ILaiyaraaja – The Ultra-fine Musician

 

What distinguishes a normal life from that of a beautiful life is something called subtlety. If one is able to appreciate the nuances in each and everything in nature, his/her life acquires new meanings. Meanings which cannot be expressed in words and which can only be felt and experienced. Such people see new things in old things and older things in new things. They not only look for details within details but also know how to express what they see and what they feel. Aesthetics is a way of life for these people. And this gets reflected in their works.

AaNdaL is a classic example. Yes, she was a Bhakti poet who was truly in love with Krishna. But she also loved nature and was an expert in human psychology. Her poems explored Bhakti, Nature and Human behaviour in the broadest sense minutely.

Here is one sample:

கீசு கீசு என்றெங்கும் ஆனைச் சாத்தன் கலந்து

பேசின பேச்சரவம் கேட்டிலையோ பேய்ப்பெண்ணே

வாச நறுங்குழல் ஆய்ச்சியர் மத்தினால்

ஓசைப்படுத்த தயிரரவம் கேட்டிலையோ?

நாயகப் பெண்பிள்ளாய்! நாராயணன் மூர்த்தி

கேசவனைப் பாடவும் நீ கேட்டே கிடத்தியோ

தேசமுடையாய் திறவேலோர் எம்பாவாய்.

 

In the poem under reference- Keesu KeesenRu- she describes things around her and uses these to wake he friend up. This ‘waking up’ and the ‘friend’ are esoteric and therefore are better left alone here as the focus now is on her aesthetic sense and her propensity to relate things around us to the Divine.

She first talks about the birds. ‘Aanaichaatthan' is a species of birds found in villages in South Tamizh Nadu. These birds are also called ‘Bharadhwaja pakshi’. She hears their sound at dawn and tells her friend, ‘Can’t you hear their sound?’ But what is to be noted here is that she refrains from calling it a ‘bird song’. She calls it a ‘conversation’. Wonder how many can even view the bird calls as ‘conversations’. Most significantly, she calls it a ‘screech’!

She addresses her friend as ‘Demon girl’ here but more on this in a bit.

She then moves on to the milkmaids who churn the butter milk to get curd(here too, I am skipping the esoteric meaning). ‘Milkmaids -whose fragrance of the hair permeates the air- churn the butter milk with their bangles and chains moving here and there. Are you not able to hear this sound too?’ asks she.

‘You are lying on the bed despite all these and despite us singing paeans on NarayaNa. Come, open the door and join us’, she concludes.

Forget even the description for a moment. Just observe as to how she brings all the five senses into play here.

Sound of the birds/milkmaids/paeans on VishNu- Hearing.

Fragrance of hair- Smell.

Butter milk to Curd- Taste.

Lying down with half-eyes open- See.

Lying down cosily on the bed – Touch.

And now let us see how she addresses her friend. To start with ‘ a demon girl’. Somewhere in the middle(5^th line)- ‘Heroine/Head of all girls’. Towards the end – the lustrous/ the one with tejas!

Details..Mini details, Micro details, Nano details..

And that is AaNdaaL for you.

Needless to say, ILaiyaraaja whose love for nature, eye for detail, his proclivity for music and above all his passion, is like AandaaL.

Now, take ‘KaatRodu Kuzhalin Naadame’ from ‘Kodai Mazhai’(1987). Based on a classical raga called Simhendra Madhyamam, the composition blows, saunters, drifts and floats like a breeze. This is as far as beauty is concerned. But being a musician who believes in getting into the skin of the character, he delves deep and the output is there for all of us to see.

All that the director would have told him was this – ‘’It is a classical dance sequence’’.

The Maestro would have instantly plunged into the world of dance.

The composition starts with the akaaram of Chitra in pure Simhendramadhyamam.

The mridangam sounds just the first syllable in the beginning of the 8-beat taaLa cycle and sounds 5 micro-beats at the 4^th beat. This continues for three full cycles (one full cycle is called ‘aavartanam’ in Carnatic Music parlance). The mridangam takes over in the 4^th cycle and plays a micro-korvai for one cycle.

Dance of the taaLa!

This continues in the Pallavi too with the mridangam taking over again after the first lines is rendered and playing yet another korvai with Chitra extending the ‘naadame..’.Resonance at its best!

Not to be left behind, the flute sounds too in the segment that follows coalescing with the vocals, symbolising the wind and of course justifying the meaning- resonance of the flute along with the wind.

‘Taam taam ta ri ki ta taam’ says the mridangam in the beginning of the first interlude.

The tabla echoes it.

‘ta ka dhi mi ta ri ki ta taam’ says the mridangam.

The tabla echoes again.

The romance between the two continues again with ta ri ki ta taam/ ta ri ki ta taam , taam ta ri ki ta taam/taam ta ri ki ta taam and then finally ta ri ki ta taam.

Magic of Laya!

The magic happens again in the CharaNam with the percussion instrument playing with gusto and robustness exactly at the 4^th beat of each cycle. It is not that there is no percussion during the other beats. It is just that it makes a special sound during that beat which gives sheen to the entire CharaNam.

