Attribute

One of the topics which I have discussed quite a number of times in various forums (here, in Orkut Community, and during Geetanjali)- and the one I wouldn’t mind discussing repeatedly- is Ragas and Moods. Indian Classical Music is unique and distinct because of the raga system. There are of course many other features too like the gamaka, sangati, briga, akaaram etc., but all these revolve around ragas.

Talking about the ragas, it is said that each raga evokes a certain kind of emotion. In fact, there is a song from the old film ‘SampoorNa RamayaNam’ in which RaavaNa is asked by his sons, brothers and his wife about the moods of various ragas and he answers the questions musically-singing and playing the veeNa(exquisite rendering by Shri.C.S.Jaraman!).

The Hindustani system of music goes a step further and even classifies each raga as suitable for singing only during a certain time (day or night).

My intention is not to question this or even say that it is all a myth- though I can’t agree with the belief that Mukhari is melancholic or that if one sings Aahiri in the morning, they will starve throughout that day. At the same time, I feel that by restricting the ragas to just some emotions, we are imprisoning not only the ragas but our free thinking.

Our mind always believes what we want to believe and refuses to believe what we do not want to believe.  It always helps to question beliefs. In fact, that is how rationalists came into existence in the world- though this is a different issue and a different topic. In any case, I am not advocating anything here and not for a moment am I saying that all traditional practices must be changed. However, it is better to be convinced about anything after questioning rather than accepting things as they are just because those are part of tradition. This also helps our thinking and also activates our brain.

Apart from this, there is one more angle too. There is a special beauty if one goes off the beaten track and this can only be experienced and can hardly be explained. ‘Being different’ is different and beautiful though one need not be different just for the sake of being different.

As mentioned in many of my posts and also during the Geetanjali Events, ILaiyaraaja , who has a great respect for tradition has time and again challenged some widely held beliefs about the moods of ragas. Not as a rebel but as a true musician. For, there is no trace of arrogance in the deed. On the other hand, it leaves connoisseurs awe stuck and one is left wondering if a particular raga can be used this way too.

He has composed humorous and romantic songs in ‘pathos-evoking’ ragas and melancholic songs in ragas considered to be ‘happy’. In ‘Kotha pittaro koko’ from Detective Narada (1993), he has done the former.

Chakravakam is considered to be a raga for poignant mood even by film music composers. In fact, it sounds more sorrowful in film music than when sung in classical style. However, ‘Kotha pittaro..’ sounds romantic and even erotic. How and why he chooses a particular raga is a question even he will not be able to answer because to him these are spontaneous occurrences.  And anything which has that spontaneity has an unmatched beauty- the ‘aalapanas’ and ’kalpana swaras’ sung in a classical music concert being live examples. So how will ‘Kotha Pittaro’ not sound nice?

It has an unusual start with the sound of cockfight. What follows is a piece on the Sax which sketches a beautiful melody with the flute pitching in now and then and the group of percussion backing with chatushram beats.

It is not the prelude which is different. The structure of Pallavi is different too. The female (Janaki yet again!) sings a line and the male (yes, of course the inimitable SPB) responds in a very different way. Janaki sings for a period of two and half beats (in keezh kaalam) and SPB’s repartee is for one and half beats. And what a repartee it is! 3 ta ka dhi mi s in mel kaalam speaking technically but each line(there are 7 in total) and the reply are different and have their own charm. The 8^th line is only in akaaram (and that too in avarohaNam). If we assume that the Pallavi ends there, it means we do not know ILaiyaraaja enough. It is now the turn of SPB to sing and the turn of Janaki to respond. Finally, it ends with the akaaram of Janaki which gives the essence of Chakravakam.

Can any Pallavi be more beautiful than this? Yes, if it is composed by the Master (read this line in mel kaala chatushram ).

The banter continues in the first interlude too with the wind instruments like the sax and trumpets intercepted by the keys/flute in the first segment and the guitar being ‘replied to’ by the flute in the second segment. Note that this is almost similar to the Pallavi-not in terms of the tune or notes but in terms of the repartee. Playfully playful! In the third segment, the two guitars move with sobriety and play different sets of notes taking us to the first charaNam.

