-solai,
The springs, and the Red lotuses that toss their heads from the springs,
You remind me of Lord’s cerulean hue and his beautifully shaped eyes,
Please lead me to Him..’
துங்க மலர் பொழில் சூழ் திருமாலிருஞ்சோலை நின்ற
செங்கண் கட்டுமுகிலின் திருவுருப்போல் மலர்மேல்
தொங்கிய வண்டினங்காள்!தொகு பூஞ்சுனைகாள்!சுனையில்
தங்குசெந்தாமரைகாள்!எனக்கு ஒரு சரண் சாற்றுமினே!
Enamoured with the beauty of the place, the little girl jumps.Each and every creature in that place reminds her of the Lord. She addresses the creatures (bees,lotuses and other flowers, springs ) requesting those to show her the way to see the Lord.
True..the poem shows her unflinching and unimpeachable devotion to the Lord. But what it also does is that it transports us to that very place making us feel lively, joyful and vivacious..
After all, the vivaciousness of the geniuses is contagious…Right?
That is why, we all enjoy the music of this gentleman whose vivaciousness and energy levels are incredibly true.
On this special day when we all celebrate 36 years of his entry into film music, let us look at a composition of his which is as charming and lively as AandaL’s poems.
It is based on one of his favourite ragas (I am saying ‘favourite’ because he has composed hundreds of songs in this raga alone!).
This raag Pahaadi has already been discussed in my posts on ‘Mounamana Neram’(ILaiyaraaja- The Spontaneous Musician )and on ‘Ennaththil Edho’ (ILaiyaraaja-The Enlightened Musician).
This Hindustani raag is believed to have originated from the Tribes and it will be not be fair (I would say even a sacrilege) to mention a aroh/avaroh structure since it is not bound by any formal structure and is identified more by the feel than anything else.
However, this is one of the structures:
Pa Dha2 Sa Ri2 Ga3 Pa Dha2 Sa/Sa Ni3 Dha2 Pa ma1 Ga3 ri2 sa ni3 dha2 pa dha2 Sa.
The raag shines beautifully when alien notes are added to it.
The song of the day is ‘Pudhu VannangaL pongidum solai’ from the 1981 film ‘MurattukkaaLai’.
The composition starts without a prelude with the first two lines in the honey-soaked voice of Janaki moving with fluidity.
The alien notes are added precisely in the 3rd and the 4th line making it poetically beautiful.
The last line jumps with joy.
This composition in the Tisra pattern(3-beat cycle) also has the ‘ateeta eduppu’-that is the songs starts before the Tala cycle. The ‘samam’(beginning of the Tala cycle) is in ‘VannangaL’.
The first interlude is full of verve.
The Flute sings like a cuckoo daintily without any percussion.
The piped instruments join the flute now with the percussion nodding its head in Tisram. The strings follow suit.
The sprightly flute sings again. Mesmerised by this the birds start singing.
The strings dance and the Santoor swaggers gleefully.
The keys resonate with the strings playing single notes in the background.
As if this is not enough, the strings play in higher octave with the santoor swaying wondrously.
The CharaNam is beautifully structured and gives a rich imagery of Pahaadi.
Interspersed with the santoor, the first two lines saunter.
If the santoor for exactly 4 Tisrams at the end of the simple and beautiful 3rd line is stately, the next line that has elongated phrases is benign while the last line with the alien notes gives ineffable joy!
The anomalous second interlude is an aural treat.
It starts with the vocals-Janaki and chorus- singing joyously in folk style.
Though it is free flowing without any percussion, it follows the Tisram pattern. Exactly after 36 Tisrams, smiling santoor plays for 4 Tisrams giving way to the luscious flute that sails musically. We are transported to a village and we see the green fields, flowing water and a spotless sky.
A vicarious experience!
The colourfully plumaged strings now eddy against the guitar playfully and finally playing the same notes as the guitar.
Is this not what we call as vivacious?
புது வண்ணங்கள் பொங்கிடும் இசைச்சோலை!
Saturday, 5 May 2012
ILaiyaraaja-Musician with a Radiance..
Awestruck by the radiance of the Lord, Nammazhvar bombards him with questions.
He asks,
‘Is the radiance of Your Face because of the radiance of Your Crown (head) ?
Has the Lotus under You blossomed out of the radiance of Your Feet?
Has the radiance from your waist blended with the radiance of Your ornaments?
Oh Lord Please tell me!’
முடிச்சோதியாய் உனது முகச்சோதி மலந்ததுவோ?
அடிச்சோதி நீ நின்ற தாமரையாய் அலர்ந்ததுவோ?
படிச்சோதி ஆடையொடும் பல்கலனாய், நின் பைம்பொன்
கடிச்சோதி கலந்ததுவோ? திருமாலே! கட்டுரையே.
Though he raises these questions the great Nammazhvar knew the answer.
Put in very simple words, the Lord himself is radiance personified. But he saw different dimensions to the Divine Radiance and the poet in him wouldn’t stop.
Don’t we all feel the radiance in each and every word?
In a similar way, we see and feel the radiance in the compositions of the Master.
We start asking, ‘Is the radiance of your music because of the tune?
Is the radiance of the songs because of the orchestration?
Is the radiance of your compositions because of the usage of ragas and
other classical techniques?’
We know the answer and we don’t know the answer.
Let us look at the composition of the day-‘Maharaajanodu RaNi Vandu Serum..’ from the film ‘Sati Lilavati’(1995).
It is based on Sarasangi, the 27th melakarata.
Its structure is: sa ri2 ga3 ma1 pa dha1 ni3 Sa/Sa ni3 dha1 pa ma1 ga3 ri2 sa.
It is the Shuddha madhyama counterpart of Latangi-that is if we substitute ‘ma1’ with ‘ma2’, we get Latangi.
It is also very closely related to some of the most popular ragas.
Change the ‘ri2’ to ‘ri1’ and we get Mayamalavagowla.
Change the ‘ga3’ to ‘ga2’ and we get KiravaNi.
Apart from this, it is also in the graham bedam group of Dharmavati and Chakravagam.
More about this soon..
ILaiyaraaja has used this raga in some of the greatest compositions-one of these being ‘Endrendrum Aanandame’. Please read my post ‘Laya Raaja’ to know more.
‘Maharaajanodu..’ has a very soft beginning. The Keys and the Bells announce the arrival of the spring season (and of course the romance). The guitar wafts fragrance and the second guitar that enjoys it. The finely textured Sax enters with the passionate percussion playing the ‘ta ka dhi mi’ in its own style.
It is a rhapsody of sorts.
The Pallavi in the voices of Unnikrishnan and Chitra is lively with the resonant Bass guitar and the sweet electric guitar following them very closely. Even as the third and the fourth lines are rendered, the strings skate on thick ice.
Icing on the cake!
The Raga flows gently in the first interlude.
The synth violins move with poise with the Sax holding their hands, warming the cockles of our hearts. The Bass Guitar starts singing as if it is in a trance. The eloquent flute sketches the raga in style in its own inimitable way.
The CharaNams are very aesthetically structured.
The first two lines are followed by the exquisite flute taking short freewheeling flights.
The next line is feisty with a gap for the guitar for a whole avartanam(cycle).
The following two lines exude the beauty of the Raga while the last line has some leisurely oscillations.
The second interlude has innovative, inspirational and intelligent splashes.
Let us now go back to what I said about the Graha Bedam group earlier in the post.
I have already discussed about the technique of Graha Bedam in some of my posts here.
If any swara-apart from the ‘sa’- is kept as the base, it yields different ragas, some valid and some not valid.
As per the theory, if the ‘pa’ of Sarasangi is made as the ‘sa’, it becomes Chakravagam.
The Master does this first.
Now, please read this carefully.
The structure of Chakravagam is sa ri1 ga3 ma1 pa dha2 ni2 Sa/Sa ni2 dha2 pa ma1 ga3 ri1 sa.
Therefore the Raga should logically be Chakravagam..But the Master Innovator goes one step further.
He uses the same six swaras- sa ri1 ma1 pa dha2 ni2- but instead of ‘ga3’, he uses the vivadi swara ‘ga1’ and the raga we get to hear is Vanaspati, the 4th melakarta.
Doing the unthinkable- Is it not the Hallmark of a Genius.
The Keys and the guitar move with finesse in Vanaspati with the Sax providing the melodic charm in Sarasangi.
It is the romance between the Emperor and The Queen(Music). Raaja yoga for us in yugas to follow..
மஹாராஜனோடு இசை ராணி கை கோர்த்தால்,பலப்பல யுகங்களிலும் ராஜ யோகம்தான்!
He asks,
‘Is the radiance of Your Face because of the radiance of Your Crown (head) ?
Has the Lotus under You blossomed out of the radiance of Your Feet?
Has the radiance from your waist blended with the radiance of Your ornaments?
Oh Lord Please tell me!’
முடிச்சோதியாய் உனது முகச்சோதி மலந்ததுவோ?
அடிச்சோதி நீ நின்ற தாமரையாய் அலர்ந்ததுவோ?
படிச்சோதி ஆடையொடும் பல்கலனாய், நின் பைம்பொன்
கடிச்சோதி கலந்ததுவோ? திருமாலே! கட்டுரையே.
Though he raises these questions the great Nammazhvar knew the answer.
Put in very simple words, the Lord himself is radiance personified. But he saw different dimensions to the Divine Radiance and the poet in him wouldn’t stop.