The VeeNa gliding with an unmatched grace and the last line being split as ta a a a/ta a a a/ ta ka dhi mi/ta ka dhi mi/ta ka dhi mi/ta ka dhi mi with the last four ta ka dhi mi s in the second half of the cycle, show the master craftsman in full cry.

The swaras drizzle from the flute. These drizzle from the veena too. But it is two different drizzles.

This happens in the beginning of the second interlude.

The two classic instruments then go on a friendly rampage twisting, twirling and then dazzling. The flute decides to go on its own now for a while even as the veeNa takes a pause. It is the turn of the latter to go on its own then. The end result- That classical raga called Simhendramadhyamam shown to us in all its splendour.

The two join together again and lead us to the second CharaNam. Now the vocals render one line lasting one cycle with the cheNda(percussion used mainly in Kerala) playing in the next cycle with the mridangam and jaalra backing it.

A litany of swaras follows making us spell bound.

Details..Mini Details.. Micro Details.. Nano Details..

I can now hear the conversations of Aanaichaattan. Can you all too?

 

 

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ILaiyaraaja – The Exotic Musician

 

Tender than the sprouts and having the fragrance of the white glory lily blossoms and water lilies is this young woman’s body. And isn’t it so enthralling to embrace her?

Awestruck by the beauty of the young woman, the man mutters these words to himself.

கோடல் எதிர் முகைப் பசு வீ முல்லை

நாறு இதழ்க் குவளையொடு இடையிடுபு விரைஇ

ஐது தொடை மாண்ட கோதை போல

நறிய நல்லோள் மேனி        

முறியினும் வாய்வது, முயங்கற்கும் இனிதே.

Written by a poet called SiRaikkudi Aandaiyaar, this is part of KuRunthogai, one of the works belonging to the Sangam Era. There is an inextricable link between literature and romance, and it is a known fact that poetry and love go together.

And yes, music and romance go together as well.

One can keep giving examples and this will fill reams and reams of pages. Due to lack of space, let me take up just one now.

Thaana Vandha Sandaname from Ooru Vittu Ooru Vanddhu(1990) is based on a very classical raga called Kharaharapriya. One of the most ancient ragas, this raga is also one of the basic PaNs in Tamizh music and is known by the name ‘Kodippaalai’.

The composition has an unusual start. The guitar sounds with exuberance and continues playing a short melody. The flute ambles and moves with poetic intensity. There is also a very different sound which even sounds eerie. The Jaalra and the very subtle bass guitar combine with all these and the experience is unmatchable.

SPB starts the Pallavi and one cannot miss the sangati even in the very first phrase which goes like nidhapadhaSa. The Master now makes a subtle variation of this sangati and makes the phrase that follows as – nidhapanidhapa.

Subtleties do matter when it comes to music, love and life!

The Master now shows the avarohaNam of the raga towards the end of the next line, but it is the third line which beautifully defines the raga with the typical phrase-rigamagari. The sudden entry of the lower - octave swaras- dha. ni. and sa.- in this line and in the line which follows this shows the classical Raaja at his best.

Sound of the thunder- This is how one can describe the beginning of the first interlude. If there is thunder, how can one stop the rain? It is a rain of melody. The brass instruments move vigorously and melodiously with the strings playing the second fiddle. It gathers momentum with the entry of the guitar and the keys which give a flowery musical expression. The two sets of strings take over now with one set roaring in the higher - octave and the second set moving with disciplined smoothness. What is to be noted is the fact that the two sets play two different melodies parallelly without sounding cacophonic.

The lines in the CharaNams show the classical Raaja yet again in the voices of SPB and Janaki. It starts with the avarohaNam in the beginning of the first line which even goes on to touches the upper Sa.Not stopping with this, it also touches the upper Ri and Ga. But there is more to come. The third and fourth lines see a sudden spurt with the upper Ri following the mid-ri and this goes upper and upper until it reaches the upper Ma, a rarity even in a normal classical composition.

It is the sound of the thunder yet again in the second interlude. But here, for a change the lightning appears after the thunder and most importantly, lasts longer. The keys illuminate the sky with the string of guitar backing it in tisram. The strings now brighten the sky more playing in the higher - octave with the flute moving like a group of twinkling stars now and then. The second set of strings play subtly with elegance. The flute moves up and down with the guitar looking at it with glee and this spectacle takes one to empyrean heights.

Exhilarating experience not dissimilar to the one experienced by that man who felt the fragrance of the lilies..

 

 

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ILaiyaraaja – The Avant-Garde Musician

 

Being innovative or creative is not just an art. Going beyond any stretch of imagination-literally and figuratively- beyond realms of possibility, sensibly with a sense of purpose is creativity. The process of creativity is an experience by itself and can hardly be put in words. One has to experience it to fully understand and appreciate it. In a way, it is like meditation.

