Thursday, 14 February 2019

Regal



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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