Don’t we all feel the radiance in each and every word?
In a similar way, we see and feel the radiance in the compositions of the Master.
We start asking, ‘Is the radiance of your music because of the tune?
Is the radiance of the songs because of the orchestration?
Is the radiance of your compositions because of the usage of ragas and
other classical techniques?’
We know the answer and we don’t know the answer.
Let us look at the composition of the day-‘Maharaajanodu RaNi Vandu Serum..’ from the film ‘Sati Lilavati’(1995).
It is based on Sarasangi, the 27th melakarata.
Its structure is: sa ri2 ga3 ma1 pa dha1 ni3 Sa/Sa ni3 dha1 pa ma1 ga3 ri2 sa.
It is the Shuddha madhyama counterpart of Latangi-that is if we substitute ‘ma1’ with ‘ma2’, we get Latangi.
It is also very closely related to some of the most popular ragas.
Change the ‘ri2’ to ‘ri1’ and we get Mayamalavagowla.
Change the ‘ga3’ to ‘ga2’ and we get KiravaNi.
Apart from this, it is also in the graham bedam group of Dharmavati and Chakravagam.
More about this soon..
ILaiyaraaja has used this raga in some of the greatest compositions-one of these being ‘Endrendrum Aanandame’. Please read my post ‘Laya Raaja’ to know more.
‘Maharaajanodu..’ has a very soft beginning. The Keys and the Bells announce the arrival of the spring season (and of course the romance). The guitar wafts fragrance and the second guitar that enjoys it. The finely textured Sax enters with the passionate percussion playing the ‘ta ka dhi mi’ in its own style.
It is a rhapsody of sorts.
The Pallavi in the voices of Unnikrishnan and Chitra is lively with the resonant Bass guitar and the sweet electric guitar following them very closely. Even as the third and the fourth lines are rendered, the strings skate on thick ice.
Icing on the cake!
The Raga flows gently in the first interlude.
The synth violins move with poise with the Sax holding their hands, warming the cockles of our hearts. The Bass Guitar starts singing as if it is in a trance. The eloquent flute sketches the raga in style in its own inimitable way.
The CharaNams are very aesthetically structured.
The first two lines are followed by the exquisite flute taking short freewheeling flights.
The next line is feisty with a gap for the guitar for a whole avartanam(cycle).
The following two lines exude the beauty of the Raga while the last line has some leisurely oscillations.
The second interlude has innovative, inspirational and intelligent splashes.
Let us now go back to what I said about the Graha Bedam group earlier in the post.
I have already discussed about the technique of Graha Bedam in some of my posts here.
If any swara-apart from the ‘sa’- is kept as the base, it yields different ragas, some valid and some not valid.
As per the theory, if the ‘pa’ of Sarasangi is made as the ‘sa’, it becomes Chakravagam.
The Master does this first.
Now, please read this carefully.
The structure of Chakravagam is sa ri1 ga3 ma1 pa dha2 ni2 Sa/Sa ni2 dha2 pa ma1 ga3 ri1 sa.
Therefore the Raga should logically be Chakravagam..But the Master Innovator goes one step further.
He uses the same six swaras- sa ri1 ma1 pa dha2 ni2- but instead of ‘ga3’, he uses the vivadi swara ‘ga1’ and the raga we get to hear is Vanaspati, the 4th melakarta.
Doing the unthinkable- Is it not the Hallmark of a Genius.
The Keys and the guitar move with finesse in Vanaspati with the Sax providing the melodic charm in Sarasangi.
It is the romance between the Emperor and The Queen(Music). Raaja yoga for us in yugas to follow..
மஹாராஜனோடு இசை ராணி கை கோர்த்தால்,பலப்பல யுகங்களிலும் ராஜ யோகம்தான்!
Sunday, 15 April 2012
ILaiyaraaja- The Master Craftsman!
A very well known incident from one of the greatest epics.
The eyes of Rama meet the eyes of Sita..
What happens next?
Let us see how the great Kamban describes it:
பருகிய நோக்கெனும் பாசத்தால் பிணித்து
ஒருவரை ஒருவர் தம் உள்ளம் ஈர்த்தலால்
வரிசிலை அண்ணலும் வாட்கண் நங்கையும்
இருவரும் மாறிப் புக்கு இதயம் எய்தினர்
‘Their eyes drink each other, and they are attracted to each other- the ‘look’ being the thread that binds them together.’’
This is what he says in the first part.
Well and good! After all, isn’t it natural? So, what is so great about it except the ‘eyes drinking each other’ part which is of course poetically imaginative.
Now, look at the second part..
‘’The one with the bow and the other with the sword enter the other’s hearts.’’.
As we all know, Rama is known for his bow. In fact, the Bhratanatya mudra for Rama itself symbolizes the bow.
Therefore, there is no surprise in describing Rama as ‘varisilai annal’.
He could have then gone ahead and described Sita as ‘doe eyed’ or one whose eyes are like the fish and said ‘maan vizh nangai’ or ‘kayalvizh nangai’.
But ‘Kavi Chakravarti’ is different.
He thinks ‘how can I say that the bow of Rama defeated the eyes of Sita? By saying this, will I not be insulting Sita?’
Most importantly, can there be a victor( or vanquished) in the game of Love?
So, he decides to say ‘VaatkaN nangai’(the one with the eye which is like a sword!).
The Bow and the Sword meet, smile at each other with mutual respect and clear the way for Love.
This is what makes him a Master Craftsman.
ILaiyaraaja, who has been giving soulful music, is another Master Craftsman.
No doubt he has used innumerable number of classical ragas, but what distinguishes him from the rest is his brilliance, creativity, innovation and the sense of aesthetics.
The song of the day too has all these aspects ingrained in it.
It is ‘Jaaji Malli..’ from the Telugu film ‘Chinnabbayi’(1997).
The composition is based on Gowrimanohari ragam.
Gowrimanohari is the 23rd melakarta and invokes nostalgia in a very subtle manner.It is the Shuddha Madhyama counterpart of Dharmavati and is in the same grahabedam group as Vaachaspati, Charukesi and Natakapriya.
Its structure is sa ri2 ga2 ma1 pa dha2 ni3 Sa/Sa ni3 dha2 pa ma1 ga2 ri2 sa.
If the ‘ga’ variant is changed, it becomes ShankarabharaNam. This is a very interesting aspect since both these ragas are part of western scales-with the combination of notes of Gowrimanohari called as melodic minor and those of ShankarabharaNam called as Diatonic Major.
‘Jaaji Malli’ starts with rhythmic phrases in Chatushram(4-beat cycle) with first ‘ta ka dhi mi’ laying stress on the second syllable ‘ka’.
The stringed instruments and the ‘keys’ illuminate the TaLa and the Raga.
The TaLa starts after ‘Jaaji’ and as explained in the previous post, such a start is called as ‘ateeta eduppu’. The ‘samam’ (place where the TaLa starts) is in ‘mal’.
The Pallavi has clear enunciations rendered with aplomb by SPB and Chitra..
Not only is it emollient but it also structures the raga’s image with elegance.
The beginning of first interlude has the spunky percussion playing the ‘ta ka dhi mi’ four times. The mesmerising bass flute takes over soaking us in melody. The scintillating stringed instrument strikes us like an arrow and leads us to a musical swing where we swing along with the lustrous vocals. It is the resonance of the raga at the end of the interlude that makes us spell bound.
The CharaNams are melodically designed.
The first section has subtle romance with some special syllables ‘taga taga dam dam’ used.
The following section has immaculate leisurely phrases.
The last section with its inherent naughtiness is mellifluent.
The surfeit of sangatis as the Pallavi is rendered again at the end of the first CharaNam stands testimony to the crafting skills of the composer and the versatility of the singer.
The second interlude is a magic of sorts.
The guitar in the beginning of the second interlude glows with sheen.. The second guitar joins now and plays with élan showing the Arabian shades of the raga. The Brass flute gives the western classical contours.The Sax now takes over and eloquently shows the jazzy colours. It drips with honey.
The musically colourful combinations prove yet again that music after all is universal.
The ending of the song is another beauty with the absence of percussion as the Pallavi is rendered again with some new words added to it. It is sedate and tranquil.
The original Pallavi appears again this time in a slow tempo with the lilting flute sketching a beautiful silhouette of the raga.
‘Mee tho memu nadachi vastaamu yededu janmalaku..’
‘We shall follow you and your music forever..’
The eyes of Rama meet the eyes of Sita..
What happens next?
Let us see how the great Kamban describes it:
பருகிய நோக்கெனும் பாசத்தால் பிணித்து
ஒருவரை ஒருவர் தம் உள்ளம் ஈர்த்தலால்
வரிசிலை அண்ணலும் வாட்கண் நங்கையும்
இருவரும் மாறிப் புக்கு இதயம் எய்தினர்
‘Their eyes drink each other, and they are attracted to each other- the ‘look’ being the thread that binds them together.’’
This is what he says in the first part.
Well and good! After all, isn’t it natural? So, what is so great about it except the ‘eyes drinking each other’ part which is of course poetically imaginative.
Now, look at the second part..
‘’The one with the bow and the other with the sword enter the other’s hearts.’’.
As we all know, Rama is known for his bow. In fact, the Bhratanatya mudra for Rama itself symbolizes the bow.
Therefore, there is no surprise in describing Rama as ‘varisilai annal’.
He could have then gone ahead and described Sita as ‘doe eyed’ or one whose eyes are like the fish and said ‘maan vizh nangai’ or ‘kayalvizh nangai’.
