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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Article 352

June 25^th!

The very mention of this date sends adrenaline pumping for a majority of Indians. People for whom cricket is another fine art like classical music and dance and for whom patriotism is defined by their support to the National Cricket Team, this date is very special. It was on this day exactly 35 years ago, the Indian Team-nicknamed as Kapil’s Devils- lifted the World Cup in a beautiful afternoon in London even as  the bleary eyed fans watched it live on DD or ‘visualised’ the scene with their ears glued to the radio sets. It was for the first time that Cricket World Cup final was being telecast and not many households in the country could afford a TV. In any case, it was a moment to cherish not only for people who watched/listened to it but also for the generation which was born after 1983.

On the same date exactly 8 years before this historic moment, something else happened in our country. If what happened in 1983 did the Nation proud, what happened in 1975 will make any right thinking individual squirm and leave them with red faces. Yes, it was around the midnight of 25^th June 1975 that Emergency was declared in our country!

What was the ‘Emergency’ and why is it still spoken about by the intelligentsia even now after 43 years? Why was it declared? Was the Nation is such a bad shape? Was the country under threat from external forces?

It would surprise (and even hurt) many but the fact is one individual’s adamancy to stay in power brought ‘emergency’ to the country. The MP election held in Rae Bareli in 1971 was declared null and void by the Allahabad High Court and the MP happened to be the Prime Minister of the country. As per the Law, the PM automatically lost the seat. This judgment was delivered on the 12^th of June. An appeal was filed in the Supreme Court and the court gave interim relief allowing the PM to continue in office till the petition was disposed of. The matter could have rested here. But insecurity crept in. ‘What if the judgment goes ‘against’ yet again’, thought the PM who was also heavily influenced by the coterie of 4 people.

Bypassing all norms-like calling  a cabinet meeting or calling an urgent session of parliament- the Govt. declared Emergency around the midnight of 25^th June 1975, citing ‘internal disturbances’. In a midnight action, all opposition leaders (major and minor) were arrested and put behind the bars. ‘Fundamental rights’, the highlight of Indian Constitution was suspended. Freedom of Speech and Freedom of Expression became things of past. A new act, MISA (Maintenance Of Internal Security Act) was passed under which anybody could be arrested without any case and no bail could be given. All newspapers were scrutinized and examined thoroughly before going to the press and even a small word against the government was deleted. Constitution was amended to make the PM immune from prosecution in all legal cases.

In other words, Democracy was murdered.

The words of the Mahakavi ‘இம் என்றால் சிறைவாசம், ஏன் என்றால் வனவாசம்’ came true yet again (remember he wrote it against the British colonial rule).

In the name of ‘development’, colonies of one particular community was destroyed and demolished (does this remind you of something else which happened in 2002?) . A record number of 27,00,000 family planning operations(this includes small boys) was done in one year. A 20-point programme was ‘chalked out’ and all the states were asked to strictly implement it and promote it vigorously with all promotional materials carrying the name and the photograph of the PM. A rosy picture off the country was painted.

Finally, after 1 year and 7 months of dictatorship, assuming that the ‘Nation had really moved’ and that nobody remembered the Opposition parties or the leaders, Elections were announced.

It was here that we, the people proved who we really are. Despite all false propaganda by the ruling party, it lost the elections. The PM was defeated and could not even enter the parliament as an MP. India showed to the world as to why it is considered as the largest democracy.

There were many excesses during that dark period and I would refrain from writing all that here. But the point here is-which has also been the topic of discussion now- ‘will there be another emergency?’

Before answering that, let us all recall as to what happened in TN between 1992 and 1996. Same kind of one-upmanship, self-aggrandizement, disrespect though the ways and means were different. But here too, people showed their might in the elections that followed.

Cut now to the present situation. Do we see that one-upmanship, chest thumping(56’’), attempts to silence dissent, showing undue favours to some, attempts to attack the fabric of federalism, disrespect to institutions, targeting a particular community, lynching  and most importantly pomp and show?

Will this lead to somewhere?

Only Time will tell us.

But let all those in Power remember that the Power of The People can never be underestimated.

The song of the day talks about this power.

The greatness of ‘Manidha Manidha’ from ‘KaN Sivanthaal MaN Sivakkum’(1982) is that it can make even a coward, brave(at least for 4 minutes). The tune which is powerful -and at the same time melodious- is complemented by the meaningful words of Vairamuththu. We see yet another dimension of Yesudass in this song.

The solo Violin in the minor scale in the beginning, depicts the suffering, mental trauma and the helplessness of the oppressed. After a while, realising that nothing in this world is achieved by crying, it starts thinking. Slowly, it starts addressing its fellow members (group of strings) and make them join the Revolution. The leader charts out a plan. The followers listen. Strategy is drawn. The group swells in numbers with people from all walks of life (the band with trumpets and drums) joining it.

