ILaiyaraaja- The Light- Hearted Musician

While AandaaL is considered to be one of the greatest Tamizh poetesses because of her mastery over the language of tamizh, because of her poetic brilliance and above all due to her eloquence, not many have looked at the sense of humour in her verses. This could be due to various reasons which would include the presence of deep philosophical content in her verses, her spiritual inclination, her devotion, her rather different and unique life- history and most importantly our proclivity to look at Bhakti literature with a tunnel vision.

However, the fact remains that there is enough humour-laced with innocence - in a majority of her 143 verses. As a sample, read her Thiruppaavais from no.6 to no.15 in which she tries to coax her friends to join her in her mission. That ‘coaxing’ is for making them get up from the bed in the chilly mornings of Margazhi and that ‘mission’ is to pray to KrishNa.

Let us look at no.9 as a sample of samples:

தூமணி மாடத்து சுற்றும் விளக்கெரியத்

தூபம் கமழத் துயிலணைமேல் கண்வளரும்

மாமான் மகளே மணிக்கதவம் தாழ் திறவாய்

மாமீர் அவளை எழுப்பீரோ உன் மகள்தான்

ஊமையோ அன்றி செவிடோ அனந்தலோ

ஏமப் பெருந்துயில் மந்திரப் பட்டாளோ

மாமாயன் மாதவன் வைகுந்தன் என்றென்று

நாமம் பலவும் நவின்றேலோர் எம்பாவாய்.

It is a beautiful hall illuminated with lamps glowing all around with incense stick spreading the fragrance. The girl is fast asleep. AaNdaaL and her friends are knocking at the door decorated with the bells. The girl refuses to get up. In fact, she does not move an inch. After making all kinds of noises, AaNdaaL seeks the help of the girl’s mother. ‘Is your daughter dumb? Or is she deaf? Or is she the laziest? Or is it that she is cast by a spell to sleep for eternity?’

Now, look at the sarcasm in each and every line. The first 3 lines talk about the richness and comfort. But it also says, ‘Lights and Sound all around and yet..she is sleeping’. Calling a friend dumb, deaf, indolent and slothful in a normal conversation nowadays is not uncommon. But what sets this verse apart is the suddenness with which these words appear –after describing the house and the surroundings using hyperboles.

And to think that this is a Bhakti poem makes it significantly beautiful.

It also goes to show at least 2 things:

1.Even a serious thing can be said in a lighter vein without in any way diluting the seriousness.

2. We often tend to box people and their works as per our perception, thus missing the wood for the tree.

One of the many false perceptions about ILaiyaraaja is that he is very serious. But contrary to this belief, he has a huge sense of humour which even gets reflected in his works. His background scores in many comedy movies and in comedy scenes in all movies speak volumes of his humorous sense. But the fact that many of his songs too show his propensity for humour may not be known to many.

Today’s song is just one example.

‘VandaaL Mahalakshmiye’ from ‘Uyarndha ULLam’(1985) oozes with humour. What stands out is not just the humour but also the classicism inherent in the composition. It is indeed tough to say if humour runs as the undercurrent in the classical song or that classicism runs as the undercurrent in a humorous song.

One sees a host of multifarious elements in this composition based on KalyaNi in which SPB shows his multi dimensions as a singer yet again.

What strikes us first is not just the absence of a prelude but the presence of the upper ‘Sa’ in the very first phrase, an occurrence which is somewhat uncommon. The second phrase –Mahalakshmiye (Sani riSa nidhaniSa)- itself gives a sketch of KalyaNi even without using the prati madhyama. The two swaras-ri and ni- are the jeevaswaras(ones which give life) to KalyaNi.Is it for no reason that he is called the Isaignani?

There  is one more subtlety in the Pallavi. After SPB renders ‘VandaaL Mahalakshmiye’, he pauseS for half aavarAtna(taaLa cycle) and the mridangam plays ta - - -/ta ka dhi mi/ta ka dhi mi/ ta - - - giving kaarvai in the first and the fourth parts with the jaalra playing the last syllable and this pattern is repeated in the next two phrases-EndRum AvaL Aatchiye. He then renders the full line, this time adding ‘en veettil’ between the first two and the last two phrases. In tamizh there is a word called ‘kuRumbu’ which can be loosely translated as ‘mischief’ and isn’t it apparent here?