But ‘Kavi Chakravarti’ is different.
He thinks ‘how can I say that the bow of Rama defeated the eyes of Sita? By saying this, will I not be insulting Sita?’
Most importantly, can there be a victor( or vanquished) in the game of Love?
So, he decides to say ‘VaatkaN nangai’(the one with the eye which is like a sword!).
The Bow and the Sword meet, smile at each other with mutual respect and clear the way for Love.
This is what makes him a Master Craftsman.
ILaiyaraaja, who has been giving soulful music, is another Master Craftsman.
No doubt he has used innumerable number of classical ragas, but what distinguishes him from the rest is his brilliance, creativity, innovation and the sense of aesthetics.
The song of the day too has all these aspects ingrained in it.
It is ‘Jaaji Malli..’ from the Telugu film ‘Chinnabbayi’(1997).
The composition is based on Gowrimanohari ragam.
Gowrimanohari is the 23rd melakarta and invokes nostalgia in a very subtle manner.It is the Shuddha Madhyama counterpart of Dharmavati and is in the same grahabedam group as Vaachaspati, Charukesi and Natakapriya.
Its structure is sa ri2 ga2 ma1 pa dha2 ni3 Sa/Sa ni3 dha2 pa ma1 ga2 ri2 sa.
If the ‘ga’ variant is changed, it becomes ShankarabharaNam. This is a very interesting aspect since both these ragas are part of western scales-with the combination of notes of Gowrimanohari called as melodic minor and those of ShankarabharaNam called as Diatonic Major.
‘Jaaji Malli’ starts with rhythmic phrases in Chatushram(4-beat cycle) with first ‘ta ka dhi mi’ laying stress on the second syllable ‘ka’.
The stringed instruments and the ‘keys’ illuminate the TaLa and the Raga.
The TaLa starts after ‘Jaaji’ and as explained in the previous post, such a start is called as ‘ateeta eduppu’. The ‘samam’ (place where the TaLa starts) is in ‘mal’.
The Pallavi has clear enunciations rendered with aplomb by SPB and Chitra..
Not only is it emollient but it also structures the raga’s image with elegance.
The beginning of first interlude has the spunky percussion playing the ‘ta ka dhi mi’ four times. The mesmerising bass flute takes over soaking us in melody. The scintillating stringed instrument strikes us like an arrow and leads us to a musical swing where we swing along with the lustrous vocals. It is the resonance of the raga at the end of the interlude that makes us spell bound.
The CharaNams are melodically designed.
The first section has subtle romance with some special syllables ‘taga taga dam dam’ used.
The following section has immaculate leisurely phrases.
The last section with its inherent naughtiness is mellifluent.
The surfeit of sangatis as the Pallavi is rendered again at the end of the first CharaNam stands testimony to the crafting skills of the composer and the versatility of the singer.
The second interlude is a magic of sorts.
The guitar in the beginning of the second interlude glows with sheen.. The second guitar joins now and plays with élan showing the Arabian shades of the raga. The Brass flute gives the western classical contours.The Sax now takes over and eloquently shows the jazzy colours. It drips with honey.
The musically colourful combinations prove yet again that music after all is universal.
The ending of the song is another beauty with the absence of percussion as the Pallavi is rendered again with some new words added to it. It is sedate and tranquil.
The original Pallavi appears again this time in a slow tempo with the lilting flute sketching a beautiful silhouette of the raga.
‘Mee tho memu nadachi vastaamu yededu janmalaku..’
‘We shall follow you and your music forever..’
Sunday, 1 April 2012
ILaiyaraaja-The Ultra-sensitive Musician..
It is generally said that creative people are highly sensitive.
It may sound a little odd but the fact is though all creative people are sensitive, most of them are selectively sensitive-that is they are sensitive only to certain issues that appeal to their sensibilities. Here too, the degree of sensitivity may vary from person to person.
But the focus, empathy and most importantly the ability to make us empathise with the work separate the great from the ordinary.
Look at this poem from ‘PuRanaanooRu’, part of the Sangam Tamizh literature.
It is supposedly sung by a young widow:
‘Oh poor little white lilies!
I wore their tender leaves as my dress when I was young
Now my husband is dead
And I eat at very odd hours..
The seeds of the same little lily flowers.’
‘அளிய தாமே சிறுவெள்ளாம்பல்!
இளையம் ஆகத் தழையாயினவே; இனியே,
பெருவளக் கொழுநன் மாய்ந்தெனப், பொழுது மறுத்து,
இன்னா வைகல் உண்ணும்
அல்லிப் படுஉம் புல் ஆயினவே.’
This poem written by ‘Okkoor Maasaaththanaar’ conveys a lot.
Apart from the status of women, and the tribulations of a young widow those days(not that things have changed much in the last 2000 years), what is to be appreciated is the way white lily has been used as a symbol.
White denotes purity. Lily flower also denotes purity and enlightenment.
Within her heart the young girl cries. She also feels for the little lilies-her only companion- as the life cycles seem to be similar. But at the same time she is mature enough to take things in her stride.
But what is striking is the way the poet empathises and makes us all empathise with the character(s).
This ability to be ultra sensitive to things that happen around us is what separates the greatest from the greats.
ILaiyaraaja has composed music more than 4000 songs and these songs pierce our hearts and become one with the soul.
Why? It is because he is ultra-sensitive and goes deep into all the characters and situations. He does this with precision but like the water drops on the lily leaves, he does not get involved. Might sound mystical but it is the fact.
A ‘Amma Endrazhikkatha’ or a ‘Janani..’ is composed with the same mental state as ‘Nila Kaayudhu’ or ‘Neththu Raathiri’ though he empathises fully with the characters.
That is why, we cry, laugh, fall in love, feel sad, feel happy, romance, be devout.. when we listen to his compositions.
The song of the day- ‘Vaazhkkai odam sella’from ‘AvaL Appadiththaan’(1978) set in the Hindustani Raag Lalit- too gives us a very different feeling.
Raag Lalit is a raag with a unique structure:
ni3 ri1 ga3 ma2 ma1 ma2 ga3 ma2 dha2 ni3 Sa/ Sa ni3 ri1 ni3 dha2 ma2 dha2 ma2 ma1 ga3 ma2 ga3 ri1 sa.
It is unique not just because of the devious structure but also because of the consecutive use of both ma2 and ma1 making it chromatic.
Some schools use ‘dha1’ instead of ‘dha2’-the former being derived from the ‘Poorvi’ that and the latter from ‘Maarwa’ that.
The ‘pakad’- which is what gives the raag its flavour is ‘ni3 ri1 ga ma2 ma1 ma2 ga3 ma2 ga3 ri1 sa.
The prelude of ‘Vaazhkkai odam’ itself gives the essence of the raag.
The uniquely textured guitar is followed by the succulent bass flute with the sarod giving a melancholic melody. The poetically expressive bass flute moves like a soft breeze.
Beguilingly beautiful portrait of Raag Lalit.
The Pallavi starts before the TaaLam with ‘kai’ in ‘Vaazhkkai’ being the Samam(start).Such a start is called as ‘Atheeta Eduppu’.
We see the superb array of the swaras-ma1 and ma2 in particular- in the first two lines.
The lines that follow give us an ineffable mixture of emotions and feelings.
The first interlude is full of melodic phrases.
The finely distilled sound from the Santoor is tantalizing while the bass flute moves with verve and vigour with the percussion playing the Tisram pattern in ‘mel kaalam’ as ta ka ta ka dhi mi. It is intense and piercing.
The Sarod gives the import and intrinsic emotional beauty of the raag while the Santoor at the end enunciates the happy face of the raag.
The CharaNams have well aligned phrases.
The first two lines are serene and meditative.
The line that follows is magical. The Shruti undergoes a shift..Please note that there is no graha bedam here. Though the 3 swaras Sa, ni3 and ri1 are used, it somehow gives a feel of SubhapantuvaraLi.
There is more to follow.The last line, which is in the same Shruti as the previous line has alien swaras ri2 and ga2.Since it has pa, dha2 and ma2, the raga can be called as ‘Vijayanagari’.
The second interlude is punctuated with phrases of exceptional quality.
The sympathetic strings and the bass flute swirl.
The violin glides with sensitivity.
It is repeated but this time the violin plays in the next octave.
The guitar gives the western contours.
The bass flute finally leads us to the next CharaNam.
Aesthetic and educative!
நமது வாழ்க்கை ஒடம் செல்ல, இந்த இசையாற்றின் நீரோட்டம் எப்பொழுதும் உண்டு.
It is this musical river that guides us in our life..
It may sound a little odd but the fact is though all creative people are sensitive, most of them are selectively sensitive-that is they are sensitive only to certain issues that appeal to their sensibilities. Here too, the degree of sensitivity may vary from person to person.
But the focus, empathy and most importantly the ability to make us empathise with the work separate the great from the ordinary.
Look at this poem from ‘PuRanaanooRu’, part of the Sangam Tamizh literature.
It is supposedly sung by a young widow:
‘Oh poor little white lilies!
I wore their tender leaves as my dress when I was young
Now my husband is dead
And I eat at very odd hours..
The seeds of the same little lily flowers.’
‘அளிய தாமே சிறுவெள்ளாம்பல்!
இளையம் ஆகத் தழையாயினவே; இனியே,
பெருவளக் கொழுநன் மாய்ந்தெனப், பொழுது மறுத்து,
இன்னா வைகல் உண்ணும்
அல்லிப் படுஉம் புல் ஆயினவே.’
