Year: 2007

This is the 10th of 15 articles titled Classical Ilayaraja appeared on Usenet in the 90s.
I’ve added links to the songs, so you can listen as you read.
You could also try my Tamil song search.

The mind is a wondrous subset of the terrific biological entity, the brain. Literally, the heart is often alluded to as the site of thinking. In old Thamizh cinemas, the heroine would invariably say to the villain at some point (like the inevitable rape scene!) “naasakkaara, unakku idhaiyamE illaiyaa?” while the unmindful villain would be busy disrobing her with a terrible “ha ha ha” laughter! Why does the heroine have to say this kind of a scientifically preposterous statement, while it was the villain’s brain that decided to rape her, and not the poor “heart”! Does the evil mind of the villain exist in his brain? If so, where is it in the brain? Or, is the mind just the product of the functioning of the brain? A disease process affecting the frontal lobe of the brain might make an individual loose all his social inhibition and pee in the public, or to go to Bourbon street in New Orleans, or to Mardigraz in Galveston! Damaging the visual cortex of a villain might make him blind, but he might still try to follow the heroine with the help of her bangle noise! Damaging his temporal lobe might render him hearing impaired, but he might still try to get to the heroine with the help of “koondal” scent cues (refer: Thiruvilayadal!). As a last effort you may want to damage his parietal lobe, but then he would still see the heroine, even though he might not know what to do to the heroine! So, where the heaven is the so called MIND?!

The intellectual power of the mind is amazing. More than 2000 years ago, Eratosthenes sits in his ill-built mud house and thinks in the deepest crevice of his neural network “what will be the circumference of the earth”. He does a simple calculation and concludes “about 22,000 miles”! Somewhere amidst the tangle of their neural network the Indians think abstractly about the non-existant numeral and make their magnum opus contribution of “nothing” to the field of mathematics! Just give Einstein a pencil and a paper and a chair and a table. He will fire a couple of neurons in his brain and say a radical theory that the matter and energy are one and the same and that they are interchangeable. As though he was the incarnation of the God himself, he would start theorizing the rules and regulations that govern the movement and functioning of various celestial bodies that are millions of light years away from his chair in New Jersey! His brain might be now floating in a jar of formaldehyde in Missouri city, but where the heaven was his MIND?!

Orchestral music is one of the greatest contribution of the minds of the westerners. Indian classical music, be it carnatic or hindustani, has always encouraged the imagination of the mind to pour out extempore, like a spontaneous volcanoic eruption on the stage. This is evidenced by the weightage that has been given to originality and spontaneous creativity on stage during alapanai (raagam elaboration), sangadhis (singing the same line in different tunes), niraval (singing the critical line of a krithi in different tunes, with lot of emotional appeal), kalapana swaram and lastly in thani avardhanam for the percussionists. On the other hand the orchestral music of the westernists is a well planned one. There might be hundreds of musicians in the orchestra. Each of them play the notes that is given to them. Unlike the Indian classical music, it needs a lot of rehersal and they have several practice sessions before going on the stage. There is creativity involved in western music too, but it is not spontaneous. The composer creates the tune sitting in a serene atmosphere, and it is brought to the public by the orchestra, with a complete suppression of any effort for individual creativity.

One of the greatest achievement of Ilayaraja is that he appropriately used the best of the western and eastern classicism. To wield a huge orchestra is no joke. In many of his carnatic songs he has shown an uncanny skill in organising the orchestral music with a classical splendour.