After a soulful ‘akaaram’ for 2 cycles by SPB, the Veena-VeNu starts painting the canvas with classical KalyaNi in the beginning of the first interlude.It is tender and mellow and is embroidered with simple and yet intricate patterns. The percussion too responds in style and it is a raga-laya delight. What is to be noted is silence of the percussion when the VeeNa-VeNu plays.

The Guitar enters suddenly and tee-hees in KalyaNi. Here too, the suddenness is striking. The Guitar internalises the charms of the raga and externalises it in its unique style with the Bass guitar and the Indian percussion backing it with glee. After exactly 3 aavartanaas in western KalyaNi, the Indian KalyaNi reappears with the VeeNa, Sitar and the VeNu. With smile written on their faces, these seem to tell each other- ‘We have had enough fun.Let us continue later and watch the CharaNam'.

The first half of the CharaNam is dominated yet again by the higher octave swaras(Ri, Ga and Sa) and in a way this is responsible for the mood which is further enhanced by the rendering of SPB. The composer’s grip on Laya is well-known and one gets to witness this again here as the first line of the CharaNam starts after the Samam with the last line ending in the last beat of the taaLa cycle.. The change of gait of the percussion (from the third and the fourth lines), the penultimate line going as ta ka dhi mi/ta ka dhi mi/ta ka dhi mi/ta ka dhi mi and the last line going as ta dhee ta/ ta dhee ta/ ta dhee ta/ta dhee ta in a very typical classical style are not unexpected from the master of Laya.

But what is unexpected is something in the following CharaNam.

 Before that there is the second interlude where the West and the East meet. First, the Guitar and the Bass guitar sound repetitive notes with the VeeNa giving a very brief repartee. Even as the Guitar brothers continue the same repetitive notes, the VeeNa expands the melody with gentle nobility of involvement. It is an entrancing portrayal of the hidden beauties of KalyaNi in particular and music in general.

The first part of the second CharaNam starts and is totally different from the first CharaNam. The swara ‘ma’pairs with ‘pa’ and ‘ga’ and this janta prayoga shows yet another dimension of the raga. What happens after the first two lines is what makes ‘Ee laya Raaja , a musician par excellence. The lines now are rendered in ‘usi’. Note that I am not talking about the percussion which goes normally. But the vocalist is made to render the lines giving stress in the even syllables. Honestly, I haven’t come across such an innovation even in any classical concert.

After ‘Mayanginen’, the composer and the singer decide to mesmerise us with a claasical swara korvais- an incredible array of swaras.  The group of upper ‘Sa’s following the group of mid-octave ‘sa’s, with the lower octave ‘ni.’ in the ‘sarisani.’ group which follows in the second line, the higher octave group of ‘Ri’ s following the mid-octave ‘ri’s and the ‘pa ma dha ni.’each in a group of  4 first and then in a group of 6 towards the end shows the mischievously beautiful musicality of the composer.

And the ‘mischievous musicality ‘ continues till the last line of the CharaNam where one hears the akaaram which giggles, chortles, sniggers, titters and sneers.

Humour makes a genius, a super genius-whether it is AandaaL or it is ILaiyaraaja.

Does anybody disagree?

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ILaiyaraaja - The Thought-provoking Musician..

Is illusion good or bad?

Spiritualists and Philosophers generally consider anything which is deceptive as not good not trustworthy. Of course, it doesn’t need a philosopher to tell us this as we as human beings have an innate wisdom that makes us not to fall into the trap of falsities.

But aren’t illusions enjoyable too?

See this poem:

தேனுகர் வண்டு மதுதனை உண்டு தியங்கியே கிடந்ததைக் கண்டு 

தானதைச் சம்புவின் கனியென்று தடங்கையிலெடுத்து முன் பார்த்தாள்

வானுறு மதியம் வந்ததென்றெண்ணி மலர்க்கரங்குவியம் என்றஞ்சிப்

போனது வண்டோ பறந்ததோ பழந்தான் புதுமையோ விதுமெனப் புகன்றாள்.