This poem written by ‘Okkoor Maasaaththanaar’ conveys a lot.
Apart from the status of women, and the tribulations of a young widow those days(not that things have changed much in the last 2000 years), what is to be appreciated is the way white lily has been used as a symbol.
White denotes purity. Lily flower also denotes purity and enlightenment.
Within her heart the young girl cries. She also feels for the little lilies-her only companion- as the life cycles seem to be similar. But at the same time she is mature enough to take things in her stride.
But what is striking is the way the poet empathises and makes us all empathise with the character(s).
This ability to be ultra sensitive to things that happen around us is what separates the greatest from the greats.
ILaiyaraaja has composed music more than 4000 songs and these songs pierce our hearts and become one with the soul.
Why? It is because he is ultra-sensitive and goes deep into all the characters and situations. He does this with precision but like the water drops on the lily leaves, he does not get involved. Might sound mystical but it is the fact.
A ‘Amma Endrazhikkatha’ or a ‘Janani..’ is composed with the same mental state as ‘Nila Kaayudhu’ or ‘Neththu Raathiri’ though he empathises fully with the characters.
That is why, we cry, laugh, fall in love, feel sad, feel happy, romance, be devout.. when we listen to his compositions.
The song of the day- ‘Vaazhkkai odam sella’from ‘AvaL Appadiththaan’(1978) set in the Hindustani Raag Lalit- too gives us a very different feeling.
Raag Lalit is a raag with a unique structure:
ni3 ri1 ga3 ma2 ma1 ma2 ga3 ma2 dha2 ni3 Sa/ Sa ni3 ri1 ni3 dha2 ma2 dha2 ma2 ma1 ga3 ma2 ga3 ri1 sa.
It is unique not just because of the devious structure but also because of the consecutive use of both ma2 and ma1 making it chromatic.
Some schools use ‘dha1’ instead of ‘dha2’-the former being derived from the ‘Poorvi’ that and the latter from ‘Maarwa’ that.
The ‘pakad’- which is what gives the raag its flavour is ‘ni3 ri1 ga ma2 ma1 ma2 ga3 ma2 ga3 ri1 sa.
The prelude of ‘Vaazhkkai odam’ itself gives the essence of the raag.
The uniquely textured guitar is followed by the succulent bass flute with the sarod giving a melancholic melody. The poetically expressive bass flute moves like a soft breeze.
Beguilingly beautiful portrait of Raag Lalit.
The Pallavi starts before the TaaLam with ‘kai’ in ‘Vaazhkkai’ being the Samam(start).Such a start is called as ‘Atheeta Eduppu’.
We see the superb array of the swaras-ma1 and ma2 in particular- in the first two lines.
The lines that follow give us an ineffable mixture of emotions and feelings.
The first interlude is full of melodic phrases.
The finely distilled sound from the Santoor is tantalizing while the bass flute moves with verve and vigour with the percussion playing the Tisram pattern in ‘mel kaalam’ as ta ka ta ka dhi mi. It is intense and piercing.
The Sarod gives the import and intrinsic emotional beauty of the raag while the Santoor at the end enunciates the happy face of the raag.
The CharaNams have well aligned phrases.
The first two lines are serene and meditative.
The line that follows is magical. The Shruti undergoes a shift..Please note that there is no graha bedam here. Though the 3 swaras Sa, ni3 and ri1 are used, it somehow gives a feel of SubhapantuvaraLi.
There is more to follow.The last line, which is in the same Shruti as the previous line has alien swaras ri2 and ga2.Since it has pa, dha2 and ma2, the raga can be called as ‘Vijayanagari’.
The second interlude is punctuated with phrases of exceptional quality.
The sympathetic strings and the bass flute swirl.
The violin glides with sensitivity.
It is repeated but this time the violin plays in the next octave.
The guitar gives the western contours.
The bass flute finally leads us to the next CharaNam.
Aesthetic and educative!
நமது வாழ்க்கை ஒடம் செல்ல, இந்த இசையாற்றின் நீரோட்டம் எப்பொழுதும் உண்டு.
It is this musical river that guides us in our life..
Monday, 27 February 2012
ILaiyaraaja-The Wizard!
Is wizardry an art or science? Is it natural or acquired? Do some people have some special magical powers?
Such questions are better left to psychologists to answer..
What a common man like me can do is to just sit back and appreciate the beauty in the works of the wizards.
Read this:
nachcharavu kachchenava caichchumathi
yuchchiyinmi laichchorukaiyaan
meychchira manaichchulaki nichchamidu
pichchaiyamar pichchanidamaam
machchamatha nachchimatha machchiRumi
yaichcheythava vachchavirathak
kochchaimura vachcharpaNi yachchurarka
nachchimidai kochchainagare.
நச்சரவு கச்செனவ சைச்சுமதி
யுச்சியின்மி லைச்சொருகையான்
மெய்ச்சிர மனைச்சுலகி னிச்சமிடு
பிச்சையமர் பிச்சனிடமாம்
மச்சமத நச்சிமத மச்சிறுமி
யைச்செய்தவ வச்சவிரதக்
கொச்சைமுர வச்சர்பணி யச்சுரர்க
ணச்சிமிடை கொச்சைநகரே.
Does it make any sense?
Now read this:
நச்சரவு கச்சென அசைச்சு மதி
உச்சியின் மிலைச்சு ஒருகையான்
மெய்ச்சிரம் அனைச்சு உலகின் நிச்சமிடு
பிச்சையமர் பிச்சனிடமாம்
மச்ச மத நச்சி மதமச்சிறுமி
யைச் செய்த அவச் சவிரதக்
கொச்சை முரவு அச்சர் பணியச் சுரர்கள்
நச்சி மிடை கொச்சை நகரே
This surely would have made at least some sense to people who follow Tamizh because the words/phrases in the original verse have now been split.
Here is the meaning of the poem:
‘With the venomous snake on the waist, the moon on the head, a skull on the hand, He goes around the world seeking alms. He is thronged by his devotees at ‘Thirokkochchaivam’, His abode where he was worshiped by a saint to get rid of the stench of his sins’.
Don’t you agree that the first one sounds musical Irrespective of whether you follow Tamizh or not?
This was composed by one of the greatest Tamizh poets, Thirugnanasambandar. ‘Thirokkochchaivam’ is the original mane of Sirgazhi-where he was born.
Why did he have to write a poem like this? He could have as well composed it splitting the words.
A logical question!
But is there not something called ‘hidden beauty’? If everything in this world were to follow the only logic we know, wouldn’t things be too monotonous?
The beauty of a poem lies not just in the words.
Recently, I heard a Tamizh scholar say that poetry is nothing but ‘empowering words’. And in this poem, we see how the empowered words show us the hidden music in poetry.
ILaiyaraaja’s music is poetic.This is a fact we all know.
It is also a fact that he has used very classical ragas in totally different situations making us discover the hidden colours and shades of the ragas.
What we are going to see today is an example of this.
‘Saaveri’-whose structure is sa ri1 ma1 pa dha1 Sa/Sa ni3 dha1 pa ma1 ga3 ri1 sa- is a beautiful classical raga which is unique because of the way it is sung. Though it is derived from the 15th melakarta Mayamalavagowla, it has a special character of its own. The ‘ri’ and the ‘ma’ sound somewhat different in this raga.
But ILaiyaraaja simplified this raga and used it in a romantic duet..
One had to split the swaras to decipher the raga, unravel the mystery and discover the hidden beauty.
The composition is ‘Chamakku Chamakku Chaam’ from the Telugu film ‘Kondaveeti Donga’.
It starts with the chatushram beats( ta ka dhi mi-1 2 3 4) played by the ‘claps’ and the drums.
The pattern is ‘- - dhi –‘ ‘- - dhi –‘ with the claps sound in the 3rd beat in the first part and the drums in the 3rd beat in the second part.
The vocals start now but instead of the humming we hear the Chatushram pattern sung by SPB albeit in a different way-‘chi chiku’ for ‘Taka dhimi’.
The saxophone plays with a haunting charm and is delightfully joined by the bass guitar which plays the chatushram beats. The synthesiser nonchalantly plays the notes of the first few phrases of the Pallavi.
The lucid Pallavi glistens with the shades of the raga with the bass guitar jumping with zeal.The last line is lilting even as it touches the upper octave.
The supple voice of Chitra complements the sonorous SPB.
The first interlude is full of vibrant phrases. The colourful responses of the violins to the questions posed by the synthesized instruments spread joy and cheer. The flute gives the silky touches while the bass guitar dazzles.
The CharaNam has four sections..
The first section has rolling phrases with an attaché of sangatis.
The second section is delicate while the third one is dexterous going up in the octave.
The last section that has the janta swaras(notes in pairs) gives a mystic image.
The pause between the last line and the Pallavi-with a small phrase sandwiched between the two-is poetic artistry.
The second interlude has ship shape moves. The bass guitar jumps and dances with the ebullient synthesizer and the guitar with phaser. It is a razzmatazz of sorts.The well aligned violins shows the tonal subtleties.
Sheer wizardry!
Naagaswaramulaa laagindaiah..
Such questions are better left to psychologists to answer..
What a common man like me can do is to just sit back and appreciate the beauty in the works of the wizards.