The lines in the CharaNam ooze with melody though there is no ‘repartee’ here. One also sees the different shades of Chakravaham .

The second interlude is another marvel. The sax group plays a melody and it is a different kind of repartee from the group of flutes with the latter playing the same notes as reply. Beyond a point, the Sax& co. starts playing those repetitive notes as if to teach a lesson to the flutes. It can even be taken in a positive sense- the sax decided to join hands with the flute! What happens after this is what makes ILaiyaraaja a composer par excellence. He stops the percussion and as he has done quite a number of times, decides to use the voice of Janaki as a lead instrument. She hums in Chakravakam-though in a different style- and the keys and a host of bass instruments back her gently. This goes on for 6 cycles and indeed takes us to empyrean heights!

How to describe this mood now?

Surely words cannot explain that. Because, after all moods ‘happen’ and are not created..

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Yoga

The year 1498 is very significant as far as India is concerned. Vasco de Gama, the explorer from Portugal set his foot in India that year and that was the beginning of imperialism- which lasted another 4 and half centuries.

Well, this post is not about the freedom fight, nor is it about ‘patriotism’ (what a beautiful word which is much abused and maligned now!). It is more about the place where the sailor from Portugal, landed along with a group of criminals and convicts.

As many of you know, he landed in Kozhikode in Kerala. What should be of great significance is that as early as AD 70(that is 1400 years before the sea route to India was discovered), Jews migrated from Jerusalem to escape persecution after the destruction of the second temple. And 18 years before this, St.Thomas, the Apostle(considered to be one of the disciples of Jesus Christ) landed in Cranganore near Kozhikode. Christianity was established in Kerala long before it spread to the European countries. In fact, St.Thomas had excellent rapport with the local Hindus and later even the Jews (surprising but true!).In the 7^th Century, during the time of Prophet Mohammed, Arab traders arrived in India and Islam was born here.

All this goes to show that a fascinating syncretism of culture developed in Kerala long back and it continues till date. This is evident in the music of Kerala. I say ‘music of kerala’ because music is part of its culture. I am sure Biblical Music and Arabic Music came to India from here. Ah, yes..Carnatic Music is very popular here and is not confined to just one religion .Isn’t it true that Music evolved from different religions but we mortals tend to focus more on the religious aspects than on the music itself! Anyway, this is a different topic best dealt with in some other post.

As for now, let me focus on a song which has the Arabic contours -which obviously means that the forthcoming posts  are likely to feature Biblical Music and Carnatic Music. Here I must say one more thing.

Though it is difficult to digest, Carnatic Music also has been influenced by Persian and Arabic music. Recently, a senior and well reputed musician/musicologist revealed that ragas like Kaanada, Sahana, Surutti and even VaraLi have been adapted from the Hindustani System of music. Of course, these have been brilliantly and beautifully modified with suitable ‘gamakams’ by our ancestors and this speaks volumes of their scholarliness. Though he left out VakulabharaNam, I have a strong feeling that the raga traces its origins to Arabia (not just this raga but all the 6 ragas in the agni chakra-including Mayamalavagowla- have that Arabic tinge).

‘Kadappuraththoru..’ from ‘SMS’(2008) has the strains of VakulabharaNam and I am sure ILaiyaraaja tuned it as a tribute to Maapila music of Kerala.

With the luxuriance of softness and sweetness, the two shehnais play a melody in the beginning with the synth percussion-which almost sounds like traditional Kerala percussion- backing them with the 8-beat pattern 1 2 3/ 1 2 3/ 1 2, playing only the first beat in each segment(or the first, the fourth and the seventh). The synth bass guitar too sounds with resonance now and then. In fact, there are two different sounds (bass) and these give impetus to the main melody. What follows (in keys) is an unmistakable Arabic melody. Towards the end, a sober but powerful stringed instrument (sounding a lot like guitar) and the shrill flute, are engaged in a brief romance before guiding us to the Pallavi.

The Pallavi in the voice of Manjari- to the brilliant backing of different synth instruments and chorus) takes us to the ‘maaplas’ by the seaside in North Kerala. Madhu Balakrishnan joins in the end and continues the flavour.