Drunk with the taste of honey, the bee lies on the ground. An young girl mistakes it to be the ‘Naval’ fruit(a native fruit, an equivalent of the English fruit Blue berry) and takes it in her hands. The bee wakes up. Her face looks like the moon and her palm looks like the lotus flower. Fearing that the ‘lotus’ would close its ‘petals’ in the night-when the moon raises in the sky- the bee flies away.. ‘Can a fruit fly?’ asks the girl in bewilderment!

That poem is part of ‘Viveka ChintamaNi’, a collection of poems composed by various poets in that beautiful language called Tamizh.

We see two different illusions in the poem-bee’s and the girl’s. And how poetic these illusions turn out to be! In a matter of four lines, the poet describes the beauty of the girl, the beauty of the bee and the law of nature.

Aren’t illusions beautiful and enjoyable too?

In the poem, the bee was in an inebriated state. Or should I say, ‘a kind of inebriated state?’

Nearly 3 decades ago, a classical musician was in that state. And he goes to the concert in that state-not to listen but to perform. How would he sing? Or rather what would he sing?

ILaiyaraaja was given this situation by the director. And thus was born the song, ‘Poomaalai Vaangi Vandhaan’(Sindhu Bhairavi/ 1985).

But what I find amazing in this song is not just the choice of the raga Kaanada and its beautiful usage but also the fact that delusion and illusion run as undercurrents in the composition.

Let us start with the choice of the raga. ‘Kaanada’ is a vakra raga which surely has the capacity to take a listener to a different level and state. So, it is not without any reason that the composer chose this raga(though if asked about this, he would say, ‘it just happened!’ with a broad smile).

Secondly, such kind of ragas which go more by the ‘pidis’(signature phrases) and less by the aroh/avaroh structure are relatively easier to handle in an elaborate carnatic concert than in a film composition. To bring out the essence of such ragas calls for a profound understanding of theory and practicals.. Needless to say Raaja sir came up trumps in this aspect.

Let us now see the composition from the beginning to appreciate it better.

Clothed in musical sensitivity and sounding eloquent and gentle, the composition starts with the aalaap in the mesmerising voice of Yesudass and I must say that there are touches of Darbari in this. Probably, this too was intentionally done keeping ‘illusion’ in mind!

The Pallavi starts after a very brief sally in mridangam which plays the tisram beats, ta ri ki ta thom/ ta- tom . Interestingly enough, the very first two phrases- niSa nipapa ma gama- give the outline of the Kaanada in a trice. The brilliant composer that he is, he goes to the mandra staayi ni(lower octave ni) in the last phrase and then climbs up-ni.saripa maga ma ri -yet again using the prayogas of the raga. Isn’t it a complete Kaanada now?

Yes, here there is no illusion!

What matter in a composition are not just the swaras and the raga but the way these are used. Note how the lines sound with a twinge of pathos. Goes to show that music is beyond swaras and ragas..

After a delicate and a light stroke of melody on the keys lasting 4 tisrams, the violin dazzles in the first interlude. Illusion yet again! This dazzling violin plays Kaanada in pure Carnatic style even as the subtle violins back it in western style. The group of violins follow with aesthetic grace and elegance. The veeNa and the veNu repeat this melody with verve while the guitar gives a diffused glow of light.

Composed with fecund imagination, the lines in the CharaNam elucidate the raga. If the repetitive ‘dhanidhanidha’ phrase in the beginning is enticing, the repetition of ‘pa’ is inebriating. Of course, upper madhyama(Ma) in the penultimate line and in the last line takes us to empyrean heights. We are grounded again towards the end when it glides to the mid octave ‘ma’. Instance of illusion yet again!

The second interlude sees an uninterrupted flow of mellifluence. First, the flute sparkles with a blend of charm and poignancy. Couched in winsome melodic language, it produces sheaves of melody with only one-string backing it. The veeNa replies with its unique tenderness. It seems as if the veNu and the veeNa are involved in an exercise of gradually discovering the hidden aura. The keys seem to make some tender overtures to the violins which play subtly first and then vividly, sketching the raga beautifully in the process.

Splendour of expressiveness!

Aren’t illusions poetic and musical?

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ILaiyaraaja - The Rapturous Musician

Revelry is one thing which all of us love.

When we celebrate something, adrenalin rushes in, endorphins run around, serotonin jumps, dopamine dances and oxytocin smiles. The positives far outweigh the negatives and probably this is one of the major reasons for the existence of so many festivals in India-especially in South India.