Read this:
nachcharavu kachchenava caichchumathi
yuchchiyinmi laichchorukaiyaan
meychchira manaichchulaki nichchamidu
pichchaiyamar pichchanidamaam
machchamatha nachchimatha machchiRumi
yaichcheythava vachchavirathak
kochchaimura vachcharpaNi yachchurarka
nachchimidai kochchainagare.
நச்சரவு கச்செனவ சைச்சுமதி
யுச்சியின்மி லைச்சொருகையான்
மெய்ச்சிர மனைச்சுலகி னிச்சமிடு
பிச்சையமர் பிச்சனிடமாம்
மச்சமத நச்சிமத மச்சிறுமி
யைச்செய்தவ வச்சவிரதக்
கொச்சைமுர வச்சர்பணி யச்சுரர்க
ணச்சிமிடை கொச்சைநகரே.
Does it make any sense?
Now read this:
நச்சரவு கச்சென அசைச்சு மதி
உச்சியின் மிலைச்சு ஒருகையான்
மெய்ச்சிரம் அனைச்சு உலகின் நிச்சமிடு
பிச்சையமர் பிச்சனிடமாம்
மச்ச மத நச்சி மதமச்சிறுமி
யைச் செய்த அவச் சவிரதக்
கொச்சை முரவு அச்சர் பணியச் சுரர்கள்
நச்சி மிடை கொச்சை நகரே
This surely would have made at least some sense to people who follow Tamizh because the words/phrases in the original verse have now been split.
Here is the meaning of the poem:
‘With the venomous snake on the waist, the moon on the head, a skull on the hand, He goes around the world seeking alms. He is thronged by his devotees at ‘Thirokkochchaivam’, His abode where he was worshiped by a saint to get rid of the stench of his sins’.
Don’t you agree that the first one sounds musical Irrespective of whether you follow Tamizh or not?
This was composed by one of the greatest Tamizh poets, Thirugnanasambandar. ‘Thirokkochchaivam’ is the original mane of Sirgazhi-where he was born.
Why did he have to write a poem like this? He could have as well composed it splitting the words.
A logical question!
But is there not something called ‘hidden beauty’? If everything in this world were to follow the only logic we know, wouldn’t things be too monotonous?
The beauty of a poem lies not just in the words.
Recently, I heard a Tamizh scholar say that poetry is nothing but ‘empowering words’. And in this poem, we see how the empowered words show us the hidden music in poetry.
ILaiyaraaja’s music is poetic.This is a fact we all know.
It is also a fact that he has used very classical ragas in totally different situations making us discover the hidden colours and shades of the ragas.
What we are going to see today is an example of this.
‘Saaveri’-whose structure is sa ri1 ma1 pa dha1 Sa/Sa ni3 dha1 pa ma1 ga3 ri1 sa- is a beautiful classical raga which is unique because of the way it is sung. Though it is derived from the 15th melakarta Mayamalavagowla, it has a special character of its own. The ‘ri’ and the ‘ma’ sound somewhat different in this raga.
But ILaiyaraaja simplified this raga and used it in a romantic duet..
One had to split the swaras to decipher the raga, unravel the mystery and discover the hidden beauty.
The composition is ‘Chamakku Chamakku Chaam’ from the Telugu film ‘Kondaveeti Donga’.
It starts with the chatushram beats( ta ka dhi mi-1 2 3 4) played by the ‘claps’ and the drums.
The pattern is ‘- - dhi –‘ ‘- - dhi –‘ with the claps sound in the 3rd beat in the first part and the drums in the 3rd beat in the second part.
The vocals start now but instead of the humming we hear the Chatushram pattern sung by SPB albeit in a different way-‘chi chiku’ for ‘Taka dhimi’.
The saxophone plays with a haunting charm and is delightfully joined by the bass guitar which plays the chatushram beats. The synthesiser nonchalantly plays the notes of the first few phrases of the Pallavi.
The lucid Pallavi glistens with the shades of the raga with the bass guitar jumping with zeal.The last line is lilting even as it touches the upper octave.
The supple voice of Chitra complements the sonorous SPB.
The first interlude is full of vibrant phrases. The colourful responses of the violins to the questions posed by the synthesized instruments spread joy and cheer. The flute gives the silky touches while the bass guitar dazzles.
The CharaNam has four sections..
The first section has rolling phrases with an attaché of sangatis.
The second section is delicate while the third one is dexterous going up in the octave.
The last section that has the janta swaras(notes in pairs) gives a mystic image.
The pause between the last line and the Pallavi-with a small phrase sandwiched between the two-is poetic artistry.
The second interlude has ship shape moves. The bass guitar jumps and dances with the ebullient synthesizer and the guitar with phaser. It is a razzmatazz of sorts.The well aligned violins shows the tonal subtleties.
Sheer wizardry!
Naagaswaramulaa laagindaiah..
Friday, 13 January 2012
ILaiyaraaja-The Luminous Musician..
‘Oh!The one whose face shines like the moon…like the Full Moon’,
sang the greatest carnatic music composer Saint Tyagaraja in his kriti
‘Sasivadanaa..’.
How can one not appreciate the beauty of that circular, luminous creature on the night sky?
Look at this description taken from ‘Nala Chempu’, part of Sanskrit Literature.
‘Kamadeva’s friend, the Moon has risen. Drenched in the moonlight, the entire universe seems like a dancing milky ocean. The Moonlight creates illusions in everybody’s mind.
The owl, a sworn enemy of the crow, is in a fighting mood and goes looking for the crow.But alas!The crow covered in the shining white light looks like a Swan and the owl beats a retreat..’
‘What does the crow do?Mistaking it for daylight, the sleepy crow in a state of trance desperately looks for its mate everywhere, totally oblivious to its presence right in front!’
‘The women mistake the moon rays- that peep through the trellised windows- for pearls and try to ‘pick up’ the gems.
They also start churning the pots filled with moonlight thinking it to be curd!
After all, who is not mesmerized by the moon and its rays? ‘
‘kshubhyat-ksherasamudra-saandra-salilollolairiva plaavayan
lokam locanalobhatah smarasuhrj-jaatah sa candrodayah
yasmin sambhrta-vairadaaruna-rana-praarambhino bhraamyatah
kruddholuka-kadambakasya puratah kaakopi hamsaayate
unnidro dina-shankaya krtarutah kaako varaakah priyaam
anvishyan-puratah sthitaamapiyathaa cakrabhramam bhraamyati...
muktaa-daam-manorathena vanitaa grnhanti vaataayane
goshthe gopa-vadhoor-dadheeti mathitum kumbheegataan-vaanchati’
(Translation courtesy-Manjari).
After all, who is not mesmerized by music in general and the compositions of one gentleman?Is it not a fact that his music too shines luminously like the eternal full moon on the sky of music?
Today’s song is based on a raga that literally means ‘Moon light’-Chandrajyoti.. Incidentally, the Tygaraja kriti quoted in the beginning is also in Chadrajyoti.
Chandrajyoti is derived from the 41st melakarta, Paavani.It is shaadava-shaadava-that is has 6 swaras in the ascending and descending.
Its structure is sa ri1 ga1 ma2 pa dha2 Sa/Sa dha2 pa ma2 ga1 ri1 sa.
‘ga1’ is a vivadi swara and is called as Shudhdha gandharam.The concept of vivadi has already been discussed in this forum and I request the readers to refer to my post on ‘Sooryan’(ILaiyaraaja-The Sun).
The song taken up for discussion , ‘Saptasaila..’ from the Telugu film ‘Shri Yesdukondala Swamy’(1991) has a very interesting prelude.
The ‘omkara’ is rendered 9 times before the Pallavi.
If one calculates the no.of beats(though there is no percussion) and puts a simple Adi TaaLam as the ‘Om’ is rendered, one finds that the Pallavi starts exactly at the 36th beat-that is after 4 full cycles of Adi TaaLam followed by 3 beats.
What is special about this?
35 = 7x5.
The composition-from Pallavi- is set in Misram, the 7 beat cycle.
Even in the absence of percussion or in the ‘Om’ not following any particular TaaLam, the master starts it after 5 cycles of Misram which means that his mind always keeps working on the laya..
The percussion too is played with more stress on the ‘ta ka dhi mi’ part.
He touches the heart tenderly and strikes the head intelligently!
The Pallavi in the mellifluous voice of SPB unfolds with great zeal. It is full of spirit evoking spiritualistic feelings.The second part where one clearly hears the vivadi swara is beguilingly beautiful.The ‘akaaram’ at the end of the Pallavi is aesthetically charming.
The delicately woven Veena and the Sitar have a smooth rippling flow with the Flute shining like a pearl in the first interlude.
The first two lines in the first CharaNam move with sensitivity while the following lines delineate the contours of the raga Chandrajyoti.
In the second interlude, Laya Raja comes to the fore again.
The divine bell sounds ‘ta ki ta’ and then there is a gap of 4.
One hears only the 1st beat, the 5th,6th and the 7th beat.
It is ta - - - ka dhi mi and this pattern is repeated thrice.
Entrancing!
The regal Sitar moves with elegant charm. The Flute follows with coherence and fluidity elegantly grafting the raga even as the Sitar smiles and nods its head in appreciation.
The second CharaNam is full of intricate phrases with each set of lines beautifully cascading upwards.
The first set of two lines in the lower octave has dignity and grace.
The second set of two lines in a slightly higher octave is impregnated with melody.
The third set of four lines in an octave higher than the previous one shows the innumerable shining facets of the raga.