The first interlude is dominated by the synth instruments, but by no stretch of imagination does this affect the melody. The first segment gives a western shade while the second segment with the shrill flute and bass guitar is luminous and does not fail to give the raga touch. In a way, it even sounds like a sea bird. In the third segment, the flute joins with the synth to produce an amalgam of melodic sound.

The beginning of the CharaNam sees a sharp sound from the percussion which prepares us for a special treat. And we are not disappointed. The dulcet flute appears after the first two lines and beautifully repeats the second part of the second line and even expands it. This goes on for two cycles. In fact, the instruments keep backing the vocals now and then heightening the experience.

The shehnai sound in the second interlude is sublime and the fact that it is blended with the sounds which give the western tinge, makes it doubly special. The shrill flute is as amazing as ever but the master class in my opinion is the sound from the keys towards the end. The way it is ‘bent’ and is made to literally give the Arabic flavour and aura, speaks volumes of the genius composer.

 Syncretic and Symbiotic- Culturally and Musically!

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Cerebrum

Recently, I read a very interesting article on Synethesia. 

This is a condition in which one of the five senses simultaneously stimulates another sense. People with such a condition in brain may smell rose while seeing a water falls; or taste chocolates while listening to some sounds; or see a colour while touching something. This condition occurs when different parts of the brain responsible for sensory perceptions somehow get interlinked and in effect trigger two senses at the same time. Syn in Greek means ‘joining’ and aesthesis means ‘perception’. In a way, it is the opposite of anesthesia (which means the absence of sensation). At the same time, this should not be confused with ‘hallucinations’ which is different.

It is said that some people have this condition which is considered to be a disorder. Is this a disorder or a gift?

When I read this article I was reminded of two different experiences narrated by a couple of artistes. The first one (which I read in a Tamizh magazine long ago) has to do with music. A very famous duo who plays the flute, Sikkil Neela/KunjumaNi once said they see colours while playing some ragas. They did mention some ragas and colours. It was a sort of eye opener for me and it made me appreciate music more and also sharpened by perception. The second one was said years ago by a very popular Bharata Nrityam artiste during a Lecture/Demonstration at The Music Academy. She said, ‘I see music and listen to dance’. Yes, she is known for some flowery expressions- exaggerated ones included- but this too left me thinking.

The fact that these two left an indelible mark in my subconscious mind is known to me because not only do I keep thinking about this quite often but also unconsciously apply this concept while doing certain things. This has surely helped me in sharpening my sensory perceptions and in observing and appreciating finer elements in life in general and in arts in particular. At the same time, I must confess that until very recently I was not aware of the term called synesthesia.

Going back to the question on whether it is a disorder or a gift, I feel that it is more of the latter simply because it questions and changes our conditioning. As J.Krishnamurti said, we are all ‘conditioned’ to perceive things in this world and this has seriously impacted our free thinking. In my personal opinion, all of us need to develop this condition and use it when required, because I feel this aids in ‘out of the box’ or lateral thinking. Most importantly, we are not chained by our thinking.

I am sure geniuses like Raaja sir get into this condition very often while composing. When he closes his eyes and conceives the tune or when he writes the notes for orchestration, I am sure more than two senses are working simultaneously. Otherwise, how is it possible for him to conceive novel ideas breaking the shackles in the process?

The Rare gem of the day is an example.

Going by the title of the movie and the orchestration, it is obvious that ‘KaNdadhai Solladhe’ from ‘Kanni theevu’(1981) is sung in a tribal setting.

It starts with a very brief humming by Janaki followed by the Viruttham to the backing of the chorus and the guitar. The percussion plays ‘ta – dhi –‘ 8 times. The chorus follows, first with ‘ha haa’ for 4 ‘ta – dhi –‘ and then with ‘luu luu’ for 4 fours again. The humming pattern changes again after one 4 and finally the rhythm guitar takes us to the Pallavi.

We are in for a surprise here as the ‘four’ becomes ‘three’. Yes, it is now in Tisram with the percussion-which starts only ‘sonnadhai’- plays ‘ta ki ta/ta ki ta’. The ‘viruththam’ rendered in the beginning is sung towards the end in higher octave!