Vasantha is a fantastic raagam. It is a popular janyam of the unpopular melam Suryakaantham (17th). Its arohanam and avarohanam are Sa Ma1 Ga3 Ma1 Da2 Ni3 Sa; Sa Ni3 Da2 Ma1 Ga3 Ri1 Sa. While traditionally it is believed that Boopalam is the raagam suitable for the dawn, Vasantha is the raagam suitable for the dusk. So, no wonder Ilayaraja used this raagam for a duet which talks about the rain pouring during the dusk! andhi mazhai pozhigiradhu is a great song in the movie Rajapaarvai. Kamalhasan sings this song with Madhavi. It is one of those early songs that showed the full fervency of Ilayaraja’s mind for creativity. The classical orchestral grandeur of this song was unbelievable at that time. I distinctly remember hearing this song for the first time in “Oliyum Oliyum” in Madras Doordarshan. Those days we were living in the Telephone quarters in Kilpauk, Madras. Since we did not have a TV, we used to go to our neighbour’s house. They had a merciless “hundiyal” right at the door, which demanded 25 paise for each program! Well, getting to see songs like andhi mazhai for just 25 paise was definitely worth the money!

Ilayaraja starts the song with a prelude of “pop pop pop poboppo” by the chorus. The sudhdha madhyamam in Vasantha has served as the starting point for many classical krithis. Ilayaraja too starts his “pop pop” in the madyamam like “Ma Ma Ma Ma Ga Ma Da”. Classically, the transition from Ma to Da is not a straight one. There is a subtle Ni in between. That is, when the musicians say Da they go all the way to Ni and then drop down to the daivatham. Ilayaraja starts the pallavi “andhi mazhai” like Ma Ma Ma, Ga Ma Da Ma Ga, Ga Ma Da Ma Ga Ma Ga Ri, Ma Ga Ga Ri Ri Sa. It is a beautiful start. All the hidden melody in the swaras of Vasantha are extracted in the pallavi itself. Even in the charanam his mind seems to be bent upon extracting all the melody in the Ga Ma Da transition. He starts the charanam like Ga Ma Da Ma, Ga Ma Da Ma, and the tune lingers there for a while!

This song also marked the early classics of Vairamuthu. His lyrics became a controversy too, in this song. He writes:

andhi mazhai pozhigiradhu
ovvoru thuLiyilum un mugam therigiradhu
indhiran thOttathu mundhiriyE
manmadha naattukku mandhiriyE

Look, the hero who sings this song is a blind man in the movie! How can he see the heroine’s face in each of those beautiful rain drops?! Perhaps that is what defines a poet’s world. Physical defects get nullified in their world of fantasy! But, surely Vairamuthu got into trouble when he called the heroine as “the cashew nut of Lord Indira’s garden”! Basically he means to say that the heroine is like a kind of sex bomb to the hero! She is the bible that the hero reads in the night! That is understandable. But what does this cashewnut stuff mean? Lord Indira is not known for romantic deeds like Manmadhan! Just for matching the alliteration of the words he made a senseless statement. (Recently Vaali got into trouble when he said inji iduppazhagaa in Thevar Magan. Sure that ginger has got all degrees of sharp bends in its structure, but what has it got to do with the hero’s hip!) In Demolition Man, Sandra Bullock may feel very much disgusted about what she calls as “biological transfer of fluids”. But look how Vairamuthu characterises the feelings love creates during the youthful period of fantasy. He says “dreams torture”, “eyelids weigh heavily”, “it is like suturing a thorn inside the eye” and so on…

Ilayaraja made T.V.Gopalakrishnan sing in the second interlude of this song. A short piece of Vasantha. (Earlier he had made him sing a short piece of Keeravani in idhu oru nilaa kaalam in Tick Tick Tick). There are few classical people who have tried the orchestral expedition of carnatic music. I remember the recordings of Y.M.Kamasastri often played in the radio long time ago. Invariably he would pick up a rare vivadhi raagam for his exploration and have his orchestra play it. Albeit high technical quality, those recordings were not very much enjoyable. I would dare say that Ilayaraja was the first guy who could appropriately use the orchestral music in a very “enjoyable” way. Later he got so much used to composing a tune for his orchestra that he started doing everything in his mind. That is an unbeleivable state of knowledge. When the song goes like Ma Ma Ma Ga Ma Da Ma Ga, the background violin may be going like Da Ni Sa Ga Ri Sa in the upper octave. The chorus might be traversing in the Da Ni of the lower octave. The guitar chords might be vibrating in the F major area! If you could figure out that all these individual musical events would unify in a perfect harmony to give a superb Vasantha melody, just by imagining in your mind, then is it not a great task?! Where the heaven is this enigmatic MIND?

