Enrichment

 ''In Indian Classical Music, notes/swaras are not treated as orphan'', said the Maestro when Paul Mauriat asked him about the basic difference between Western Classical Music and Indian Classical Music.

Paul Mauriat (pronounced as ‘Mariya’) was a well-known composer, conductor and arranger. This happened in Paris in the year 1983 when ILaiyaraaja went on a tour to Europe for the first time. In fact, the objective of the tour was to explore the places which reverberate with music and not to visit places as a ‘tourist’. The way he knelt down and prayed at the Church in Leipzig in Germany where the remains of his idol, Johann Sebastian Bach is kept, was a treat to the visitors that day. This story needs further elaboration and therefore will be part of one of the forthcoming posts.

Going back to the statement quoted above, it must be understood that though the words sound simple, the statement is profound and carries a lot of weight. By making the statement, he did not belittle WCM. That he loves and respects that form and that he himself is an exponent of WCM are facts known to people who know him well. But his intention was to tell a westerner as to how the Indian Classical System reveres each and every swara.  This ‘reverence’ has to do with the way the swaras are oscillated in 10 different ways and how each and every swara moves with panache, at times superimposing itself on the next swara.

This in fact reminds me of an incident which happened sometime ago in my son’s music class where his teacher taught him a kriti in a raga called ‘Easamanohari’ in which some phrases glide without oscillation. So, the swaras in Indian Classical Music are not just flat. They oscillate, they glide, and they slide. At times are also flat. That is why, ragas are different from scales.

I know I am getting somewhat technical, but these inputs are needed if one has to understand the import of what the Maestro mentioned to the French composer 43 years ago. He quoted this again in 2019 while inaugurating a Football tournament. In fact, he even quoted the popular Tyagaraja kriti ‘Endaro Mahanubhavulu’ to the genius composer from France to prove the fact that Tyagaraja was aware of the existence of other legends across the globe!

Coming to think of it, the beauty of Raaja’s music lies in the free flowing swaras, which flow like a torrent, be it in the tunes and in the preludes/interludes. Though there are some stand alone notes at times, the connection between these notes and the other notes is well established.

Take ‘Manasil Nirainjavane’ from ‘Muththuramalingam’(2017) as an example. Though there are thousands of compositions, I am quoting this as an example because

1. Despite being one of his most recent songs, not many are aware of this song,

2. Many say his music has lost its charm,

3.It is full of synth sounds and yet it doesn’t act as an hindrance.

I do not want to elaborate point wise, but (3.) needs a brief elaboration. It is a fact that there is that heavy dose of synth sound in his 21^st Century music, but unlike many others’ synth, his synth does carry his unique stamp. If by saying this I get branded as being ‘biased’, it does not matter to me. Music after all, is subjective like many other things in this world.

What strikes one in ‘Manasil Niranjavane’ is the pleasing tune. Note the oscillation after ‘Nirainjavane’ the first time it is rendered and see how it is flat when it is rendered the next time. Also note how the notes glide in the lines that follow. This ‘gliding’ is intentional to give that touch of sensuousness. NSK Ramya does full justice with her different voice. The way the Master renders the same set of notes, teaches us a lesson or two on variation and variety.

The Pallavi and the CharaNam have almost the same sets of notes and yet don’t these sound different?

The most remarkable feature is the free flowing synth guitar and the bass which occur ubiquitously in the song.

The music in the beginning and the humming that follows too flow smoothly like a single entity. Same is the case with the keys in the first interlude; or for that matter, the melody in the second interlude where the percussion moves with ebullience and passion.

Shruti and Laya.. How will the swaras ever feel let down?

 

Apogee

The mind!

One of the most enigmatic and mysterious things in the world. Conquer the mind and you will conquer the Universe. After all, aren’t these two related?

Why am I talking about this now? Though there are varied reasons, the prime one is the significance of the day. It is the 176^th aaradhana of Tyagaraja, one of the most prolific and genius composers the world has ever seen and whose name itself is enough to define music. Let me give just two samples of his genius.

The 7^th CharaNam of the first Pancharatna(these 5 kritis are considered to be the pinnacle) goes something like this – Omkaara panjara keerapura- which means – You are the parrot who lives in the cage of PraNavaa-, the swaras in ‘Omkaara’, being ‘Sa..sa…..’, that is, the upper Sa for Om and then just the sustenance on the lower sa, giving the sound of the PraNavaa(Om).

In the 1^st CharaNam of the 5^th Pancharatna, which goes like ‘Saama gaana lola’, he has composed in such a way that it just sounds like the Saama veda, the veda known for its musicality.

I know these are some advanced details and I have tried to simplify it as much as possible so that the intricacies are brought to light and the nuances are appreciated.