They plunge into action.

Words are spoken (Pallavi in the voice of Yesudass) and echoed (Bass voice of the chorus).

Actions get implemented (first interlude).

 Sub- groups and Leaders  are formed across the country and they organise and delegate(beginning of the first interlude). Volunteers work like bees (strings). It grows (brass section).

Speeches and action all around (First CharaNam with swaras going in groups of 3).

The Leader makes a very emotional and touching speech (Pallavi repeated with passion by Yesudass after the first CharaNam).

Fiery speeches (violins) and finally the climax (horns- scale change).

It is Victory at last!

Positivity all around ( Second CharaNam).

‘Be ware’ -it finally warns us (slowing down of the chorus voices in the end).

No more Hero-Worship!

 We, the people, rule the country..

Let our eyes turn red. That will make the Nation green!!

PS: I am not a member of any political party nor do I have affinity towards any party. The views have been expressed here in my capacity as a citizen of India. Let no political colour be given to this post. Thanks!


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Mystic

The man says to her- I composed a poem.

The lady replies- I gave you a gift for that.

A cursory glance at these two lines would suggest nothing. To some it would seem ludicrous while to some others it would even seem absurd.

But what is this all about?

Let me give the original lyrics in Tamizh – Naan Kaadalenum Kavithai sonnen kattiline mele/ Andha KaruNaikku Naan parisu Thandhen Thottiline Mele.

People who know Tamizh are a little lucky now as they can understand the lines. Unfortunately, the language of English cannot bring out the import of what the lines convey(I am a lover of English language and yet I understand the limitations each language has).

Literally translated the lines would mean-

I composed a poem on the bed/ I gave you a prize –on the cradle- for that KaruNa.

(sorry, no equivalent word for KaruNa in English.Can we say ‘compassion’?).

Ok, this is not a love duet. It is a lullaby sung by the father and mother to their two daughters. However, I can say with conviction that I have not seen any line from any other form of poetry which depicts ‘that act’ so subtly, so succinctly and so beautifully.

And to think that the same poet wrote ‘Life is just a Business/Birth is Income/Death is Expense’(Vaazhkkai Enbathu Vyapaaram/Adhil Jananam Enbathu Varavaagum/MaraNam Enbathu Selavaagum) or Ask the one who went and he will say ‘Come here’/Ask the one who came and he will say ‘Go there’(Sendravanai Kettaal Vandhu Vidu Enbaan/Vandhavanai Kettaal SendRu Vidu Enbaan).

In fact, in the second song quoted, there is a line which says ‘One gets wisdom after getting spoilt’(Ketta Pinbu Gnaani) and this one line is enough to define/depict/describe the poet who wrote all these.

Though this might sound controversial, my firm belief is that No other lyricist in Indian Cinema can come close to KaNNadasan . By saying this I don’t intend to denigrate other legends; nor do I want to sound chauvinistic.

I can back that statement of mine with thousands of examples, but let me focus on today’s song.

Whenever I even think of ‘ILamai Enum Poongaatru’ from ‘Pagalil Oru Iravu’(1979), I can’t help getting a feeling that on the day of composing, the Divine Power must have thought ‘This is the right time to give an immortal composition, a composition which would be termed as ‘eternal’ by generations to come.So I am blessing the three extraordinary souls to give their best’.

Man proposes. God disposes? No, here it was proposed by God himself!

As per the situation in the movie, it is a random meeting between a man and a woman and the inevitable happens. In simple terms, it is PMS between two strangers who were driven by that ‘L’ word and the ‘L’ here is not ‘Love’. At the end of it all, both walk away.

This situation may not be uncommon in the present day movies, but one must understand that this was a movie of the ‘70s during which misplaced Victorian morals-yes, applicable only to women - were ruling the roost in Tamizh Cinema(now don’t ask me if moral policing is not on now , but that is a different story).

But what makes this song unique is that except for the last stanza where the poet says ‘Oh the one who is left with dishevelled hair,is this your fate?’, there is nothing to suggest ‘victimisation’ or ‘immorality’. One is surely reminded of erotic poems of the sangam era , and the ‘Geeta Govindam’.

The poet starts his description calling youth as a gentle breeze and that it sings a song. What kind of a song? A melodious song of desire played by the VeeNa..

The first stanza is a simple and graphic description with the bee and the flower being used as symbols.

It is the second one which really stands out in my opinion. Now see this:

‘She forgot her question even before the question arose/And she fell..’

(Ketka NinaiththaaL MaRanthaaL/Kelvi Ezhumun VizhunthaaL).

