Can romance ever
be Majestic?
It is a question
difficult to answer and not so difficult to answer. But rather than trying to
find an answer, let us first listen to this song from ‘Aayiram Vaasal
Idayam’(1980), a song which I have listened to ‘pallaayiram’
(several thousand) times and would like to continue listening to for ‘pallaayiram’
years( I am sure I will have that many births J).
What amazes me
the most in ‘MaharaNi Unai Thedi..’ is the beginning. It is not
uncommon for his songs to start with an akaaram. But this opening akaaram
is very different. A mix of swaras is followed by a single sustained swara.
Now, there is a pause between the two sections. And it is this silence
which is very intriguing (silence is always intriguing anyway!).
Remember that
this was recorded in 1980(or probably end of 1979) when the
‘punching’ system was unheard of in India.. The way Janaki adjusts her
voice to the two different sections speaks volumes of her versatility.
It speaks volumes of the brilliance of the composer too. Though
the sustained akaaram almost sounds the same, the ones which precede it,
sound different each time. After 4 sets, the higher octave notes are
touched, sustained and then podi sangatis sung. . At least I have
not come across any song opening like this and in case you have, please feel
free to enlighten me.
The strings
start gradually now to the backing of bass guitar, and reach a
crescendo.
The special keys sound takes over and the percussion
joins now in tisram. Earlier the strings too play to the count of
3 but without percussion.
The flute
responds to the keys in its style. The strings now play the first
line of the Pallavi with a very subtle set of strings backing these.
Another sound from the keyboard signals to the other instruments and
finally the Pallavi arrives.
Grand prelude!
The Pallavi
in the voice of Jayachandran sounds as melodious as ever. The violins
peep in after each line. The lover of variety uses two different sets of
percussion with each one sounding ‘ta ka dhi mi/ta ka’ one after the
other.
I am reminded of
a taanam of a carnatic
vidwan’s when I listen to the strings in the beginning of the first
interlude. A taanam is built step-by-step and it follows logic. The strings
too build the melody step-by-step here though it is brief. In between, there is
that sound from the special keys and also the subtly powerful bass
guitar. The flute takes over and levitates. The brief interception
of the strings is more to appreciate that flute magic and less to show
their prowess.
The guitar
enters now and combines with the special keys and of course the bass
guitar, to produce a rocking melodic piece. The strings in higher
octave complete the experience with the ‘bang’ sound in the
beginning giving the impetus.
The CharaNams
are in three segments with the first segment going higher, the second
one flowing like a calm stream and the third one oozing with romance.
Note that unlike the Pallavi, it is the tabla which provides the rhythm,
playing ‘ta ka dhi i/ta ka’ in 3 different ways in the 3
segments. The backing of the strings and the bass guitar-which
sounds sharper in the third segment- add a special colour to the lines.
How he conceives
his orchestration has always baffled me. The second interlude
starts with a set of strings. After 1 ¾ tisrams, the second
set of strings join. After another 1 ¾ tisrams, the third set joins. A
different relay race indeed!
The romance
between two different key sounds follows, but it is the flute
which steals the heart again. With the strings responding after 4
tisrams initially and after 2 tisrams later on, it
traverses a path which is curvilinear and then linear.
Can romance be Majestic?
Why not, if the
person who kindles it is Majestic?
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