What happens when we celebrate art forms and poetry? Wouldn’t this result in our aesthetic sense getting fine tuned?

But then, are celebrations and aesthetics mutually inclusive or exclusive?

This is not an easy question to answer. Celebrations can be gaudy, displeasing and distasteful. It can also be artistic, beautiful and creative.

Let us see how a great poet celebrates a very important and a significant occasion.

Rama and Sita get married at Mythila. Kavi Chakravarthy describes this Event with panache. Though there are many verses, let me just take 3 of these now.

First, the sun rise:

அஞ்சனம் ஒளியானும் அலர்மிசை உறைவாளும்,

எஞ்சலில் மணம் நாளைப் புரிகுவர் எனலோடும்,

செஞ்சுடர் இருள் கீறித் தினகரன் ஒருதேர் மேல்,

மஞ்சனை அணிகோலம் காணிய என வந்தான்.

It seems spreading it beautiful rays, the sun rises to witness the wedding of Rama and Sita.

Then, he describes the city and the people of the city.

அன்னமென் நடையாரும், மழவிடை  அனையாரும்,

கன்னி நன்னகர் வாழை கமுகொடு நடுவாரும்,

பன்னரு திரைமுத்தம் பரியென தெரிவாரும்,

பொன்னணி அணிவாரும், மணியணி புனைவாரும்.

Young girls and men adorn themselves with priceless pearls and jewels and the city is full of the auspicious plantain trees.

And finally, the wedding:

ஆர்த்தன பேரிகள், ஆர்த்தன சங்கம்;

ஆர்த்தன நான்மறை, ஆர்த்தனர் வானோர்;

ஆர்த்தன பல்கலை, ஆர்த்தன பல்லாண்டு;

ஆர்த்தன வண்டினம், ஆர்த்தன வேலை.

The drums reverberate. The conch reverberates. The veda mantram reverberates. The bees buzz. The ocean thunders. All these say, ‘Long live the divine couple!’

As I said there are more verses, but I have chosen just 3. Look at the contrasts in the first and the second verse. The first one describes Rama as ‘dark-hued’ and Sita as the one who lives on the lotus flower. The second one has the swan (girls’ gait) and the bull (men’s gait). The last one ‘sounds’ the percussion and the melodic conch. It also talks about the ‘bee’(which goes in search of honey) and the ocean(water)- symbolizing living and non-living things.

To imagine that even the bees and the ocean celebrated Rama’s wedding, calls for a profound aesthetic sense. And that is why, we celebrate Kamban.

If this was a poet’s celebration and the celebration of a poet, what we are going to see now is a musician’s celebration. In the former, Kavi Chakravarty celebrated his Hero’s wedding. In the latter, Isai Chakravarty celebrates his hero’s wedding-his hero (or should we say heroine?) being music.

Through almost all his compositions ILaiyaraaja celebrates music and this is reflected in the output. So, what would have happened when he was asked to compose a song for a wedding sequence- a tribal wedding sequence at that. Wouldn’t that have made his creative juices flow and even overflow?

That oozing resulted in ‘Kanni PoNNu Kai Mela’ (Ninaivellam Nitya-1982).

The rhythm, the pattern, the use of apt instruments and a very special raga make us imagine the ecstatic state the composer would have been in, while composing this song.

To start with (and I am going in reverse), let us look at the raga. Theoretically speaking, SaarangatharangiNi is a simple scale. It is a shadava raga with 6 swaras in ascending and descending. The great carnatic music legend Shri.G.N.Balasubramanian, a musician known for many experimentations, once thought of adding a swara (dha) to a very popular raga Hamsanadam. The new raga was christened SaarangatharangiNi. Though it does sound like a Hindustani raag(a lot of resemblance to Shuddh Sarang and not without reasons), it has a unique charm.

ILaiyaraaja used it for the first time in this song(and some more times later on).

Shehani, an instrument (wrongly) associated with melancholy alone, has been used prolifically by ILaiyaraaja in very happy situations. This instrument is ubiquitous in this song (note that it is played in North Indian weddings).

ILaiyaraaja is known to for using very different instruments. In this song, he uses tribal percussion which plays the tribal beats.