The third stanza reminds me of the ‘KuRunthogai’ poem(from the Tamizh Sangam Literature)  which says,

‘Who am I to you? Who are you to me’?

Well, as I said earlier three extraordinary souls were blessed to give us this song.

If only it was not for SPB, I am not sure if the lyrics and tune would have attained the kind of eternity it has attained now. I can’t say anything more about the rendering as it speaks for itself.

This applies to the music as well, but I will fail in my duty if I don’t say a few words about the tune, the orchestration and the arrangement.

But first I would like to talk about an aspect which is very subtle and yet adds that beauty to the entire composition.

Quite often I talk about silence in his compositions. In ‘ILamai Enum..’, this factor is presented brilliantly and cleverly.

First of all, the Pallavi starts after the beginning of the taaLa cycle(and this is called as ‘anaagata eduppu’ in carnatic music parlance!). If one looks at the count, it is exactly after 3 micro-beats. Listen to the pause before SPB sings ‘ILamai enum’ after the prelude.

This is quite normal. But what is ‘abnormal’ is that the same no. of counts is left after two phrases in the first line of the Pallavi- that is after ‘PoongatRu’ and after ‘Or Paattu’- and then again after the next line- Sugam Sugam Athile Ore Sugam- and after ‘Or VeeNai’. This continues in the CharaNams as well with pauses for 3 micro-beats after phrases- say in the first CharaNam after ‘ILamai Malarin Meedhu’, after ‘KaNNai Izhandha VaNdu’, after ‘Dega Sugaththil Gavanam’ and after ‘Kaattu Vazhiyil PayaNam’. And the pattern continues in the other two CharaNams.

Phenomenal!

It is an undeniable fact that the addition of chorus voice almost throughout the song, creates a unique atmosphere.

It is also undeniable that the orchestration and arrangement-always his speciality anyway- are in line with the entire mood of the song whose tune –set in the minor scale-sounds very simple and yet sounds complex when one attempts to sing.

If the santoor in the beginning sounds like rain drops, the keys which follow give us a feeling of petrichor while the strings in mid-octave shows us a steady drizzle.

The higher - octave strings in the first interlude sound like a constant shower with the chorus and the flute showing us the dark sky-indicating things which are to follow.

What makes me go wild and calm at the same time is the guitar piece and the sound from the keys in the second interlude. It is like getting drenched in the rain wantonly throwing all caution to the wind. The higher- octave strings make it more intense while the santoor seems to give a mysterious smile.

Beautiful pure white water falls. This is how I can describe the higher-octave strings in the third interlude. What does the chorus voice indicate?

Fulfilment?

Ecstasy?

Completeness?

Well, the entire composition gives us a sense of joy, hitherto not experienced.

It seems as if the poet told the music composer

I gave you a Poem

And the music composer replied

I gave a Gift.

An Eternal Gift to the mankind as a whole!

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Altruism

Sometimes in the most crucial moments, we forget basic humanity.

No, I am not talking about the Captain of the Argentinean Team, who walked off the field last night without bothering to shake hands with the opponents or the referees. Nor is this about his angry gesture at a Croatian player after the latter ‘fell down’ and was looking helplessly perplexed!

In fact, the line which I have quoted is from an article I read a couple of days ago and it had nothing to do with Football. The article is a chilling account of his encounter with a family of tigers; yes a perfect family of tigers with a Tiger, a Tigress and two cubs.

This happened some time ago at Todoba Andhari Tiger Reserve in Maharashtra and I still remember the news item -which appeared that time – about the ‘Tiger Family’ picking up the lunch boxes of the villagers and savouring the treat. Are tigers carnivorous or herbivorous or omnivorous? It is for the zoological anthropologists-if at all there is a term like this- to find out, and in any case this post is not so much about zoology or anthropology as about human behaviour during a crisis.

To continue with the story, there were two ‘Houseful’ tourist jeeps with many villagers perched on top of the jeeps. Some 15 villagers-who were grass cutters-, were on the ground. As a matter of principle, it is said that the tigers do not attack humans when they are on four-wheelers (yes, even animals have principles unlike our politicians!). Now, some of those villagers were pleading with the tourists to let them in even as the tigers were crouching and were getting ready to attack them.

The Tourists refused.

That line quoted in the beginning appeared now in the article and I am sure the relevance requires no explanation.

The author had the presence of mind to ask his driver drive very close to the villagers and made them jump inside his jeep..

..and that is when the tigers decided to have an altogether different lunch!

This story might indicate different things to different people, though the L.C.M. would be ‘Never forget basic humanity’, but to me it conjured up some images, images of what happened very recently.