The strings play with impeccable precision as melody flows like a stream in the first interlude. The differently sounding guitar is enlivening while the accordion bends and rises with a beautiful smile. It is the turn of the strings again but this time it is rousing and enticing to be intercepted by the wind instruments which appear as boulders.

The lines in the CharaNams are powerful and mellow.

The second interlude sees shades of western classical music in the beginning with the trumpets and trombone playing with full vigour. The tribal humming of the chorus first goes in keezh kaalam (slow tempo) in Tisram and then goes in mel kaalam(faster tempo). In fact, there are three different hummings.  The strings glide and the accordion revels. It is the Flute which finally steals the show playing with a unique elegance.

I am tasting the moon and smelling the rainbow. How about you?

                  

                  

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Sempiternal

A couple of years ago, the refrigerator at home started misbehaving. I called the Service Department who first asked me the model number. I went near the fridge, bent my neck, strained my back, noted down the number and read it out on the phone. The Engineer at the other end said ‘ Sir, this is 10 years old and therefore we don’t have the spare part. In fact, we stopped manufacturing the spares for this 5 years back’. I was flabbergasted and asked him the way out. His reply was simple. ‘It will work on its own if it is switched off for some time.’  What if it doesn’t? A giggle from that side which meant ‘You idiot. Go in for a new one’.

Which in effect means that the product was made to last just for 5 years and not a single day more. If it did last, we should thank our stars.

Does this apply just to one product? Look at the new versions of smart phones that come out in the market almost every month.  Look at the new editions of cars. Look at the TVs. Look at the computer system. Look at any consumer product you have at home. When was the last time you bought that and when do you think you will get a ‘new version’ or a ‘new edition’?

Contrast this with the things you had at home during your childhood and in your teens. How many times were new ones acquired in lieu of the old ones?

 Hardly a few…

Hope you all remember the Ambassador- the ubiquitous car seen on the road at least until 2014- which lasted 20,30,40 or even 50 years.

In fact, very recently I saw a 48 year old Premier Padmini in Chennai and was amazed at the way it was moving on the road.

It is as simple as this- Those days, products were made to last longer. 

Nowadays, they are made so that new versions can be brought out soon. Consumers are encouraged to change their ‘editions’ and exchange the old ones with the new ones. I remember seeing an ad for a mobile handset where a gentleman is chided by his friend for possessing a two-year old phone.

‘Outdated’- Isn’t this a very common phrase nowadays?

Well, I am not a person who hates technology or one who clings on to things which are obsolete. New Editions are always welcome provided these come out naturally as per the needs and demands. But this maddening pace where the shelf life is getting shortened by the day, in my opinion is not a healthy trend. There does not seem to be value for any product or for that matter respect for anything.

This indeed is a gross misinterpretation of Bharati’s verse. When the Mahakavi sang ‘Pazhaiyana Kazhidalum Pudhiyana Pugudhalum’(let old ones give way to the new ones), he meant ‘thinking’ and ‘ideas’ and not things which are materialistic..

To a great extent, this reflects our Life and the way we live. All we want is instant gratification. We want fast foods. We want Breaking news (in a way, all news is ‘breaking’ because we end up breaking our heads). We want to make a fast buck. We want everything which is new. In short, we have lost that virtue called patience.

We don’t have the patience to watch the Sunrise and the Sunset. We don’t have the patience to look at the Stars. We don’t have the patience to see the flight of a bird. We don’t have the patience to listen to the song of the  bird. We don’t have the patience to feel the sound of the breeze.

 We don’t have the patience to be one with Nature.

However, this happens at least in the Song of the Day. Two people dance in the rain with gay abandon. Forget that it is just a movie and forget about the sequence or about the actors.. The music makes me feel the joy and the romance and that is what matters to me.

Apart from creating that Rain mood, Poththukkittu Ooththdhadi Vaanam’ from  Paayum Puli (1980) , is musically very sound. It follows two different ragas in both Pallavi/ CharaNams and in the interludes, but the change is so smooth and seamless that one even hardly notices it (anyway, does one need to notice at all?).