And of course there is his most favourite instrument which is called as ‘silence’.

Let us now celebrate the song looking at the nuances.

It starts with the tribal percussion sounding ‘ta ka dhi mi/ta ka dhi mi/ta ka dhi mi’ for 2 aavartanas(taaLa cycles). The chorus hums now and isn’t this enticing? The dynamic melody matches the rhythmic intensity. It is the marriage between raga and taaLa!

As the chorus continues, we see the resplendent shades of the raga. It continues for 11 aavartanas with a special sound occurring at the end of every second aavartana till the 8^th and then at the end of every aavartana. This special sound which lasts for just one beat, shows how a subtle improvisation can enhance the mood of a composition.

The chorus touches the higher octave and twin-shehnai decides it is time to jump into the fray. It plays the first line of the Pallavi and then goes on. The bass guitar joins the percussion which by now gathers more momentum and intensity, giving a resonant beat at the third microbeat of the fourth ‘ta ka dhi mi’.

The subtle flute joins the shehnai for the last two aavartanas to play a part in the celebrations.

Suseela starts the Pallavi in higher octave. Not many songs have a start like this. There is pause after ‘kai mele’ with only the special sound appearing there. Malaysia Vasudevan repeats the first line and the chorus appears again after the second line, humming in a typical tribal style for one aavartana. And then there is silence for 3 beats after ‘KalyaNam’. Does this signify something?

As if to show the contrast, the male voice, the female voice and the chorus sing the next line boisterously!

With a willowy grace, the shehnai moves in the first interlude. But before that, the resonant percussion sounds ‘ta’ with yet another tribal percussion sounding ‘ka dhi mi’ rather gently. And this goes on for 2 aavartanas. But the beats continue in the same pattern in the background throughout the interlude- when the chorus sings ‘tam tam tam ki ta’ followed by a brief akaaram and then ‘tam tam tam ki ta tam tam tam tam’ for 4 aavartanas, when the flute plays a piece couched in winsome melodic language for 4 aavartanas and when a tribal melodic instrument joins hands with the keys mimicking the humming of the chorus.

The lines in the CharaNams are eloquent with silence playing a role here too. There is silence for a full aavartana after the first and the third line. The vocals(female in the first charaNam and male in the second charaNam) give a repartee in the second and the fourth line. The chorus joins after the fifth line, repeating the min singer’s lines. The last line rolls with musical intensity.

The second interlude is vivacious. For starters, the tribal instrument gives a gripping melody. The strings respond intensely with the percussion-which is intense as well- backing these, playing ‘ta – dhi mi/ta ka dhi mi’. After two rounds, the shehnai wallows in and moves with exhilaration. A host of shehnais and a couple of other instruments join now and then. As if smitten by this, the chorus sings with ecstasy. It is contrast again with the keys sounding with suppleness. The tribal/keys melody appears again and this time the chorus joins in giving the repartee.

Sheaves of melody!

Sun rays, priceless pearls, jewels, buzzing bees, thundering ocean..

Artistic, Beautiful and Creative..

 It is the Celebration of Life!

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ILaiyaraaja- The Angelic Musician

What is Divinity? How do we feel it?

Are Heaven and Hell real?

We all ask questions like this now and then.

Life gets more exciting with questions. Or does it?

Have we ever got answers for these questions?

Yes and No..

Let us forget questions for the time being and have a look at this poem:

தேனினும் இனியர் பால் அன நீற்றர் தீங்கரும்பனையர் தம் திருவடி தொழுவார்

ஊன் நயந்துருக உவகைகள் தருவார் உச்சி மேலுறைபவர் ஒன்றலாது ஊரார்

வானகம் இறந்து வையகம் வணங்க வயங்கொள நிற்பதோர் வடிவினை உடையார்

ஆனையின் உரிவை போர்த்த எம் அடிகள் அச்சிறுபாக்கம் அது ஆட்சி கொண்டாரே.

Sweeter than the honey; He is like the sugarcane.

He smears his body with the ash which resembles the milk.

Resides on top of our head; He is Omnipresent.

Wears the elephant skin.

He is The One who rules Achchirupakkam.

Feel Him and fall at His feet.

He will melt you and give you eternal bliss.

Written by the great Tamizh poet Thirugnanasambhandar, this poem has profound meaning.