‘Yours truly’ and his two children were sitting in front of the majestic monument, which is considered to be one of the wonders of the world. I, for one have never been enamoured of its perceived beauty, but that is a different story altogether and requires a separate post. The evening was bright and equally hot. A man along with a 4-year old kid came to us and asked for some water. We had 3 bottles out of which 2 were empty already and there was just a quarter(no, no, it was pure H2O  as you all know I am totally a teetotaller!) left in the third one. We had to walk back to the gate which was approximately 800 meters away and we would certainly need that water, especially the kids.

So, when the man asked for water for his kid, I flatly refused. My two children said in the same voice (yeah, it was counterpoint too, literally), ‘Appa, please give’. I looked at them with a stern face, turned towards the man and again said, ‘No’. He asked thrice and then walked away with his kid holding his hand. My kids gave a disturbed look. There was a mix of emotions written on their countenance. Sadness, Anger and most importantly Disappointment.. The last mentioned was because they did not expect their dad, who is known for care and concern for others, to behave the way he behaved that moment. I told them I cared for them more. My statement indeed lacked conviction, a fact which I could make out from my tone and from my kids’ expressions.

On the way back in the bus, my daughter was watching a Hindi movie , which according to me was ‘third rate’ and which according to her was ‘first class’, my son was busy fiddling with his phone and I was busy listening to songs. So, the incident was forgotten..Well, almost!

The following day, we went to Akshardham, a place meant to be spiritual , visited by people who confuse spirituality with something else. The long and short of it was that the place was over crowded and by the time the three of us joined the line to go inside, we had hardly any energy left. The Delhi heat made things worse. My daughter said she would faint soon and asked for water. There was no bottle with us and I spotted a man holding 2 mineral water bottles in the Q. Without any hesitation, I asked him for water. He hesitated for a moment. I said it was for the little one. His friend immediately asked him to oblige. And he obliged..

Needles to say, at that very moment what happened exactly 24 hours ago crossed my mind and I was left with a sense of shame. My daughter smiled at me and though there was a touch of innocence in that, my guilty conscience read a lot in that smile.

If I got reminded of a song that moment, it was not just because of the first line but due to a variety of reasons.

‘Mandira Punnagaiyo’ from ‘Mandira Punnagai’(1986) is undoubtedly a composition which spreads serenity and gives tranquillity. If I said that the composition is musical meditation, it would not be an exaggeration.

Listen to the prelude. Guitar string repeating the same extended note; keys responding with a string of notes; an oboe like piped instrument playing languorously; another set of keys striking at the right frequency.. Is this a lullaby? Or is it something more than that?

The absence of percussion during the entire prelude which runs for 4 complete cycles of 8 beats(aadi taaLam) with each beat consisting of 3 micro-beats(tisram) speaks volumes about the brilliance of the composer and the composition. Isn’t it a fact that silence speaks more than words, or that music speaks when words fail?

The Pallavi in the voice of Janaki is soft and sensitive and pierces the heart. The guitar piece which appears after the first line and the fleeting flute piece after the first and second phrases in the second line, complete the spiritual experience.

It would be difficult to believe –especially for first time listeners- that this indeed is a film song and not a western symphony. They can be excused for mistaking this to be the latter, for if one listened to only certain segments of the two interludes, without listening to the Pallavi and the CharaNams, it would seem surely like a pure western symphony.

The melancholic solo violin in the beginning of the first interlude is joined by another violin in higher octave and the latter is joined by two groups of violins, with each one playing different sets of notes. Note the shift from the minor scale to the major scale here. The brass flute repeats the violin melody even as the groups back it subtly with a parallel melody. Two sets of strings now move with grace, of course playing two sets of notes with the percussion-which was absent till now- and the bass guitar backing them. The solo guitar brings back the touch of poignancy with two sets of flutes replying with great discernment.

The guitar and the flutes combine together yet again but this time producing totally different sets of melodies, that is different from what these produced in the first interlude. In fact, one can even say that the guitar piece can be used as a teaching tool for aspiring western classical students in general and guitarists in particular.

The seamless transition from minor to major happens yet again with the brass flute and the strings enlivening the atmosphere and playing with verve and vigour showing us a sleek silhouette in the process.

Forgetting all these musical terminologies and technical terms, and listened with focus, the song-that is every bit of it- stokes some unknown and unseen emotions and most importantly calms our mind.

If only the group of tourists in a forest in Maharashtra had listened to this song when they saw the faces of helpless villagers..

If only the Argentinean Captain listens to the song in his hotel room in Russia before the final encounter with Nigeria..

If only the father of two kids had mentally played this song when he was sitting in front of the huge monument considered to be the Symbol of Love..

Well, the first two mentioned are unlikely to have happened/to happen.

The last mentioned did not happen though it should have happened. But the experience and the subsequent recollection of the song has made that father, a better human being..

                  

                  

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