Now, this gentleman looks at the sky, at the earth and then at the horizon. His imagination runs riot. Why can’t we possess all things that we see? Why can’t I grab the sky? –he questions himself. Will our efforts bear fruit at all? Will we give up finally? – he continues. And then he says, It is after all the Supreme Power-the Divine force- which is present in the sky, in whatever we see and in whatever we count.

கண்ணில் தெரியும் பொருளினைக் கைகள் கவர்ந்திட மாட்டாவோ?

அட- மண்ணில் தெரியுது வானம், அது நம் கைவசப்படலாகாதோ?

எண்ணி எண்ணிப் பல நாளும் முயன்றிங்கு இறுதியிற் சோர்வோமோ?

அட- விண்ணிலும் கண்ணிலும் எண்ணிலும் மேவு பரசக்தியே.

On the face of it, this may sound ordinary. But scratch the surface, start exploring and you will see a gold mine.

So many beings before him must have seen the horizon. But how many did even think of ‘grabbing’ it? Coming to think of it, ‘horizon’ itself is an illusion. We chase that illusion known in Indian Philosophy as ‘Maaya’ and give up finally. But the moment we see the existence of the Supreme Power and the fact that it is present in space, on the earth and in all beings, we realise that we go after things which are not real while forgetting that things which are real appear unreal to us.

One can go on and on about these 4 lines but this short summary is enough to show the genius of Mahakavi Subramaniya Bharati; and to give a sample of ‘creativity’.

Creative people set examples and lead the way for others to follow. They chart their own course and travel on uncharted path. They create a niche for themselves. Needless to say, ILaiyaraaja is one such genius.

It is not uncommon for music composers to use different ragas in the same composition. Called Ragamaalika, such compositions give one a taste of different ragas within minutes- at times within seconds. But what ILaiyaraaja has done in KaNNanai KaaNbaaya (Manithanin Marupakkam – 1986) is something unique and not tried out generally by normal music composers.

There are three ragas, with each one related to the other. In some of my earlier posts, I had written about the different swaras and their variants. Essentially, there are seven swaras with sa and pa having no variants. The other 5- ri, ga, ma, dha, ni- have two variants( I am confining my discussion to normal variants and not going to the concept of vivadi here).

 ‘KaNNanai KaaNbaaya’ starts in one particular raga. One variant of a particular swara is changed in the second charaNam and one variant of the original raga is again changed in the next CharaNam. Thus there are three different ragas related to each other in terms of the structure, but different from each other in terms of the sound and the mood.

The beginning of the composition sees Laya Raaja in full flow with the mrudangam -along with the subtle ankle bells- playing different patterns in tisram. It ends with 4 tadheenginnathom giving a stately edifice to the composition. It is precursor to what is in store.

Chitra starts the Pallavi in pure HindoLam with the sympathetic strings welcoming one and all with unbounded enthusiasm.

The violins and the flute decorate the first interlude with simple but powerful swaras in HindoLam. The melody unfolds with discernment and shines with radiance.

The first CharaNam is rather short but one sees some variegated patterns of the raga with the second line even touching the higher octave swaras –Ma Dha and Ga- not an usual spectacle one gets to see in film music. The akaaram after the first line is meditatively classical.

The second interlude sees a sudden transition- as far as style is concerned- to western music. The exuberant guitar moves with an unmatched tonal smoothness while the keys bend, jump, prance and dance without in anyway deviating from the raga. However, something happens just before the end of the interlude.

HindoLam is a pentatonic raga with 5 swaras in arohaNa(ascending) and avarohaNa (descending). The swaras are- sa ga2 ma1 dha1 ni2. Just at the end of the first interlude, the variant of ga is changed to ga3. In Carnatic music parlance, ga2 is SaadharaNa Gaandharam and ga3 is Antara Gaandhaaram. When this happens, it gives rise to a new raga. And this raga is called Sallaapam.

I have written and even spoken in many forums about this raga and how it was ILaiyaraaja who used this first. This raga is known by the name Surya in carnatic music circuits as coined by a carnatic musician sometime during the early ‘90s. However, as per the traditional raga texts, this raga is Sallapam and it was ILaiyaraaja who used this first way back in 1982 in ‘Thai Mookambigai’. This is anyway an aside but not irrelevant here.

Going back to KaNNanai.., the second CharaNam is in Sallapam. Note that the second CharaNam is different from that of the first CharaNam in terms of the structure too.

The following interlude goes back to HindoLam. The guitar and the drums give caressing overtones with the flute ambling with elegance even as the guitar keeps repeating the melody.  The keys move with spontaneous spirit and with an unmatched grace.

The next CharaNam sees yet another change. The variant of ni is changed (from kaisiki nishadam-ni2 to kaakali nishadam-ni3) making it Chandrakauns, a raag more prevalent in the Hindustani system of music.

Three different ragas separated by just small variants and yet evoking different emotions..

Are these separate or are these connected?

Are these like the horizon?

Wish we found answers to such questions.. and if we find the answers, we will know what creativity is all about.