The last set in the higher octave is scintillating.
The vivacious Sitar which appears between each set caresses us.
Towards the end, it is a rhapsody of sorts and the Sitar and the Flute take us to the summit creating a state of bliss.
It is riveting and gripping!
Poetry, Devotion, Music join together as we see and feel the divine silvery rays.
Saptaswara naayakaa..deepaka..
sang the greatest carnatic music composer Saint Tyagaraja in his kriti
‘Sasivadanaa..’.
How can one not appreciate the beauty of that circular, luminous creature on the night sky?
Look at this description taken from ‘Nala Chempu’, part of Sanskrit Literature.
‘Kamadeva’s friend, the Moon has risen. Drenched in the moonlight, the entire universe seems like a dancing milky ocean. The Moonlight creates illusions in everybody’s mind.
The owl, a sworn enemy of the crow, is in a fighting mood and goes looking for the crow.But alas!The crow covered in the shining white light looks like a Swan and the owl beats a retreat..’
‘What does the crow do?Mistaking it for daylight, the sleepy crow in a state of trance desperately looks for its mate everywhere, totally oblivious to its presence right in front!’
‘The women mistake the moon rays- that peep through the trellised windows- for pearls and try to ‘pick up’ the gems.
They also start churning the pots filled with moonlight thinking it to be curd!
After all, who is not mesmerized by the moon and its rays? ‘
‘kshubhyat-ksherasamudra-saandra-salilollolairiva plaavayan
lokam locanalobhatah smarasuhrj-jaatah sa candrodayah
yasmin sambhrta-vairadaaruna-rana-praarambhino bhraamyatah
kruddholuka-kadambakasya puratah kaakopi hamsaayate
unnidro dina-shankaya krtarutah kaako varaakah priyaam
anvishyan-puratah sthitaamapiyathaa cakrabhramam bhraamyati...
muktaa-daam-manorathena vanitaa grnhanti vaataayane
goshthe gopa-vadhoor-dadheeti mathitum kumbheegataan-vaanchati’
(Translation courtesy-Manjari).
After all, who is not mesmerized by music in general and the compositions of one gentleman?Is it not a fact that his music too shines luminously like the eternal full moon on the sky of music?
Today’s song is based on a raga that literally means ‘Moon light’-Chandrajyoti.. Incidentally, the Tygaraja kriti quoted in the beginning is also in Chadrajyoti.
Chandrajyoti is derived from the 41st melakarta, Paavani.It is shaadava-shaadava-that is has 6 swaras in the ascending and descending.
Its structure is sa ri1 ga1 ma2 pa dha2 Sa/Sa dha2 pa ma2 ga1 ri1 sa.
‘ga1’ is a vivadi swara and is called as Shudhdha gandharam.The concept of vivadi has already been discussed in this forum and I request the readers to refer to my post on ‘Sooryan’(ILaiyaraaja-The Sun).
The song taken up for discussion , ‘Saptasaila..’ from the Telugu film ‘Shri Yesdukondala Swamy’(1991) has a very interesting prelude.
The ‘omkara’ is rendered 9 times before the Pallavi.
If one calculates the no.of beats(though there is no percussion) and puts a simple Adi TaaLam as the ‘Om’ is rendered, one finds that the Pallavi starts exactly at the 36th beat-that is after 4 full cycles of Adi TaaLam followed by 3 beats.
What is special about this?
35 = 7x5.
The composition-from Pallavi- is set in Misram, the 7 beat cycle.
Even in the absence of percussion or in the ‘Om’ not following any particular TaaLam, the master starts it after 5 cycles of Misram which means that his mind always keeps working on the laya..
The percussion too is played with more stress on the ‘ta ka dhi mi’ part.
He touches the heart tenderly and strikes the head intelligently!
The Pallavi in the mellifluous voice of SPB unfolds with great zeal. It is full of spirit evoking spiritualistic feelings.The second part where one clearly hears the vivadi swara is beguilingly beautiful.The ‘akaaram’ at the end of the Pallavi is aesthetically charming.
The delicately woven Veena and the Sitar have a smooth rippling flow with the Flute shining like a pearl in the first interlude.
The first two lines in the first CharaNam move with sensitivity while the following lines delineate the contours of the raga Chandrajyoti.
In the second interlude, Laya Raja comes to the fore again.
The divine bell sounds ‘ta ki ta’ and then there is a gap of 4.
One hears only the 1st beat, the 5th,6th and the 7th beat.
It is ta - - - ka dhi mi and this pattern is repeated thrice.
Entrancing!
The regal Sitar moves with elegant charm. The Flute follows with coherence and fluidity elegantly grafting the raga even as the Sitar smiles and nods its head in appreciation.
The second CharaNam is full of intricate phrases with each set of lines beautifully cascading upwards.
The first set of two lines in the lower octave has dignity and grace.
The second set of two lines in a slightly higher octave is impregnated with melody.
The third set of four lines in an octave higher than the previous one shows the innumerable shining facets of the raga.
The last set in the higher octave is scintillating.
The vivacious Sitar which appears between each set caresses us.
Towards the end, it is a rhapsody of sorts and the Sitar and the Flute take us to the summit creating a state of bliss.
It is riveting and gripping!
Poetry, Devotion, Music join together as we see and feel the divine silvery rays.
Saptaswara naayakaa..deepaka..
Tuesday, 15 November 2011
ILaiyaraaja-The Immaculate Musician..
The Lady quarrels with her beloved. He leaves the town after trying in vain to make peace with her. Only when he is away does she realise how much she loves him and most importantly how much he loves her. She decides to go to him but her ego comes in her way. Stealthily, she sends her parrot. No..she does not use it as an ambassador.Nor does she want the parrot to convey anything to him.
Then why does she send it?
This is where one sees the beauty of that great poet called Kamban.
Before that, let me tell you that this poem appears towards the end of Bala Kaandam in Kamba RamayaNam just before the Sita-Rama wedding. A lot of people travel from Ayodhya to Mythila to be part of the grand function.It is here that one sees Kamban, the Romantic. His poetic imagination runs riot as he creates a lot of fictitious characters and narrates their ‘stories’.One gets to see the various dimension of Love in these poems.
Let us now go back to the ‘story’ quoted in the beginning.
The Heroine sends her parrot so that she can see him and still pretend that she went there only to search for her parrot and not for him!
Human psychology at its best!!
யாழொக்கும் சொற்பொன்னனையாள் ஓர் இகல்மன்னன்
தாழத் தாழாள்;தாழ்ந்த மனத்தாள் தளர்கின்றாள்;
ஆழத் துள்ளும் கள்ளம் நினைப்பாள்;அவன் நின்ற
சூழற்கே தன் கிள்ளையை ஏவித் தொடர்வாளும்.
..I had already discussed about Kamban-The Psychologist in one of my earlier posts(ILaiyaraaja-The Distinct Musician).But what makes reading the work of this psychologist interesting is the use of his words and his narrative skills.
It seems her words are as musical as the ‘Yaazh’(an ancient instrument somewhat similar to the VeeNa). She refuses to budge when her ‘Strong Hero’ pleads with her.Here, note the contrasts- ‘Strong’ and ‘Bending’.And the same word with a slight variation-‘Thaazha’- being used to depict her mood when he is away. The third line is a stunner. ’Aazha thullum kallam’- Her cleverness/slyness(scheming to send her parrot and making it a ruse to see him- dances deep inside her heart. What a description!
This is what makes a poem and the poet immaculate.
Let us now look at the immaculate music and the musician.
The song of the day is another marvel from the Master.
Here too, the Lady love tries to woo her beloved using music and dance as tools.
The song is ‘Manmada RaagangaLe’ from Bala Naagamma (1981).
It is a Ragamaalika but what makes the composition immaculate is the choice of the ragas. The Pallavi, the first interlude and the first CharaNam are in PantuvaraLi.
PantuvaraLi (called as Kamavardhini in the melakarta system) is the 51st melakarta and is the pratimadhyama counterpart of Mayamalavagowla. But the two ragas sound different from each other because of the way they are sung and the gamakas.
Its structure is sa ri1 ga3 ma2 pa dha1 ni3 Sa/Sa ni3 dha1 pa ma2 ga3 ri1 sa.
PantuvaraLi is a very classical raga and generally gives a Bhakti feel.
But the Maestro has used it in different situations(pathos- Vazhimel Vizhiyai, romance-Rojavai thaalattum, bhakti- Om Shiva Om) bringing out the unknown dimensions of the raga.
‘Manmada RaagangaLe’ brings out yet another dimension.
Let us have a look at the composition.
It starts with the tampoora that creates a beautiful ambience. The sympathetic chords of a string instrument draw a sleek silhouette of the raga. The pakhawaj zestfully plays the Tisram beats.The sympathetic chords join the pakhawaj.The Jalatarangam plays with relish.
We then see the varied texture of the raga as the percussion, VeeNa and the violins join.The mellow flute plays the avarohanam swaras in sets of 3.The Veena starts with the ArohaNam and then playfully plays the other swaras with impeccable precision.The Bass string of the VeeNa gives an esoteric touch saying ‘Om’ as the marvelously supple voice of VaNi Jayaram sings the akaara.
A piquant Prelude!
The Pallavi is lucid. If the first part is elegant, the second part moves with verve and vigour.
The first interlude delves into the facets of the Raga with the sizzling Flute, the meticulously gliding VeeNa and the enlivening Jalatarangam giving a chiseled musical motif.