Ilayaraja has given three more Vasantha songs. maan kaNdEn maan kaNdEn in Rajarishi is a equally classical song . It has been sung by K.J. Yesudoss and Vani Jayaram. The song goes like Sa Sa Ni Sa Ni Da Ni, Sa Sa Ni Sa Ni Da Ni, Sa Sa Ni Ri…Sa. The second interlude is especially good. Pulamaipuththan has written this song. In the charanam he writes “kaatrukum ull moochu vaangum”! That is, when the thalaivan and thalaivi embrace each other during love, they would do it so tightly that even the wind that got caught between their bodies would feel breathless! This kind of personifying the pancha boothams and writing poetry like “fire itself would feel very hot” “wind itself would feel breathless” was started by Thiruvaalar Vairamuthu! Pulaimaipiththan too, seems to have changed his style to suit the modern trend. There is a short piece of Vasantha in the raagamalika song in Unnal Mudiyum Thambi. enna samaiyalO starts with Mohanam. Then it is followed by Vasantha (raagam vasantha, naan rusithu parka rasam thaaa..), Kalyani and lastly Madhyamavathi (ilayai podadi). Recently he has tried Vasantha in a half boiled way in Paatu Paadava. The song starts like nil nil nil. It is a very different tune. But unfortunately, these good songs seem to have got lost before the incredible power of Rahman, like the local “super 501 bar” soap in Thamizhnadu got lost to the “national” washing powder Nirma!

Hamsanandhi is one of the popular janyams of the unpopular 53rd melam Gamanachramam (the prathimadhyamam of Suryakaantham). The other popular janyam of Gamanachramam is Poorvi Kalyani. I don’t know if there are any cinema songs in Poorvi Kalyani. But there are a lot of songs in Hamsanandhi. Ilayaraja has used this raagam both for happy and sad occasions. Probably his first song in this raagam came in Rajni’s Thanga Magan. raaththiriyil pooththirukkum is a great song. The orchestral music is lilting. The song has been sung by the evergreen pair S.P.B and Janaki. Look at the classic “briha” (rapid vocal journey between multiple swaras in a split second) involving Ni Sa Ri Sa Ri when they sing “rathiriyil”! Pulamaipiththan has written this song too. One of his imagination in this song is ultimate! He says in the pallavi “pagalum urangidum rathiriyil..” Is it not a great idea to qualify the night as the time in which “even the day sleeps”! There is one superb Hamsanandhi in Salangai Oli. vEdham aNuvilum oru naadham is the last song in (the climax) of the movie. It is a crucial song because Kamal dies during this song. The recording scale seems to be very high, S.P.B starting in the thara sthayi gandaram. The other Hamsanandhi songs are vaanam niram maarum (Dhaavani Kanavugal), Eraadha maiyil mElE (Mudhal Mariyadhai), Or poo maalai (Iniya Uravu Poothadhu), raaga dheebam Etrum nEram (Payanangal Mudivadhilai). Needless to say there is a great masterpiece by an earlier music director (kaalaiyum neeyE by A.M.Raja).

Hamsanandi is the panchama varjaya raagam of Gamanachramam (ie., having all the swaras except Pa). Cinema music directors tend to use a lot of Ma1 in Hamsanandhi. The introduction of sudden Ma1 gives a great change to the tune. In kaalayum neeyE, A.M.Raja introduces a beautiful Ma1 when he sings ‘katrum neeyE’. Ilayaraja does the same treatment to the raagam when the charanam goes like “vazhai ilai neerthelithu” in raaththiriyil. This kind of use of double madhyamam makes a great change to the tune! Recently he has also given a song in Gamanachramam. That song comes in the movie Vadhiyar Veetu Pillai (Sathyaraj). The song is hEy oru poonjOlai. It is a great song. One raagam before the order of Gamanachramam in the melakartha scale (ie., 52nd) is the raagam Ramapriya. Ilayaraja has given a marvelous Ramapriya in the movie Moga Mull. The song is kamalam paadha kamalam, sung by K.J.Yesudoss. It is like a mini-katcheri in cinema! No wonder he gave such a pure Ramapriya because the hero is a carnatic vocalist in the movie. It is so unfortunate that such kind of “gems” go unnoticed because of the failure of the movie.