 

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ILaiyaraaja – The Mindful Musician

 

The propensity in human nature to either blindly believe things real or to refuse to believe anything is well known. Most of us see either black or white. The fact that there is something called grey eludes the human mind. This is less surprising given the fact that after all, human beings are designed that way. At the same time, we are also endowed with the ability to break this and the intelligence to see reality which leads to ultimate realisation.

I am not talking about theism or atheism which is one’s personal choice and which is beyond the scope of this post. What I am trying to bring out is the fact that blind faith on anything will do no good and is as good as not believing. This, in fact, is subjectivity at its best.

Now, look at this verse:

நட்ட கல்லை தெய்வம் என்று நாலு புட்பம் சாத்தியே

சுற்றி வந்து மொண மொண என்று சொல்லும் மந்திரம் ஏதடா

நட்ட கல்லும் பேசுமோ நாதன் உள்ளிருக்கையில்

சுட்ட சட்டி சட்டுவம் கறிச்சுவை அறியுமோ?

You worship a stone by decorating it with flowers and go around it chanting mantras. Can that stone ever talk? This is akin to saying that the vessel used to cook vegetables, knows the taste of the vegetables.

Well, if you assume that this was said by an atheist, you are thoroughly mistaken. This verse was written by Sivavaakkiyar, one of the 18 siddhars of the Tamizh land. A rebel who opposed the caste system, Sivavaakkiyar composed many verses with deep inner meanings. To go back to that verse, he says, ‘Can the stone ever talk when the Divine is inside?’

In fact, what is inside is outside and what is outside is inside. My idea is not to leave you confounded nor is it to sound cryptic. The relationship between the cosmos and the living beings is in fact a proven fact. On the face of it, can we live without the five elements- Earth, Water, Fire, Wind and the Space? Now, take the letters Na Ma Shi Va Ya. On the face of it, it just seems and sounds like a mantra on a God pertaining to a particular religion. However, each syllable pertains to one element- Na to the Earth, Ma to Water, Shi to Fire, Va to Wind and Ya to Space. NAMASHIVAYA also means ‘I bow to the inner consciousness’.

What is inside is outside and what is outside is inside. Within and Without.

This applies to Music as well. It is both inside and outside. When we listen to Music, it seems to be external. However, there is that Music which is always running inside us. When there is a match between these two, it strikes a chord. This is not dissimilar to the frequency match when we tune in to a radio station. Now, when there is a match between the external and the internal, we experience pure bliss. This is what happens when we listen to great musicians and composers. Needless to say, this happens frequently in ILaiyaraaja’s music.

On this special day, let us look at a song which is special as well because of many reasons.

The speciality of Koluvai Unnaade from the Telugu film Swarnakamalam (1988) is not just the fact that it is a ragamaalika. As I keep saying repeatedly in my posts, a raga is not as important as the way it is used. Secondly, this song was written by the Maratha king Shaaji sometime during the 17^th Century and this was part of an Opera which was even staged in the temple. ILaiyaraaja modified it to suit the situation in the movie. He also added Kuchipudi jatis.

The story of the movie revolves around a reluctant dancer who aspires for a glamorous life, the kind of life not possible if she became a classical dancer. That glamour and real art cannot thrive together is known to her, but the fact that an art form is much qualitatively superior to any glamorous form, eludes her. The song itself is composed as if to show her what real art form is and how it would look and sound.

Music, Expressions and Laya form the core of any dance form. And this is what the sloka from Abhinaya DarpaNa, a treatise on Indian Classical Dances, say.

The composition starts with the sloka from this text and as if to show how important these facts are, this is set in PantuvaraLi.

It is spiritual radiance all around with the drone of the tanpura permeating the atmosphere. The jatis are rendered with aplomb by SPB, just before the sloka. Kuchipudi is a dance form known for its fast jatis and the first two aavartanaas are full of fast jatis with no repetition whatsoever. The 3^rd and the 4^th aavartanaas show the grace of the dance form by slowing down the pace while the 6^th aavartanaa, which is also the last, has that teermanam. Is Mathematics not an art too?

The Pallavi and anupallavi in the mellifluous voice of SPB and Suseela give the ornate and the indescribable images of the Divine. Set in a raga called Latangi, which literally means the creeper, it says, ‘ The God of Gods is in a great assembly. Shining like a million suns, He is the enemy of the cupid and women get mesmerised by his form’.

The contrast cannot be missed here. He is the enemy of the God of Love and yet others fall in love with him!

The flute continues with melodic charm in Latangi in the first interlude. The mrudangam sounds with pulsating vibrancy. The finely etched melody of the flute traverses with an air of softness while the mrudangam sounds a fusillade of jatis.

Beauty of contrasts yet again!

There is a sudden twist in the first CharaNam as the raga seamlessly changes to Hamsanaadam. Hamsanaadam is a pentatonic raga and like all pentatonic ragas, it has a beauty of its own.