It starts with the thundering sound of the rain. The differently sounding keys show the rain drops and Malaysia Vasudevan sings the first line even as the rain continues to pour with the Bass Guitar enjoying the atmosphere. The Keys sound like bubbles and the ever-enthusiastic strings shower us with melody. No percussion until now. But as the shehnai appears playing a melody in Mohanam( scale related to ShankarabharaNam with five common notes), two mridangams dance, with the first one playing ‘ta ka dhi mi’ and the other one playing only the ‘ta’ and ‘dhi’. Subtle bells and the keys are sounded in the background to enhance the experience.

The first line of the Pallavi is in ShankarabharaNam though the ‘ri’ and the ‘ga’ are absent. The following two lines are in Charukesi with the flute that appears at the end of each line too playing that raga. The last line has the common notes (ga ma pa ga ri sa) but one can clearly feel the Charukesi flavour in this and in the santoor which follows.

The first three lines of the CharaNams are in ShankarabharaNam while the last two lines are in Charukesi. The last two phrases in the last line have the podi sangatis as well and one sees the beautiful slide as the notes go on the descent. 

The change in percussion -from mridangam to Tabla/Dolak, the subtle change in the chatushram beats from the third line, and the bass guitar that sounds along with the percussion show the composer’s tendency to innovate and keep innovating.

A special mention must also be made of Suseela’s voice which touches the higher- octave from the mid-octave with consummate ease.

 ILaiyaraaja must have taken a Time-Machine and travelled to his childhood days in PaNNaippuram . This is what one feels while listening to the interludes..

In the first interlude, the two sets of strings pour water on each other-one in higher-octave and the other in mid-octave. In the same playful mood, the one in the higher –octave, provokes the flute which responds coyly. The santoor enters and does a graceful rain dance to give some respite to the strings. The strings then move ebulliently with the bass guitar applauding it.

The second interlude is even more colourful. With the thundering rain in the background, the bass guitar first plays without a raincoat on. The shehnai comes jumping, moving and fluttering like a bird. The santoor and the strings move in a circle. The flute does a contemporary western dance with the strings swaying from one side to another.

So, what if many things are transient now? This music is eternal and everlasting..

….like the Rain!

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Pit Pat

The drops which sleep on the green leaves suddenly fall on our cheeks even as the cool breeze blows. At times it is gentle. At times it is vigorous. At times it is a sprinkle. At times it is sharp. But it is always soothing.

Rains are poetic.

That is why, all great poets have sung about the rain. If ThiruvaLLuvar dedicated a whole chapter for it and also did some beautiful word plays, Bharati almost danced singing ‘Dheem ta ri ki ta’ and ‘chattu chada’ in Tisram. Sangam poets used the Rain as a symbol in Love poetry. In fact, a poet earned the name ‘sembula peyal neeraar’(செம்புலப்பெயல்நீரார்) because of the poem he wrote, taking the rain and the red earth as symbols. Then, we have our ANdaaL whose Aazhi Mazhai KaNNa decribes the Rain so beautifully.

Rains are musical too.

If the sound of the rain is a raga by itself, the sound of the raindrops hitting the ground is the taaLa. Apart from this, we have ragas dedicated to rains. In Hindustani Music, the entire Malhaar group of ragas pertains to the rains. In Carnatic Music , we have the likes of  Amritavarshini and Megaranjani.  But whether one knows the ragas or not, listening to music on a rainy day gives a special feeling which cannot be matched though the kind of music one would like to listen to depends purely on the individual.

Listen to the song of the day and tell me if it does or doesn’t give the feel of the rain.

The beauty of ‘Chinna Chinna Muththu Neerile’ from ‘Ninaikka Therindha Maname’(1987) lies in the tune, in the way the Pallavi and CharaNams are constructed, in the rhythm, in the orchestration, in the voices..(is there anything left out?)

If there is something called a ‘pop jazz’, it is this song surely. It has all the ingredients of Jazz and yet is fast-paced.

Let us see one by one (not in the same order though).

