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Being unconventional is both good and bad depending on how
we see it.
I for
one never encourage or like gimmickry or 'circus work' in a pure classical
concert and I
surely frown upon people who indulge in it. It is not so much because I hate experimentation but because I believe in certain values.
Any classical art-as the
name suggests- should adhere to the norms strictly and maintain thesanctity. By saying
this, if I am branded as a 'puritan'
so be it. I love being one.
That is
why, I do not like some of the artistes who in the garb of 'janaranjakam' play to the
gallery and earn encomiums from the 'masses'. But at what cost this is done is
surely debatable. 'Simplifying
music' is a broad term and what this simply means is
questionable.
At the
same time, I am not against creativity or innovation in classical
music. The most
beautiful aspect ofCarnatic
Music is 'manodharma' and the
creativity of the artiste comes bubbling out with energy in the 'aalaapana' or the 'swara singing' segments.
But it is indeed tantalising as the temptation to go overboard and showcase all that
they know about the raga and the taaLa will be more and therefore classicism and virtuosity will in
likelihood take a back seat. But the saving grace here is that classical
music has seen (and
been seeing) some great legends who respect the art form as the Divine
Force and immerse
themselves in it. They know to strike the right balance with the result that both the artiste and the listeners
undergo a unique experience in a totally different
plane.
If you
all wonder as to why I am writing this here, let me tell you
that this is very relevant here. The logical question in your mind will now be
'This person is talking
about 'dilution of classical music'. Then why is he a fan/follower of a
'cine-musician'?' Yes, your question is justified to a great
extent.
Note the
key words 'pure
classical music concert'. Film music is a different cup of tea altogether.
While a classical music
concert is
attended by people who have the interest/inclination, films are
watched by one and all. Therefore, the songs are composed keeping this in mind.
There was of course a time when film music was dominated purely by classical
music. My father used to say that even a rickshaw
puller would be
singing a MKT or a P.U.Chinnappa song with the same sangatis.
However, the scenario changed over a period of time and one
saw lighter shades more than the classical
shades. Different forms of music were also melded together.
This gave an opportunity for all to listen to different melodies and the songs along
with some meaningful lyrics, became part
of life for a majority.
As has
been mentioned ad nauseam, Tamizh Film Music underwent a complete
transformation post-1976.This gentleman found the right mix of all major
world music forms and
gave it as a 4 and half minute package.
What is amazing is the fact that he was able to bring out the emotions of the
character(s) with his tunes and the instruments.
Wherever required, he used a raga and showed its full magnitude.At the
same time, he also used the raga as just a scale depending on the sequence
(I would say even depending on what came to him at that
moment).
Wait..Am
I contradicting myself? Calling myself a puritan, I said I
despised vidwans who diluted the ragas on stage while at the same time
praising someone- from film industry - to the sky?
Far from
it.
As
mentioned earlier, film music is a genre by itself. Though I said I
don't like dilution of classical music on a classical platform, I
never said I don't like other forms of music. Good
music is good music in whatever form it takes. So, when a Vidwan on the stage sings a ShankarabharaNam or a Todi, as a
classicist, I expect him/her to sing it with the requisite bhava.
At the same time, I enjoy a melodious film song when it is played. After all,
there are certain rules of the game.
The fact
that I started enjoying and appreciating classical music only because of the gentleman who
changed the way music was composed in films,
has been said many times and I shall elaborate on this again soon in some other post.
Let me go back to what he did and what he has been doing in terms of the raga or a scale. Classical ragas assumed
new meanings and saw new dimensions in the way he handled those. I was talking
about the rules of the game. A medium like Cinema has certain unwritten
rules and one was
expected to stick to the rules. But this
gentleman questioned the rules in a positive way. One of
the classic examples is the rare gem of the day.
A Club
Dance sequence
invariably had a western tinge what with the electric
guitars, trumpets sounding in high decibels with the drums/bongos in full throttle. How did this Master change this thinking?
'Yaar maamano'
from VetRikku Oruvan(1980)
is supposedly a song in such a sequence.
The Maestro first based the tune in a classical ragam, Gowrimanohari.
Next, he predominantly used the Tabla. Result? ADisco song with classical undercurrents. Wouldn't
this make Edward de Bono proud?
The song starts with a sustained sound
of the Keys. The Bass
Guitar moves with
its unique elegance and one hears a very subtle sound of the drums.
The Guitar appears now and pauses after playing a
very brief melody to give way to the Tabla. What a
beautiful Chatushram pattern the latter plays! This pattern
itself can be called as the leit motif. The Electric
Guitar follows
now and both the Tabla and the Drums back it. The Raga is now beautifully narrated by the Twin-Violin with a sound which can at best be
described as 'out of the world'. The single Violin finally shows the western contours very briefly and along with a
couple of melodic instruments leads us to the Pallavi.
The Pallavi in the graceful voice of Janaki shows the distinct colours of the raga.
The percussive treat of the combination of the Tabla and Drums together with the Bass
Guitar should not
be missed here.
After a
brief sketch by the Keys and the Bass
Guitar, the Piper and the Guitar evoke a focussed ambience in
the first interlude. But
what steals the show is the Saxophone which hops, skips, jumps and makes
liquid glides. Jazzy to the core! The Guitar in higher octave gives moments
of beauty.
The CharaNams start with a 'ta naa naa' humming and ends with a
'mmm kaaram'
in the sensuous voice of Janaki.
The second segment where it touches the higher
octave is
awe-inspiring.
The second
interlude is a rendezvous
of sorts. It starts with the Laya conversation between the Tabla and theDrums. The Tabla first plays Ta
ka dhi mi four times for two cycles. The Drums reply for one cycle. TheTabla again plays for two cycles and this time the Drums reply in two cycles.
After
this 'Laya Vinyaasa',
the single Violin plays in higher-octave with an unmatched elegance. It is inHindustani style first and then in Western
Classical style.
A couple of western instruments follow and play the same melody. The Piano
Keys then
woo us playing with a mesmerising and a magnetic style. Finally, the interlude ends with a Carnatic style of a brief 'kuraippu'.
All
major forms in a matter of 4 and half minutes in a Film
Club-Dance sequence.
Yes, any
shot can be played within the rules of the game...