The CharaNam goes on to describe Shiva and says, ‘He is adorned by the bracelet of snakes on the wrist, the crescent moon on the head and the deer on the hand’. Contrasts yet again to the fore. Snake and the Moon are contrasts as well because it is eclipse when the snake consumes the moon.

Natana Laya Raga Raaja too shows the contrasts with Suseela rendering the lines and SPB rendering the lines parallely. The akaaram in Hamsanaadam is steeped in tranquility and is simple as well as intricate.

Hamsanaadam continues its journey in flute which wafts in and soaks the atmosphere with luminosity. Not to be left behind, the mrudangam sounds with panache, playing some powerful syllables with heightened resonance. It is indeed the monsoon showers from the heavens. Probably, manna from heaven.

O’Henry Raaja continues to enthrall in the second ChraNam by changing the raga to Dharmavati. ‘The gems sparkle and shimmer on the One who wears the tiger skin and who drives away the enemies with His Trident’, says the second CharaNam. Gems, tiger skin and the Trident/ Akaaram, Jatis and Sangatis – Contrasting words, Contrasting meanings, Contrasting sounds.

Contrastingly similar. Similarly contrasting.

And that is what Life is all about. Look for contrasts in similarities and similarities in contrasts.

You will realise the Ultimate Truth!

PS: This post and the previous post in Tamizh were written exclusively for the Raaja Deepam session on Zoom held on the 2nd of June 2021 to celebrate ILaiyaraaja's birthday. It may be noted that though both the posts are about the same song, I have taken two different perspectives.

இளையராஜா எனும் ஆசான்

 

சில விஷயங்கள் எளிதாகப் புரிந்து விடும். சில விஷயங்கள் புரிவதற்கு சிறிது  நேரம் எடுக்கும். சில விஷயங்கள் புரிதல் இல்லாமலே போய் விடும். புரிதல் இல்லை என நாம் உணர்வதற்கே பல காலம் பிடிக்கும்.

எனினும் புரிதலுக்கு முதல் தேவை உணர்தல். ஒரு விஷயத்தை உணர்ந்தால் மட்டுமே அதை நம்மால் புரிந்து கொள்ள முடியும். இந்த உணர்தல் நிகழ்வது எவ்வாறு?  நாமே உணர்வது சாத்தியமா? அல்லது ஏதாவது ஒன்று நிகழ்ந்து அதுவே ஒரு தூண்டுகோலாக அமைந்து, நம்மை உணரவைத்து புரிய வைக்குமா?

இந்தக் கவிதையைப் பார்ப்போம்:

கண்டகங்காள் முண்டகங்காள் கைதைகாள் நெய்தல்காள்

பண்டரங்க வேடத்தான் பாட்டு  ஓவா பழனத்தான்

வண்டு உலாம் தடம் மூழ்கி மற்று அவன் என் தளிர் வர்ணம்

கண்ட நாள் தானறிவான் குறிக்கொள்ளாது ஒழிவானோ.

நாவுக்கு அரசர் என்று அழைக்கப்படும் அப்பர் எழுதிய தேவாரப் பாடல் இது.

இதன் பொருள்- நீர் முள்ளிகளே! கடல் முள்ளிகளே! தாழைகளே! நெய்தல்களே! பண்டரங்கத் கூத்திற்கு உரிய வேடத்தானாய். பாட்டுக்கள் நீங்காத திருப்பழனத்தில் உறையும் எம்பெருமான், வண்டுகள் உலாவுகின்ற குளத்தில்  நான் மூழ்க என்னைக் காப்பதற்காகத தானும் குளத்தில் குதித்து என்னைக் கரைசேர்த்த பொழுது  என் தளிர்போன்ற வண்ணத்தை அனுபவித்த அந்நாள், என் நினைவை விட்டு அகலாது. அவன் நினைவை விட்டும் அகலாது.ஆகையால், என்னைத்  தன் அடியவளாக ஏற்றுக்கொள்ளாது அவன் விட்டு விடுவானோ?

அகத்துறையைச் சார்ந்த இந்த பாடலில், நாவுக்கரசர் தம்மை ஒரு நாயகியாக உருவகப்படுத்திக் கொள்கிறார். மேலே குறிப்பிட்டிருப்பது மேலோட்டமான பொருள். இதன் ஆழ்ந்த பொருளைக் கவனித்தால், இந்த நாயகி பரம்பொருளைப் பற்றிய சிந்தனை இல்லாமல் இருந்திருக்கிறாள்  என்பதும், ஒரு நாள் அந்த உணர்வு வந்தது என்றும் அன்று முதல் அவனை மறக்காமல் இருப்பது மட்டுமன்றி அவன் கண்டிப்பாக தம்மைக் காப்பான் ஆகையால் அவனைப் பற்றிய நினைவு தம்மை விட்டு என்றும் அகலாது என்ற ஆழ்ந்த நம்பிக்கையும் புலனாகும்.