Now they say that Ilayaraja makes a tune in just a matter of few minutes. He writes the tune not only for the song, but for the entire orchestra in just a matter of few minutes! He doesn’t seem to follow the primitive way of playing his tunes in the harmonium and seeing how it sounds. He seems to hear the tune in his “mind”. It is amazing how these minds in the creative industry could be used in such an intelligent and time efficient manner. The creation of good tunes by Ilayaraja’s mind could have been only a secondary act to fulfill its primary intent of aggrandizement by demanding 6 lakhs for each movie. Poor Ramanujam’s mind might not have even got a penny for all those giant leaps in mathematics that it made. The reality is that it is the benefaction by these great minds in the intellectual and scientific fronts that keep the society functioning between yugas.

Coming back to the age old question “where the heaven is this MIND”? There are some people who believe that the mind doesn’t exist in the brain. Maybe it is an extracranial entity. May be it surrounds the head like an electro magnetic field surrounding a magnet. Perhaps the “once upon a time” unrealistic halo around the head of Lord Buddha in my state board history book only referred to his mind! Then, P.V.Narasimha Rao, T.N.Seshan, Cho. Ramaswamy and their other (bald) kind would have a bigger halo, as more mind is likely radiate through their unprotected head!

Lakshminarayanan Srirangam Ramakrishnan,
Internal Medicine Department,
Brackenridge Hospital,
Austin, Tx 78701.

This is the 9th of 15 articles titled Classical Ilayaraja appeared on Usenet in the 90s.
I’ve added links to the songs, so you can listen as you read.
You could also try my Tamil song search.

There was a great furore in the Indian parliment a couple of years ago. Since the daily scene there is pretty much so, does this furore need any special mention? Yes. This furore was a meaningful one! It happened when the Indian government signed the GATT agreement. No wonder, the stupid “swadeshi” oriented parties like the Bharathiya Janata party opposed the selling of India to the “videshi” through GATT. But as an aftermath, signing the GATT agreement had a terrible effect on the interest of India in certain areas. For example, the medical value of neem oil has been well known in India for centuries. It seems some of the western pharmaceutical companies re-discovered the medical value of neem oil and started proceeding to claim patent for the product! In that case, any Indian company which tries to “manufacture” neem oil and tries to market it has to pay money to these western companies! Is it not funny and outrageous at the same time? Patenting is a powerful tool to protect ownership. It seems that it will be better if we patented both of our meaningful and meaningless traditional techniques to protect our interests. You may not know what will be re-discovered (and patent claimed) in the western hemisphere in days to come! Maybe, some scientist here will discover that giving unboiled rice with its hard covering (husk) to new born babies will result in the immediate death of those babies within few hours and secure patent for this finding! Conisder how this will affect the interest of our Indian mothers in the far south, who have been using this traditional technique to “close the chapter” of their unwelcomed, stigmatic female children! Poor mommas!