Vocals

Yesudass’ special ‘rolling effect’ is seen in the Pallavi and in the CharaNams while Janaki’s range is apparent throughout. And don’t they sound like young lovers? Mind you, both were in their 50s when they sang this!

Tune

 Basically Suddha Dhanyasi but mixes the other ‘ni’ in the penultimate line of the CharaNam(s).Other alien notes peep in too in the interludes, making it more romantic.

Pallavi and CharaNam

 Time and again I have written about the way Raaja sir constructs a tune.  One can find logic even in an abstract tune.  Pallavi has just four lines but each line is different. The first line has only two notes (sa ga) while the second line adds two more notes (lower octave pa. and ni.).Notes go in pairs (why wouldn’t they in a romantic song?) in the third line while the alien note (Ri2), enters for a second in the fourth line which otherwise has the typical Suddha Dhanyasi  prayogas albeit differently.

The CharaNams have five segments. The first segment is sober, the second one is long, the third, fourth and the fifth are shorter. The use of ‘ni3’ in the fourth segment and the finishing touch in the last line (which ends with the lower ni.) make it brilliantly beautiful.

Rhythm and Orchestration

 I have clubbed the two for obvious reasons. The song follows the Tisram pattern and the pattern of the percussion and the melodic instruments varies beautifully with role reversals at times.

What instrument to use is as important as when to use and how to use. No composer can beat Raaja sir in this aspect. Listen to the prelude. It starts with the bass guitar sounding ‘ta ki ta’ and then pausing. The rhythm guitar is sounded along with the keys. It is repeated in the next cycle. Amazingly enough, one hears a very subtle voice saying the syllables during the following cycle to the backing of both bass guitar and the guitar. Trumpets and Saxophone join now even as the guitars play their own patterns with the drums backing them. The wind instruments reach a crescendo and then there is a pause for half a cycle before the Pallavi.

Silence is musical as ever!

We find this silence between the lines too (it does help to read between the lines at times).

The first interlude starts only with the percussion which plays ta ka ta ka dhi mi as ta - - -  dhi mi thrice and keeping quiet the fourth time with the keys sounding when it keeps quiet. After two cycles, the silky flute intervenes and plays melodically along with the percussion. In the following cycle, it changes the combination of the notes with the strings following it first in the mid -octave and finally in the higher - octave. The guitar and the strings take over and play with lustre with the drums now playing ‘ta ki ta’ in faster-mode (mel kaalam). The special percussion rhythm which one saw in the beginning of the interlude repeats again for two cycles.

Like a beautiful poem, we see the contrast as the second interlude starts without percussion. The saxophone calls. The guitar responds briefly.  What happens after this can be called as magical. The saxophone charts a melodic path giving shades of Jog. Parallely, we see the vamping of the guitar. The bass guitar and the drums literally dance to the tune of the sax and the guitar. It is then a mélange of sorts with the strings, guitar and a host of instruments giving some rich overtones.

Rain of rhythmic melody!

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Visible and the Invisible

A Carnatic Musician, known for his contrarian views said something like this, sometime ago- Our appreciation of music depends on the looks of the musician.(I am not quoting him verbatim, as I do not remember the exact words and I do not intend to watch that video again, at least for the time being).

I am in awe of the musician’s voice and musicality and yet I choose to disagree with him on certain things, in spite of the fact that his political views almost match that of mine. In any case, I am not going to talk about what I like about him and what I dislike. But I feel I must express myself on that particular view of his, as a very normal rasika and more so as a common man.

When we listen to a piece of music, what attracts us? The answer could vary from person to person because after all, music is subjective. At the same time, a simple answer is likely to be ‘the pleasantness’. We like a piece of music because we feel it touches something inside us. We like a piece of music because it makes us emotional. We like a piece of music because we derive pleasure. We like a piece of music because we empathise with it. We like a piece of music because we feel calm.

But do we really care if the musician, who produces it, has a sharp nose or a small nose, if he/she has large eyes or eyes of an elephant, if the person’s skin colour is fair and lovely or is just simply dark? If we had done so, then less than 0.1% of the musicians-and this includes classical, pop, rock, film- would have survived in this field.

A musician is a musician not because he/she is handsome/beautiful, but because we feel his/her music is beautiful.