இதில் இன்னும் கூர்ந்து கவனிக்க வேண்டிய சொல்- பண்டரங்கம் எனும் சொல். பாண்டரங்கன் என்பதே மருவி பண்டரங்கன் என ஆனது. பாண்டு என்றால் வெளுப்பு. அதாவது வெண்மை நிறமுள்ள விபூதி. சிவன் முப்புரத்தைத் தனது நகைப்பினால் எரித்த பிறகு, அந்த சாம்பலின் மேல் அதையே அரங்கமாகக் கொண்டு தாண்டவம் ஆடியதால், பாண்டரங்கன் என்ற பெயரால் அழைக்கப்படுகிறார்.

இந்தப் பாடலின் கருத்திற்கும் இதற்கும் என்ன தொடர்பு? முப்புரத்தை எரித்தது போல், அறியாமையையும் அழிப்பவராதலால், பண்டரங்கன் என்று இந்த இடத்தில் அழைக்கிறார் நாவுக்கு அரசர். இந்த சொல் ஒன்றே இந்தப் பாடலின் சாராம்சத்தை நமக்குத் தருகிறது.

புரிதலுக்குத் தேவை உணர்தல். உணர்தலுக்குத் தேவை அனுபவம். இலக்கியம் புரியாததையும் புரிய வைக்கும் .தெரியாததையும் தெரிய வைக்கும், தெளிய வைக்கும்.

இசையும் அது போலத்தான். மாமேதைகளின் இசையினைக் கேட்கக் கேட்க, உணராதவற்றையும் உணர முடியும். அதனால் தான், இளையராஜா என்னும் மாமேதையின் இசையைத் திரும்பத் திரும்பக் கேட்கிறோம். இந்த நிகழ்வே ஒரு தேடல் போலத்தான்.

இந்த இனிய நன்னாளிலே, திரும்பத் திரும்ப நம்மைத் திரும்ப வைக்கும் ஒரு பாடலைக் கேட்போம்.

1988ஆம் ஆண்டு வெளியான தெலுங்குத் திரைப்படம் ஸ்வர்ணகமலம், பல உணர்வுகளை வெளிக்கொணர்ந்த ஒரு படம். கே.விஸ்வனாத் அவர்களின் இயக்கத்தில் வந்த இந்தத் திரைப்படத்தில்,  நாயகி  நாட்டியத்தில் மிகவும் திறமை கொண்டவர். எனினும், நாட்டியத்தில் நாட்டம் இல்லாதவர்.  இதில் உள்ள முரண்பாடு எளிதாகப் புலப்படும். முரண்பாடு இல்லாத வாழ்க்கையும் உண்டோ? கலையில் திறன் இருந்தும், அந்தக் கலையை வெறுப்பவர் எவ்வாறு அந்தக் கலையின் அருமையை உணர்கிறார், அந்தக் கலையின் பெருமையை புரிந்து கொள்கிறார் என்பதே கதை.

இந்தப் படத்தில் இடம்பெற்ற ‘கொலுவையுன்னாடே ’ என்ற பாடலே இன்றைய நிகழ்வின் சிறப்புப் பாடல். தஞ்சாவூரை ஆண்ட மராத்திய மன்னர் ஷாஜி இயற்றிய இந்தப் பாடல், திரைப்படத்தில் சரியான சந்தர்ப்பத்தில் பயன்படுத்தப்பட்டது. சங்கராபரணம் ராகத்தில் அமைந்த பாடலுக்கு  இளையராஜா வேறு ராகங்களை பயன்படுத்தியது கவனிக்க வேண்டிய ஒன்று.

ராகங்களை மாற்றுவது என்பது பெரிய விஷயமல்ல. அவற்றை சரியான முறையில் கையாள்வதுதான் பெரிய விஷயம். இதனை விடப் பெரிய விஷயம், அந்த ராகங்கள் பாடலுக்கு எவ்வாறு பொருந்துகின்றன என்பதுதான்.

கூச்சுப்புடி நடனத்திற்கே உரித்தான வேகமான சொற்கட்டுகளுடன் துவங்குகிறது பாடல். முதல் இரண்டு ஆவர்த்தனங்கள் வேகமாகச் செல்ல, அடுத்த இரண்டு ஆவர்த்தனங்களில் சொற்கட்டுகள் மெதுவாக நளினத்துடன் சென்று மாறுபாட்டை அழகாக வெளிப்படுத்துகிறது. ஆறாவது ஆவர்த்தனத்தில் ஒரு சிறிய தீர்மானம் முடிந்த பிறகு, கேட்கிறது தெய்வீகமான தம்புராவின் ஒலி.

இந்த ஒலி காற்றோடு கலந்து வரும்பொழுது எஸ்.பி.பாலசுப்ரமணியத்தின் இனிய குரலில் தொடங்குகிறது ‘அபிநய தர்ப்பணம்’ என்ற நாட்டிய இலக்கண நூலில் இடம்பெற்றுள்ள ஸ்லோகம்.