Saint Thyagaraja was one poor man who totally did not know anything about patenting or copyrighting one’s invention or literary work! He probably did not even know that his krithis were worth anything! If he had known that his krithis were going to draw international attention in the subsequent centuries, would he have copyrighted his works? Nay! He was such a naive sadhu, the word meaning in its strictest sense. He was a perfect example of a brahman, getting up early in the morning, much before “sandhya poorva pravarthathE”, and doing all the routine daily religious chores like the thrikaala sandhyavandhanam regularly. A brahman is supposed to eat only “moonu kavalam choru” (the amount of metabolic fuel necessary to keep the body and mind functioning), and he should not succumb to the pleasure of eating. I can see that Saint Thyagaraja didn’t, from the way he looks so thin, like a freshly fleeced goat, in his portraits. A brahman should only indulge in priestly and teaching duties. He should have no malice for others. He should only think of “lokha kshemam”. Thyagaraja had all these qualities. He was such a sharp contrast to those brahmin scoundrels like Selvi Jayalalitha, Subramaniam Swamy etc in the political scene now, who are the incarnation of corruption, greed and evil. Thyagaraja obtained his food by doing “unchivrithi” daily, ie., going around the temple, singing bhajans etc and accepting the rice that people had to offer as a matter of voluntary donation. He was a Telugu brought up in Thiruvaiyaru in Thanjavoor jilla. He probably knew Thamizh well. But he chose to write his compositions in his mother tongue Telugu. Valmiki, the creator of “Rama” character, would not have anticipated that his fictitious “hero” was going to have such a profound influence on people to be born later in the time window, like Thyagaraja (and of course, BJP, for political reasons!). Thyagaraja was literally in love with Rama, like Meera was with Krishna. He had such a powerful theoritical understanding and practical mastery over carnatic music that he could compose in any raagam. He chose to appeal to his Lord Rama through “bhava” margam, ie., tackling the God, through emotional appeals. This was in sharp contrast to his contemporaries like Muthuswamy Dikshitar, who used “bhakthi” margam. His compositions were never a verbal diarrhoea! Just a few lines, thats all. He never tried to project his knowledge in his krithis. He was so simple and such a wonderful vagheyakara, that nature would take another millenium to ordain such a man be born again in this world!

Thyagabrahmam’s compositions have often been ridiculed in the cinema arena. Nobody has the right to change anything in another persons belongings, even though the person might be dead. Thyagaraja’s compositions are his belongings. He used them to reach heavenly abode. He left his compositions for the world to cherish and enjoy, as they were written and sung by him. Nobody can tamper with his treasure, which are ours now. We have to protect them as he had it! K.V. Mahadevan opened the gateway to the free musical society where anybody could do anything to anbody’s compositions! What kind of arrogance was that, in changing the Thyagaraja form of Dhorakuna in the movie Sankarabaranam without his consent? Having been shown the way of ridiculing Thyarajaja, Ilayaraja too embarked on that task. That was his technically first innovative adventure of presenting a raagam in the light form and then in the classical form. He knowingly insulted the uncopyrighted work of the greatest saint composer the world has ever given birth to.

That song came in the movie Sindhu Bhairavi. The song is paadariyEn padippariyEn. The heroine Suhasini has terrific interest in carnatic music. She is one of those proponants of the so called thamizhisai. She feels that one has to sing krithis in local language so that the local mass also understands the krithis. She busts into one of J.K.B’s (Shivakumar) katcheri and sings this song. She starts the song like an ordinary folk song with a simple rhythm and finally ends the song in a classic Thyagaraja krithi. Throughout the song the grammer of the raagam is maintained, with a light music type of rendition in the beginning and then culminating in carnatic type of ending. She starts the song all alone. Later the accompaniests of J.K.B start admiring the tune and then accompany her.

The raagam of that song is Saramathi. It is a major janyam of the 20th mela raagam, Nadabhairavi. Its arohanam and avarohanam are Sa Ri2 Ga2 Ma1 Pa Da1 Ni2 Sa and Sa Ni2 Da1 Ma1 Ga2 Sa. Saramathi evokes a gloomy mood. There is a fantastic Thyaraja keerthanai in this raagam. That is mOkshamu galadha. Whenever some VIP puts down his head (may I translate ‘mandaya poataan’ like this!) B grade and C grade TV artists appear in the screen and play mOkshamu galadha with a pretentious sad face (feeling very happy inside regarding the unexpected death of the VIP and hence the sudden TV chance)! Ilayaraja’s selection of this raagam for that situation is very appropriate. Because a major proportion of cinema songs are set in Nadabhairavi scale. What you need to do is to avoid Ga Ri Sa and Da Pa Ma prayogam, thats all! When you end the song in a keerthanai, give a little gamaka touch here and there to make it classical (after all, strictly following the swara grammer, using specific prayogams, and appropriate gamaka soaked swaras are the essential ingredients of classicism).