Honey, Milk and Sugarcane are all sweet. These denote the Bhakti at a superficial level. But to realise Him, one does not have to go anywhere for He resides on top of our head in the sahasra chakra as per the Kundalini Shaastra. Elephant is an animal with wisdom and knowledge. It also breaks all the obstacles which come in its way. Here, elephant skin is used as a symbol for wisdom and for clearing all obstacles. It may be noted that as per PuraNa, the axle of Shiva’s chariot broke while He was passing through a village to burn the ‘tripuram’, and only then did He realise that He did not pray to Ganesha before leaving. That village then attained the name ‘Acchiruppakkam’. It does not matter if this really happened. What matter are the symbolism and the poet’s brilliance.

This poem has some beautiful contrasting elements too- Feet/Head, One place/Everywhere, Space/Earth etc.,

The poet, who is believed to have been fed with Divine milk, is known for wielding a magic wand and without a doubt casts a spell with his words and word play.

The crux of this verse is- Realise yourself and feel the bliss. That is Divinity.

Let us see yet another Tamizh verse:

கருங்கண் தோகை மயில் பீலி அணிந்து கட்டி நன்கு உடுத்த பீதக ஆடை

அருங்கல உருவின் ஆயர் பெருமான் அவன் ஒருவன் குழல் ஊதின போது,

மரங்கள் நின்று மது தாரைகள் பாயும்;மலர்கள் வீழும்;வளர் கொம்புகள் தாழும்,

இரங்கும், கூம்பும்;திருமால் நின்ற நின்ற பக்கம் நோக்கி அவை செய்யும் குணமே.

Adorned with the peacock feather on the head, with the silk cloth on the waist and with the jewellery on the body, the cowherd boy plays the flute. The trees stop swaying, stand still and shower the honey. The flowers fall down with ecstasy. The branches melt, bow down and keep moving in His direction.

Oh! What a sight!!

This was written by Periyaazhwar, one of the 12 Vasihnavite saints.

If the one who is believed to have tasted the Divine milk, saw and felt the Divine first as the One with a Form and then as the One who is formless, the devotee of Krishna saw Divinity in His music.

Such an experience is possible not just for theists or believers but also for agnostics and atheists.  When one watches a huge snow capped mountain, when one smells the petrichor and watches the rain, when one sees the waterfalls, or watches a bird take a flight.. the experience is indescribable.

The theist and the atheist forget themselves and get into a state of  trance while listening to good music. Though music is nothing but the different permutations and combinations of the seven basic notes, it is an undeniable fact that certain kind of music gives a very special feeling and unbounded joy. This music mesmerises people without an exposure to the technical details of music, people who have some knowledge of music, small children who do not know anything, animals or even beings like the trees.

The music of ILaiyaraaja falls in this category. The reason for magnetism could be because he sees the Divine in music.

Among thousands of glistening pearls from the treasure trove, let us take out one beautiful pearl on this special day.

There are many special features in the pearl called ‘Thenaruviyil Nanaindhidum Malaro’ from the film ‘Aagaya Gangai’(1982). Let us see some of these.

The composition is based on a Hindustani raag called Bhimpalasi. But some of the lines have the note‘re’ in the aroh which is generally not permitted in Bhimpalas. Moreover, the last lines in the CharaNams have the Shuddh nishad which is an alien note.

Generally in a film music composition, it is not uncommon to use alien notes which are also called as accidental notes. However, compositions with a classical touch usually do not have any alien note. ILaiyaraaja in particular, avoids using such notes in his classical compositions. But a closer look at the composition suggests that there is a pattern in the ‘re’ usage and that it occurs as ‘rimaga’.

In the Hindustani system, any raag with alien note or notes, is accompanied by a prefix ‘Mishra’. So, this can be called as ‘Mishra Bhimpalasi’. But I would also prefer this to be called as ‘Raaja Bhimpalasi’ for reasons not unknown.

By the way, did I say this entire composition is based on one raag? I must correct myself. The raag changes in the second interlude not once but twice and the second charaNam is based on the third raga. Let us see these ragas later on.

Though he is always ‘ILaya’, time and again he has shown that he is ‘ee laya Raaja’. In this composition too, this Laya Raaja makes an appearance in the very beginning. And what an appearance it is!