நடனம் ஆடுபவற்குப்  பாடவும், கைகளினால் பொருளை விளக்கவும், கண்களின் மூலம் உணர்வுகளைத் தெரியப்படுத்தவும் தெரிந்திருக்க வேண்டும். அவர் களது கால்கள்  தாளகதியுடன் இயங்க வேண்டும், என்பது இதன் பொருள்.

மணியோசையுடன் தொடங்குகிறது பாடல் சுசீலா அவர்களின் குரலில்.

லதாங்கி என்னும் ராகம் ஒரு தனித்தன்மையுடன் விளங்கும் ஒரு ராகம். 63ஆவது மேளகர்த்தா ராகமாகிய இது, கல்யாணிக்கும் வாசஸ்பதிக்கும் இடையே இருந்தும் , தனக்கேயுரிய அழகுடன் பரிமளிக்கும். இந்தப் பாடலின் பல்லவி மற்றும்  அனுபல்லவி, இந்த ராகத்தில் அமைந்திருக்கின்றன. அனுபல்லவி முடியும் தருவாயில், ‘தகிட தகிட தகிட தகிட தகதிமி’ என்று வரிகளை அமைத்து லய ராஜா நடனமாடுகிறார்.

லதாங்கியில் தொடரும் முதலாவது இடையிசையில், காற்றை சுற்றி சுற்றி வருகிறது குழல். அரை ஆவர்த்தனத்திற்கு வாசிக்கும் குழல், சற்றே ஓய்வெடுக்க, இடியோசை போல் முழங்கும் மிருதங்கம் மீதமுள்ள அரை ஆவர்த்தனத்திற்கு வாசிக்கிறது. அடுத்து வரும் ஆவர்த்தனத்திலும் இந்த விளையாட்டு தொடர்கிறது, சிறிது வித்தியாசத்துடன். குழல் இப்பொழுது வேறு ஸ்வரங்களை வாசிக்கிறது. மிருதங்கம் சதுஸ்ரத்திலேயே வேறு தாளக்கட்டுகளை முழங்குகிறது. இதன் பிறகு, குழலும் மிருதங்கமும் மழை நாளில் வரும் வாசம் போல இசைக்க, தொடங்குகிறது முதல் சரணம்.

இப்பொழுது நிகழ்கிறது ஒரு அதிசயம். லதாங்கியில் சென்ற இசை, சட்டென ஹம்சநாதம் என்னும் 5 ஸ்வரங்கள் கொண்ட ராகமாக மாறுகிறது. இதிலும் எஸ்.பி.பி.  நாட்டிய ஜதிகளைக் கூற, சுசீலாவின் குரல் வரிகளைப் பாட, ராகமும் தாளமும் பாவமும் இணைகின்றன. இருவரின் குரலில் தொடரும் அகாரம், செவியில் பாய்ந்து, இதயத்துள் நுழைந்து மேனியில் சிலிர்ப்பை ஏற்படுத்துகிறது.

தொடரும் இடையிசையில் ஹம்சநாதம் ஒரு குழந்தையைப் போல் விளையாடுகிறது. சிரிக்கிறது. நடக்கிறது. ஓடுகிறது. இடையில் மிருதங்கம் நானும் உன் போல ஒரு குழந்தைதான் என முகத்தைக் காட்டி, தனது மான் போல குதிக்கிறது. மீன் போலத் துள்ளுகிறது. மயில் போல ஆடுகிறது.

இப்பொழுது வருகிறது அடுத்த அதிசயம். தர்மவதி என்னும் ராகத்திற்கு மாறுகிறது இரண்டாவது சரணம். அகாரம் இப்பொழுது ராகத்தின் பல பரிமாணங்களைக் காட்டி வேறு சங்கதிகளுடன் ஒலிக்கிறது. 

லதாங்கியில் தொடங்கி, ஹம்ச நாதத்தில் மூழ்கி, தர்மவதியில் திளைக்கிறது.

லதாங்கியிலிருந்து காந்தாரத்தையும் தைவதத்தையும் நீக்கினால் வருவது ஹம்ச நாதம். தர்மவதியிலிருந்து இதே ஸ்வரங்களை நீக்கினால் கிடைப்பது ஹம்ச நாதம்.

சில விஷயங்கள் எளிதாகப் புரிந்து விடும். சில விஷயங்கள் புரிவதற்கு சிறிது  நேரம் எடுக்கும். சில விஷயங்கள் புரிதல் இல்லாமலே போய் விடும். விஷயங்களைப் புரிந்து கொள்ளத் தேவை உணர்தல்-

பண்டுரங்கன் என்னும் சொல்லைப் போல.

Check this out on Chirbit

ILaiyaraaja - The Lateral Thinker

 

‘Think Different’.

How does that statement sound? People who are fastidious would jump immediately saying it is grammatically incorrect and they are not way off the mark. It should be ‘Think Differently’ and not ‘Different’.

It would surprise many if I say that these two words were put up in hoardings across the US by a very popular company who also redefined many things which includes even the name of a delicious fruit.

Does it then mean that the company or the ad agency which handled the account did not know proper English? This probably is a logical question but there are times when logic takes a backseat in creativity.