In the beginning, I spoke about the mind. Let us see a kriti of his which was used by ILaiyaraaja- who happens to be an ardent devotee of Tyagaraja. In fact, this kriti was used by him twice in two different movies. The one I am posting now is in the voice of Yesudass and Janaki from ‘Isai Paadum ThendRal’(1986).

For a change, I am not going to keep the description brief. But before that, I must tell you all that there are two versions to this kriti, ‘Manasuloni Marmamulu Telusuko’, one in Hindolam and the other in a raga called Varamu, which has the other variant of the ‘ga’. Raaja sir however has used only the Hindolam version in both the movies.

The bird call in the beginning sets the tone ideally. After all, isn’t our mind too like a bird? With pulsating weight, Janaki sings the akaaram. It is a beautiful sketch of that grand raga called Hindolam, whose Hindustani counterpart Malkauns is sung during the small hours in the morning after midnight, as per theory. The raga then moves with coherence and fluency, unfolding with great zeal, unravelling the beauty with grace and sensitivity. The overlapping of the swaras and the superimposition are like a rapier cut. Only difference is that this is soft and soothing.

Yesudass joins and continues the akaaram in his inimitable way. The brief rhythmic ensemble towards the end is the jewel in the crown.

‘Understand the inner yearning of my mind, Oh the One with the hues of the Emerald and whose heart if always filled with bliss!! In the past You protected me with your immense affection. Hold my hand now as I need You the most now’.

Applies to all, irrespective of caste, creed and religion.

Mind is the Universe. Universe is the Divine.

Check this out on Chirbit

Mind-The Unravelled Mystery!

Human Mind is a mystery.

It is indeed very difficult to unravel this mystery. How does the thinking process take place? What happens when we think?How and why do we get negative thoughts? If somebody is a criminal, is it because of his/her mind? If so, should we blame that person or should we blame the mind?

Our ancestors have thought a lot about this and that is why we are told to think of good things and channelise our thoughts.

But is there a link between our body language and the mind?

Bharata’s Natyashastra says,

Yatho Hasta Thatho Drishti
Yatho Drishti Thatho Mana:
Yatho Mana: Thatho Bhaavo
Yatho Bhaavo Thatho Rasa:

‘The eyes follow the hand
The mind follows the eyes
The expressions reflect the state of your mind that leads to the enjoyment of the same’.

This obviously means that the body and the mind are interdependent and therefore there is a direct link between the two.

If the body language is positive, our thinking is healthy.

If the mind is free from negative thoughts, we look positive and our face glows.
Kannadasan sang ‘Manam oru Kurangu’(Mind is a monkey).

As per the principle of Transcendental meditation, our mind is like a river and the thoughts are like ripples. In fact, Zen Buddhism also follows the same principle.

Saint Thyagaraja-who according to me was a great thinker- often spoke about the mind.

In his Malayamarutam kriti, ‘Manasa Etulo’, he asks ‘Oh mind! Why do you refuse to listen to me’?

In another Kriti in Abhogi, he says, ‘What is the use if we do not even know to control our mind?’(Manasu Nilpa Sakthi Lekhapothe).

He talks about how smart and crazy the mind is in ‘Manasa Mana Saamarthiyamemi’(Ragam-Vardhini) where he also quotes examples from Ramayana and talks about the minds of Kaikeyi-who was very fond of Rama until her friend sowed poisonous seeds in her mind- and Sugreeva-who was so selfish that he forgot the quid pro quo agreement with Rama after regaining Kishkinta.

In that blissful Sankarabharanam Kriti, ‘Manasu Swadheenamai’,he says ‘if one conquers the mind, does he need anything else in this world? Is it not the ultimate?’

His mind was so pure that he had the audacity to ask Rama to understand his mind,his innermost yearning.
The Kriti is ‘Manasuloni Marmamunu Telusuko’.

There is a very interesting fact about this Kriti.

As per history and authentic sources, Tyagaraja composed this in Hindolam.But some present day musicians choose to sing this composition in Varamu(Hindolam with the Chatusruti Dhaivatam) for reasons better known to them.

ILaiyaraaja, a great admirer and devotee of Saint Tyagaraja has used Tyagaraja Kritis in movies whenever possible.

Today’s rare gem is this kriti that was used in ‘Thanthu Vitten Ennai’(1991).

If Janaki’s voice infuses joy, the accompaniment of Tabla adds lustre to this composition.

The liberal sangatis strewn all over is unusual for a film song.

The pallavi and the anu pallavi have an evocative grandeur.
The short violin piece is like a pleasant drizzle.

The Charanam throbs with joy with smooth glides.

The Swara singing that lasts two-and- half minutes leaves us mesmerised.

It is subtle and powerful.
It is enticing and is peaceful.
It is a Rhapsody but is assiduous.
It disturbs us and it makes us calm.
It is magnificent and is simple.
It is immaculate…

…just like the human mind!