The beauty in the act of listening to music is that it sets us free and makes our imagination run riot. We care less for the looks of the musician and more for the looks of music-that is, the images the music creates in our mind.

This takes me to something which would seem to be unrelated to this topic but nevertheless is closely related. Imagine you are listening to a musical piece which is part of a background score in a movie. Now, let us take two scenarios :

(1.) you have watched the movie,

(2.) you have not seen the movie.

In scenario (1.), you probably know as to where the piece appears and can easily relate it to the story and the sequence. In (2.), neither do you know the story nor do you know the sequence. So, how do you react to the piece? Do you try relating it to the hero/heroine or any other actor who you know has acted in the movie and then base your like/dislike on this factor? In (1.) too even if you know the sequence, would you look at the piece as just being part of the movie or would you see it as a musical piece which makes you see your own images and gives you pleasure like how a song would give you?

Think about it.

Now, let me take up a piece which is the Title Music in a 1981 film called ‘MeeNdum Kokila’. The piece starts with the sound of the aeroplane followed by the sound of the train. It is at the 20^th second that the music really starts-that is, if you don’t consider the sounds of the vehicles as ‘music’. To ILaiyaraaja, these sounds are musical anyway. That is why, he leaves them untouched and most importantly, keeps them as the base.  Doesn’t that flute, sound like the horn of the train and the bass guitar sound like an aircraft? To add to this, he also gives the sound of the train in the background (played by instruments).

What is more amazing is the fact that the flute plays in pure Mohanam. The violins which appear a little later, echo the notes of the flute in their own impeccable style.  Suddenly the piece undergoes a change with the vamping of the guitar and synth sound(0.34) with the violin continuing the Mohanam(0.38) in a slightly different manner-different from that of the flute. If the flute handled Mohanam(in the beginning) as if it was fondling a tiny tot, the violin handles it with a touch of romance, as if it is conversing with a Lady love. 

Together, the three (synth, guitar and the violin) take us through a journey of joy. Until now(0.50) there is no percussion instrument.

The mridangam jumps into the fray with a bang(0.51) playing a quick korvai for half aavartanaa. The guitar, synth and the violin continue, playing the same melody again for exactly one and half aavartanaas with mridangam entering again after that and yet again playing a korvai for half avartanaa.

The shrill flute joins(1.01) and continues Mohanam with the mridangam now backing it with its pulsating sound. This goes on for 4 taaLa cycles(aavartanaas). A new instrument enters now(1.17) adding a touch of S.E.Asian music.

The Laya Raaja conceives and executes a ‘mini tani aavartanam’ now(1.23) between mridangam and (surprise surprise!) a western percussion.

Creativity coupled with innovation is what differentiates a genius from ‘also rans’.

After that ‘laya vinyaasam’ which also has the traditional ‘kuraippu’(where the number of syllables keep reducing), the violins play Mohanam (1.39) with the mridangam responding in chatushram.

The piece starts undergoing a transformation now, with the keys playing a different melody(1.46) and the strings backing it. The melody from the strings to the backing of pizzicato(1.56) indicates a different raga(Sri). Most importantly, the strings in higher octave take us to an ethereal world.

Ethereal world it is from 2.15 as the veeNa plays like the veda mandiram to the backing of the sympathetic strings. If you think that the piece will end here or that it will continue the mandiram, it means you have not understood the ‘O’Henry Raaja’.

The strings join at 2.48 and drench us in a shower of melody in western classical style-though following an Indian raga- while the veeNa enters yet again(2.52) playing the raga Sri with the mridangam backing it and the strings responding. It is a pure Indian classical trip again with the flute and the violins joining at 3.10. The piece culminates with the thunderous mridangam playing a final korvai.

Now, people who have not watched the movie- What images did this piece give you?

People who have watched the movie/people who know the story- Did it conjure up images of the hero/heroine/anybody/anything?

I am sure a majority will answer ‘No’ to the second question.

As regards the first question, no response is likely to be the same and it will vary from person to person and surely from time to time.

That is why, Music is beautiful, beautiful irrespective of what our eyes see...

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