In my opinion, that small ‘mistake’ made intentionally, conveys many things which a statement in Shakespearean English or even Tharooresque  English will fail to convey. When we think differently, all other things take a backseat and yet the output will be beautiful. This is what the ad says and the company proved this by bringing out products and services very different from the usual. Needless to say they were very successful and they continue to be successful with their creativity and innovation.

When we think differently, we discover new things. When we think differently, we feel the difference. When we think differently, the entire world comes to know that we are different.

Look at this poem from KuRunthogai, which is a part of the 2500 year old Sangam literature:

யான் நயந்து உறைவோள், தேம் பாய் கூந்தல்,

வளம் கெழு சோழர் உறந்தைப் பெருந்துறை

நுண்மணல் அறல் வளர்ந்தென்ன

நல்நெறியவ்வே நறுந்தண்ணியவே.

My Lady has fine, cool, fragrant and wavy hair which flows like the honey and is like the fine black sand found on the banks of the Cauvery river which flows in Uranthai, the flourishing town in the kingdom of the Chozhas.

This gentleman is fresh after meeting his lady love. Though many things happen during the meeting (and I leave that to your creativity and imagination), he thinks of and focuses on her beautiful hair. The most common comparison used by poets in general is that with the dark clouds. But this poet- ILankeeran-  is different. He makes his hero think of fine black sand on the banks of Cauvery river at Perundurai in URaiyur . The sand is black, fine, cool and even wavy!

Different thinking! Different expression!

Needless to say we find this in music as well. Take this song ‘Endhan Nenjil Neengadha’ from ‘Kalaignan’(1993).  It is just yet another romantic situation. Or this is how the director would have told ILaiyaraaja. But the genius that he is, he decided to use a classical raga (hitherto not used by any other composer in film music) which actually is not a very traditional raga.

Let me explain what that means. In Carnatic Music, there are some traditional and very old ragas. Some of the examples are ShankarabaraNam, Kambhoji, and Bhairavi. Then there are other ragas directly derived from the 72 melakaratas and these follow a straight pattern. And then there are ragas which are invented by musicologists and musicians which follow a devious structure. Some of the traditional ragas too follow a devious structure ( Ananda Bhairavi for example) but let us delve into this now.

NaLinakanti falls under the third category. It follows –sa ga3 ri2 ma1 pa ni3 Sa/Sa ni pa ma1 ga3 ri2 sa. On paper, this is derived from ShankarabharaNam, but look at the ascending pattern- sa ga ri and not sa ri ga- which makes the structure devious. In fact, this phrase is the defining phrase of the raga itself. Coming to think of it, the raga is Hamsadhwani plus ma, but hardly does one find a resemblance to Hamsadhwani and this has more to do with the devious structure. Whoever invented this raga surely thought out of the box.

We see this out of the box thinking in ILaiyaraaja as well not least because of using this raga in film music for a romantic duet.

Let us see as to how he has used this raga as a tool to depict the varied emotions.

The composition starts with the mellow stringed instruments playing the signature notes of the raga first ascending and then descending. The bass strings sway subtly giving that different complexion while the drums enter with a soft ferocity playing the chatushram beats. The keys take over and narrate the cardinal aspects of the raga with a majestic touch. The entire prelude and the different combinations of instruments enliven the atmosphere and give us a peek into ‘different thinking’.

With the strings backing the voice of Yesudass with élan, the Pallavi moves smoothly like the pebbles on a mosaic floor. The strings give way to the drums and the Pallavi continues giving a beautiful sketch of the raga in the process. Janaki continues the Pallavi and takes us to the first interlude.

The varied texture of the guitar is shown in the beginning of the first interlude. It moves languorously and glides meticulously producing some unimaginable sounds. There are more new sounds as well as we get to hear a kind of ‘whiplash’ during the fourth ‘ ta ka dhi mi’ of every cycle. The strings move with sobriety but rather briefly. It is left to the flute to prickle us softly even as the bass guitar backs it in its own inimitable style. A strange and different combination of keys, bass strings of veeNa and higher octave strings, and the euphony is incredible to say the least. The signature tune which appears in the beginning makes an appearance again and this seamlessly leads us to the first CharaNam.

The first segment of the CharaNam is elegant and gives musical images of romance. Touching the higher octave notes, the second segment is vertiginous while the third segment sizzles with classical fervour and flavour. Laya Raaja too is very active using four different sets of percussion with the first one sounding only the ‘ta’, the second one sounding all the syllables and the other two making a subtle appearance, one in the beginning and the other in the end.

The second interlude is different as well. It starts with the akaaram in the voice of Baalesh. Making an organic progression, it touches the corners of the raga and culminates in swara singing, swaras which are the jiva swaras of the raga. The two sets of strings move like a labyrinth, perceptibly and imperceptibly showing images which are indescribable.

Think different. Act different. Everything will be different and you will make a difference in others’ life.

https://chirb.it/BhB46d

  https://www.youtube.com/watch?v=RGvjvhdx0q8