The Mridangam and the Tabla indulge in a Tisram play. It starts with the Mridangam first which plays one tisram. The tabla responds. The mridangam plays.The tabla responds again. This playful game lasts for 12 tisrams with each tisram in a different pattern.  The Mridangam then plays for 4 tisrams continuously. The tabla responds by doing the same. In between- that is before the tabla-, the flute shows its face and disappears. It appears again after the tabla, does a bird call and again disappears.

The two percussion instruments again play alternately after one tisram respectively, with a couple of melodic instruments appearing in the gap. Gaps are meant to be decorated, aren’t they?

Throughout the percussion exercise, two things stand out. One, both the percussion instruments are backed by the ankle bells. Two, each pattern is different.

Is he not Laya Natana Raaja?

We now get introduced to the Pallavi. I am saying ‘introduction’ because it is just the ‘dheem’ and ‘dhiranana’ . Ah, there is one more which is Janaki’s humming. SPB sings ‘dheem’ and Janaki responds in makaaram.  SPB sings ‘dhiranana’ and Janaki hums for both the phrases. More about Janaki’s role later.. But before that, we must see the musicality of nothingness.

It is a well known fact that silence is musical. No other composer has used the language of silence more effectively than ILaiyaraaja. Here too, there is pin drop silence after Janaki’s makaaram. Lasting exactly for a count of two tisrams, this silence conveys many things which a musical note cannot convey.

The Pallavi now starts with Janaki rendering ‘Dheem dhiranana’ and expands it with SPB singing the wordings in the same tune and the pattern continues. In the entire song, Janaki renders only the syllables except in the end when she renders the wordings of the Pallavi.

In a couple of my posts in the Blog, I have mentioned that ILaiyaraaja is the only composer who has used Janaki’s voice in lieu of instruments. This song is just an example. She renders the makaaram and the akaaram in the Pallavi and CharaNams with consummate ease in this song and this itself gives a special complexion to this composition.

What makes this more attractive are the statuesque korvais. But this does not take away any credit from the melodic instruments used though these are few in number.

The long flute plays the haunting strains in the beginning of the first interlude without percussion backing. The tabla tarang and the jalatarangam join together and respond giving ripples of melody. The ripples turn into some subtle patterns as the rhythm guitar takes the place of the two. The harmony and balance of the long flute are incredible as ever. Etched with lucidity and moving with fluidity, the veeNa swings with musical impulses.

The small flute gives some variegated nuggets of the raag. The mridangam changes the nadai to chatushram. How charming it is to see a change in gait! Mesmerised by this, the veeNa plays with a rounded mellowness.

The CharaNam is delightfully structured with the ‘makaaram’ and the ‘akaaram’ of Janaki taking us to empyrean heights. If the dominance of the higher octave notes in the first three lines makes it exciting, the ‘rimaga’ prayoga makes it cheekily beautiful. The impromptu entry of the kaakali nishada in the last line completes the subtle improvisation.

One has the darshan of the Laya Raaja yet again in the entire charaNam in the different patterns of mridangam for each line.

As the first CharaNam ends and the Pallavi is sung again, the raga change is perceptible. What makes the raga change in his compositions brilliant is the seamlessness. The raga change in this composition is no exception. The deluge of swaras by the chorus suggests Kaapi and even before one realises it, the raga changes to Bageshri.

The second charaNam starts with the akaaram of Janaki in Bageshri. This raga which is known for serenity gives us peace and calmness here with the use of some lower octave notes in the first line and the higher octave notes in the second and the third line. The percussion too plays a role in the change of mood with the mridangam giving way to the tabla. Bageshri is sketched with dexterity with the vaadi and samvaadi swars- ma and the upper Sa- and without even using the note ‘pa’.

As the second charaNam ends, the Pallavi is sung again and the mridangam sounds ‘ta’ ‘ta’ ‘ta’ ‘ta’ ’ta’ ‘ta’ ‘ta’ with resonance.

Is it saying ‘This is what is Divinity’ and ‘This is what is Heaven’?

Probably YES!

PS: This post was read out to a group of like-minded friends on the 27th of August 2017 as part of 'Geetanjali', an annual Event dedicated to ILaiyaraaja and his music!

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