Aesthetic patterns are woven in the first CharaNam. The first two lines give a vibrant hue while the following lines lit up a quiet niche.
The second interlude is inundated with rich, imaginative, innovative ideas.
It starts with a ‘flutter’ (symbolizing the Heart!) followed by the Flute and the stringed instrument. The harmony between the instruments assumes a mantle of mirth as they sway in resonance.The Raga now changes to Mohanam with the vivacious Violins and the enchanting Flute taking swirls and flights.
What happens now is what makes him the Emperor of Film Music.
A musical piece in Violin moves with unfettered imagination. The piece has sa ri2 ga2 pa dha2 ni2 –Shivaranjani plus ‘ni’- and as per the ‘Sangeeta Raga Kadal’, this raga is called as ‘Madhima VaraLi’, a raga derived from Karaharapriya and a raga not used by any musician so far!
The group of violins and the VeeNa accompanied by the ghatam move languorously lending both majesty and poise.
More surprise awaits us as the raga changes again, this time to Vasanta with the Flute providing soulful touches.
We see an organic progression in the second CharaNam that continues in Vasanta.
The first two melody-steeped lines are followed by lines that have classical fervour and flavour.
The lines ‘Mazhai mugil..’and ‘Nilavenum..’ have spectacular passages with the energetic percussion jumping with joy.
The following line ‘Paruvameni..’ has 4 Tisram counts in vocal followed by 4 counts by the percussion and the violins.
The ‘nadai’(gait) changes in the next line- ‘Sevvari..’with the percussion playing ‘ta ki ta’in ‘Keezh kaalam’(slow) while in the following line the percussion plays in the ‘Mel Kaalam’(fast). Very subtle variation but shows the mastery of the composer aesthetically!
The last line meanders meaningfully with the creative flourishes structured around wonderful permutations.
It is a musical conversation between the rhythm and the melody..
All his tunes are ‘Manmada Raagas’ that make us fall in love(with his music)..
அவர் இசைக்கும் ராகங்கள் எல்லாமே நம்மைக் காதல்வயப்படுத்தும் மன்மத ராகங்கள்.
Then why does she send it?
This is where one sees the beauty of that great poet called Kamban.
Before that, let me tell you that this poem appears towards the end of Bala Kaandam in Kamba RamayaNam just before the Sita-Rama wedding. A lot of people travel from Ayodhya to Mythila to be part of the grand function.It is here that one sees Kamban, the Romantic. His poetic imagination runs riot as he creates a lot of fictitious characters and narrates their ‘stories’.One gets to see the various dimension of Love in these poems.
Let us now go back to the ‘story’ quoted in the beginning.
The Heroine sends her parrot so that she can see him and still pretend that she went there only to search for her parrot and not for him!
Human psychology at its best!!
யாழொக்கும் சொற்பொன்னனையாள் ஓர் இகல்மன்னன்
தாழத் தாழாள்;தாழ்ந்த மனத்தாள் தளர்கின்றாள்;
ஆழத் துள்ளும் கள்ளம் நினைப்பாள்;அவன் நின்ற
சூழற்கே தன் கிள்ளையை ஏவித் தொடர்வாளும்.
..I had already discussed about Kamban-The Psychologist in one of my earlier posts(ILaiyaraaja-The Distinct Musician).But what makes reading the work of this psychologist interesting is the use of his words and his narrative skills.
It seems her words are as musical as the ‘Yaazh’(an ancient instrument somewhat similar to the VeeNa). She refuses to budge when her ‘Strong Hero’ pleads with her.Here, note the contrasts- ‘Strong’ and ‘Bending’.And the same word with a slight variation-‘Thaazha’- being used to depict her mood when he is away. The third line is a stunner. ’Aazha thullum kallam’- Her cleverness/slyness(scheming to send her parrot and making it a ruse to see him- dances deep inside her heart. What a description!
This is what makes a poem and the poet immaculate.
Let us now look at the immaculate music and the musician.
The song of the day is another marvel from the Master.
Here too, the Lady love tries to woo her beloved using music and dance as tools.
The song is ‘Manmada RaagangaLe’ from Bala Naagamma (1981).
It is a Ragamaalika but what makes the composition immaculate is the choice of the ragas. The Pallavi, the first interlude and the first CharaNam are in PantuvaraLi.
PantuvaraLi (called as Kamavardhini in the melakarta system) is the 51st melakarta and is the pratimadhyama counterpart of Mayamalavagowla. But the two ragas sound different from each other because of the way they are sung and the gamakas.
Its structure is sa ri1 ga3 ma2 pa dha1 ni3 Sa/Sa ni3 dha1 pa ma2 ga3 ri1 sa.
PantuvaraLi is a very classical raga and generally gives a Bhakti feel.
But the Maestro has used it in different situations(pathos- Vazhimel Vizhiyai, romance-Rojavai thaalattum, bhakti- Om Shiva Om) bringing out the unknown dimensions of the raga.
‘Manmada RaagangaLe’ brings out yet another dimension.
Let us have a look at the composition.
It starts with the tampoora that creates a beautiful ambience. The sympathetic chords of a string instrument draw a sleek silhouette of the raga. The pakhawaj zestfully plays the Tisram beats.The sympathetic chords join the pakhawaj.The Jalatarangam plays with relish.
We then see the varied texture of the raga as the percussion, VeeNa and the violins join.The mellow flute plays the avarohanam swaras in sets of 3.The Veena starts with the ArohaNam and then playfully plays the other swaras with impeccable precision.The Bass string of the VeeNa gives an esoteric touch saying ‘Om’ as the marvelously supple voice of VaNi Jayaram sings the akaara.
A piquant Prelude!
The Pallavi is lucid. If the first part is elegant, the second part moves with verve and vigour.
The first interlude delves into the facets of the Raga with the sizzling Flute, the meticulously gliding VeeNa and the enlivening Jalatarangam giving a chiseled musical motif.
Aesthetic patterns are woven in the first CharaNam. The first two lines give a vibrant hue while the following lines lit up a quiet niche.
The second interlude is inundated with rich, imaginative, innovative ideas.
It starts with a ‘flutter’ (symbolizing the Heart!) followed by the Flute and the stringed instrument. The harmony between the instruments assumes a mantle of mirth as they sway in resonance.The Raga now changes to Mohanam with the vivacious Violins and the enchanting Flute taking swirls and flights.
What happens now is what makes him the Emperor of Film Music.
A musical piece in Violin moves with unfettered imagination. The piece has sa ri2 ga2 pa dha2 ni2 –Shivaranjani plus ‘ni’- and as per the ‘Sangeeta Raga Kadal’, this raga is called as ‘Madhima VaraLi’, a raga derived from Karaharapriya and a raga not used by any musician so far!
The group of violins and the VeeNa accompanied by the ghatam move languorously lending both majesty and poise.
More surprise awaits us as the raga changes again, this time to Vasanta with the Flute providing soulful touches.
We see an organic progression in the second CharaNam that continues in Vasanta.
The first two melody-steeped lines are followed by lines that have classical fervour and flavour.
The lines ‘Mazhai mugil..’and ‘Nilavenum..’ have spectacular passages with the energetic percussion jumping with joy.
The following line ‘Paruvameni..’ has 4 Tisram counts in vocal followed by 4 counts by the percussion and the violins.
The ‘nadai’(gait) changes in the next line- ‘Sevvari..’with the percussion playing ‘ta ki ta’in ‘Keezh kaalam’(slow) while in the following line the percussion plays in the ‘Mel Kaalam’(fast). Very subtle variation but shows the mastery of the composer aesthetically!
The last line meanders meaningfully with the creative flourishes structured around wonderful permutations.
It is a musical conversation between the rhythm and the melody..
All his tunes are ‘Manmada Raagas’ that make us fall in love(with his music)..
அவர் இசைக்கும் ராகங்கள் எல்லாமே நம்மைக் காதல்வயப்படுத்தும் மன்மத ராகங்கள்.
Tuesday, 27 September 2011
ILaiyaraaja- The Redoubtable Musician..
The Sangam period in Tamizh literature is very interesting. Historians place the period between 100 BC and AD 250.
2381 poems were composed by 473 poets (out of which nearly 100 remain anonymous). The poems are mature and classical poetry that go deep into the human psyche. They are marked by simple and detailed descriptions with the human emotions running as the undercurrent.
Look at this poem from ‘KuRunthogai’where the girl laments about her lover.
Her man is travelling (why and where are left to our imagination. Maybe on a business trip).
She visualizes the dangers on the way.
‘He has to cross the small springs that are of the size of ant hills.
He has to cross the huge hot rocks from where the tribesmen sharpen their arrows and aim those on passers by.
(the people of) this town do not care for all this.’
எறும்பி அளையின் குறும்பல் சுனைய
உலைக்கல் அன்ன பாறை ஏறிக்
கொடுவில் எயினர் பகழி மாய்க்கும்
கவலைத் தென்ப அவர்தேர் சென்றவாறே
அது மற்றவலம் கொள்ளாது
நொதுமற் கழறும் இவ்வழுங்கல் ஊரே.
Like all the classical poems, this poem- written by a poet called ‘Odalaanthaiyaar’- too can be interpreted in different ways.
She is worried that he might fall into the springs. She is worried that the arrows might hit him.
But a deeper look throws up a lot of meanings. Her main concern is his being away from her. The normal tendency of a human being when he/she is disturbed is to hide behind negative feelings and emotions. Here, she is missing him. Unable to bear the separation, she thinks, imagines and perceives the dangers that are strewn around the path. By saying ‘no one here seems to care for him’, she emphasizes that it is always her and only her who cares for him. A matter of pride no doubt but don’t we also see the possessiveness of the lover?
Look at the description. Springs compared with small ant hills. ‘குறும்பல் சுனை’ can be taken as ‘springs without water’ (dry). Rocks compared with the anvil of the blacksmith to show the sharpness of her love.
On the whole, it can also be construed as the dangers to her love with the springs, and the tribesmen being symbolic of the town (and maybe her parents) –the obstacles in her path of love.
Most importantly, it falls under a grammar structure called ‘IyarraLai Velladi’(இயற்றளை வெள்ளடி) in ‘Aasiriya Pa (ஆசிரியப்பா).Let me not get into the intricacies of tamizh grammar since it is beyond the scope of this discussion. Suffice to say that, in just 6 lines, one sees all aspects of a beautiful, mature classical poetry that also follows the grammar.
Such poems that have withstood the vagaries of time are worthy of respect, arouse awe and are formidable. In other words, they are redoubtable.
Likewise, ILaiyaraaja’s music too is simple, yet deep and sketches the beautiful landscape of life. Human emotions form the edifice of his music and most importantly, the compositions follow the grammar.
The song of the day ‘Oru Naa Oru Pozhuthu’ from ‘Eetti’(1985) is yet another classic example of his brilliance.
The composition is based on Sindhu Bhairavi, one of the most beautiful ragas.
We have already seen this raga in ‘Konji Karaiyalle’(ILaiyaraaja’s Music-Subtle and Graceful..) and in ‘En Nenjam Unnodu’(ILaiyaraaja-The Ethereal Musician).
Sindhu Bhairavi is derived from the 10th melakarta Natakapriya and its structure is:
ma1 pa dha2 ni2 dha2 sa ri1 ga2 ma1/ ga2 ri1 Sa ni2 dha2 pa ma1 ga2 ma1.
As indicated by the very different structure, this raga is also very unique. It uses almost all the swaras-except the ma2- and the more alien notes are mixed(at the right time), the more beautiful the raga is.
The raga’s essence can be given even in a very small phrase ‘ma pa dha’ by a trained musician.
Sindhu Bhairavi must be ILaiyaraaja’s most favourite(or at least one his most favourites) and he has composed hundreds of songs in this raga.The reason could also be because he too is as unique as the raga.
Let us now look at the song of the day.
We see the beautiful voice of Janaki draw the sketch the raga in ‘akaaram’.
This ‘akaaram’ in three parts makes us visualize the raga.
The first part is hauntingly charming while the second part has a smooth rippling flow. The third part enfold us with poignancy. In between, we have the strings that play with subtlety. The powerful string instrument and the incisive flute lead us to the Pallavi.
The Pallavi is suave and gentle showing us the delicate contours of the raga. We see the tinge of a sweet melancholic melody as the stringed instrument is juxtaposed with the vocals.
In the beginning of the first interlude, the Flute gives a feather touch to the Violins which then move with serpentine grace. The Flute now allures the Shehnai and disappears. The Viraha Stuck Shehnai starts searching for the Flute and plays with intense virtuosity. The dynamic Guitar consoles the Shehnai and shows how pain can be poetic and musical.
The CharaNams are laced with delicate and heavy phrases.
The first four lines have smooth flowing melodic lyricism and are splendidly majestic.
The extended sojourns with crystal clear sangatis in the lines that follow make the CharaNams immaculate while the crisp ending is like the jewel in the crown.
The virile strings heighten the experience in the second interlude.The zestful flute romances with the guitar and what unfolds is the exceptional magnetism of the raga.It is a perfect blend of pace and permutation. The lustrous Flute goes around with captivating charm giving lightning repartees to the translucent Guitar until sound dissolves into silence..
ஒரு நா ஒரு பொழுது உன் இசையை பிரிஞ்சதில்லை.. உயிரில் உயிரை வைச்ச உறவை மறந்ததில்லை..
Even for a single moment have I not been away from your music..
2381 poems were composed by 473 poets (out of which nearly 100 remain anonymous). The poems are mature and classical poetry that go deep into the human psyche. They are marked by simple and detailed descriptions with the human emotions running as the undercurrent.
Look at this poem from ‘KuRunthogai’where the girl laments about her lover.
Her man is travelling (why and where are left to our imagination. Maybe on a business trip).
She visualizes the dangers on the way.
‘He has to cross the small springs that are of the size of ant hills.
He has to cross the huge hot rocks from where the tribesmen sharpen their arrows and aim those on passers by.
(the people of) this town do not care for all this.’
எறும்பி அளையின் குறும்பல் சுனைய
உலைக்கல் அன்ன பாறை ஏறிக்
கொடுவில் எயினர் பகழி மாய்க்கும்
கவலைத் தென்ப அவர்தேர் சென்றவாறே
அது மற்றவலம் கொள்ளாது
நொதுமற் கழறும் இவ்வழுங்கல் ஊரே.
Like all the classical poems, this poem- written by a poet called ‘Odalaanthaiyaar’- too can be interpreted in different ways.
She is worried that he might fall into the springs. She is worried that the arrows might hit him.
But a deeper look throws up a lot of meanings. Her main concern is his being away from her. The normal tendency of a human being when he/she is disturbed is to hide behind negative feelings and emotions. Here, she is missing him. Unable to bear the separation, she thinks, imagines and perceives the dangers that are strewn around the path. By saying ‘no one here seems to care for him’, she emphasizes that it is always her and only her who cares for him. A matter of pride no doubt but don’t we also see the possessiveness of the lover?
Look at the description. Springs compared with small ant hills. ‘குறும்பல் சுனை’ can be taken as ‘springs without water’ (dry). Rocks compared with the anvil of the blacksmith to show the sharpness of her love.
On the whole, it can also be construed as the dangers to her love with the springs, and the tribesmen being symbolic of the town (and maybe her parents) –the obstacles in her path of love.
Most importantly, it falls under a grammar structure called ‘IyarraLai Velladi’(இயற்றளை வெள்ளடி) in ‘Aasiriya Pa (ஆசிரியப்பா).Let me not get into the intricacies of tamizh grammar since it is beyond the scope of this discussion. Suffice to say that, in just 6 lines, one sees all aspects of a beautiful, mature classical poetry that also follows the grammar.
Such poems that have withstood the vagaries of time are worthy of respect, arouse awe and are formidable. In other words, they are redoubtable.
Likewise, ILaiyaraaja’s music too is simple, yet deep and sketches the beautiful landscape of life. Human emotions form the edifice of his music and most importantly, the compositions follow the grammar.
The song of the day ‘Oru Naa Oru Pozhuthu’ from ‘Eetti’(1985) is yet another classic example of his brilliance.
The composition is based on Sindhu Bhairavi, one of the most beautiful ragas.
We have already seen this raga in ‘Konji Karaiyalle’(ILaiyaraaja’s Music-Subtle and Graceful..) and in ‘En Nenjam Unnodu’(ILaiyaraaja-The Ethereal Musician).
Sindhu Bhairavi is derived from the 10th melakarta Natakapriya and its structure is:
ma1 pa dha2 ni2 dha2 sa ri1 ga2 ma1/ ga2 ri1 Sa ni2 dha2 pa ma1 ga2 ma1.
As indicated by the very different structure, this raga is also very unique. It uses almost all the swaras-except the ma2- and the more alien notes are mixed(at the right time), the more beautiful the raga is.
The raga’s essence can be given even in a very small phrase ‘ma pa dha’ by a trained musician.
Sindhu Bhairavi must be ILaiyaraaja’s most favourite(or at least one his most favourites) and he has composed hundreds of songs in this raga.The reason could also be because he too is as unique as the raga.
Let us now look at the song of the day.
We see the beautiful voice of Janaki draw the sketch the raga in ‘akaaram’.
This ‘akaaram’ in three parts makes us visualize the raga.
The first part is hauntingly charming while the second part has a smooth rippling flow. The third part enfold us with poignancy. In between, we have the strings that play with subtlety. The powerful string instrument and the incisive flute lead us to the Pallavi.
The Pallavi is suave and gentle showing us the delicate contours of the raga. We see the tinge of a sweet melancholic melody as the stringed instrument is juxtaposed with the vocals.
In the beginning of the first interlude, the Flute gives a feather touch to the Violins which then move with serpentine grace. The Flute now allures the Shehnai and disappears. The Viraha Stuck Shehnai starts searching for the Flute and plays with intense virtuosity. The dynamic Guitar consoles the Shehnai and shows how pain can be poetic and musical.
The CharaNams are laced with delicate and heavy phrases.
The first four lines have smooth flowing melodic lyricism and are splendidly majestic.
The extended sojourns with crystal clear sangatis in the lines that follow make the CharaNams immaculate while the crisp ending is like the jewel in the crown.
The virile strings heighten the experience in the second interlude.The zestful flute romances with the guitar and what unfolds is the exceptional magnetism of the raga.It is a perfect blend of pace and permutation. The lustrous Flute goes around with captivating charm giving lightning repartees to the translucent Guitar until sound dissolves into silence..
ஒரு நா ஒரு பொழுது உன் இசையை பிரிஞ்சதில்லை.. உயிரில் உயிரை வைச்ச உறவை மறந்ததில்லை..
Even for a single moment have I not been away from your music..
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