Ilayaraja starts that song like: Ri Ri Ri Ri, Ri Ri Ri Ri, Ri Ga Sa Sa, Ri Ri Ri Ri. Then for EdariyEn EzhuthariyEn Ezhuthuvagai naanariyEn, he goes a little further like: Ri Ri Ri Ri, Ri Ri Ri Ri, Ri Ga Ma Ga, Sa Sa Sa Sa. Thus he starts following the grammer of Saramathi perfectly right from the start, but with a light music like technical approach initially. There is lot of “thamizhisai” preaching by thiruvaalar Vairamuthu in that song. He says

paadariyEn padippariyEn paLLikkoodam dhaanariyEn
EdariyEn ezhuththariyEn Ezhuththuvagai naanariyEn
Ettula Ezhudhavilla Ezhudhi vachchu pazhakkamilla
elakkaNam padikkavilla thalakkanamum ennaku illa

In the charanam he refers to the katcheri rasikas as ignoramus crowd who nodd their heads without understanding anything (thalaya aatum puriyaadha kootam). Then he goes ahead and suggests a remedy to this deplorable state.

chErikum sEra vENum adhukkum paattu padi
enniyE paaru eththanai pEru
thangamE neeyum Thamizh paattum paadu
sonnadhu thappaa thappaa? sonnadhu thappaadhu appa!

Though the obvious matter of controversy in this is the language, there is much more in the issue. Nobody can deny the fact that the enjoyment of music becomes supreme if we can also understand the sahithyam. But is it not also equally true that music and emotional feelings transcend petty barriers like language etc.. When you see a hidden sadness in the portrait of Mona Lisa, it is that sadness that matters. You have to look at that piece of art as it is! You cannot try to find a replacement to that Leonardo Da Vince’s monumental work by having a thamizhan draw an equivalent with a thamizhachchi’s face with a sad look! When Thyagaraja’s reckless brother Jalpesan throws away his pooja idol (Rama vigraham), and when Thyagaraja sings a keerthanai in that situation of utter frustration, mental turmoil and agitation of not finding his favourite idol, what matters there is the emotion that is packed in the sahityam, and not the language of the sahityam!

I heard recently that many people in the Hindi belt above have actually started listening to A. R. Rahman’s original Thamizh version of songs rather than the dubbed Hindi version. Would not Vairamuthu be extremely happy to see his “mukkaala mukkaabula” Thamizh version being such a popular song even in northern India? What would his reaction be if all his songs were translated and in due course the original writer of the songs, ie., he, forgotten by the people. I think that the mature way of dealing with this issue is to agree to learn the translated meaning of a krithi and then continue to sing the krithi in the language the composer made it. In this way we can get involved with the emotional framework of a krithi and enjoy it thoroughly. If the slum dwelling population of Thamizhnadu can understand “choli kE peechE kya hai” and enjoy the untranslated version of the song with a “kick”, then, they can also understand “Thyagaraja’s Telugu krithis kE peechE kya hai”. People only have to come out of their narrow minded caccoon that they have built for themselves.

Ilayaraja had to end this “padariyEn” song in some classical krithi to boost the character of Suhasini in the movie. He could have ended it in Thayagaraja’s “mokshamu galadha” or in some other original Saramathi krithi. But instead, look what he did! He chose Thyagaraja’s marimari ninnE which had been originally composed in Kamboji raagam. He changed the raagam of that krithi to Saramathi and annexed it to his “padariyEn”! Can anyone be more disrespectful to the innocuous, innocent and pious athma of the dead saint? Ilayaraja is a present composer. He should tune his songs to fit the previously written ones. He has no right to tailor the previously written krithis to suit his thalam, and ganam. After shooting the film “Veedu” director Balumahendra used some portion of Ilayaraja’s “How To Name It” as background score to the film (anyway, the music director was Ilayaraja). But, there were reports that Ilayaraja got furious at Balumahendra for not getting his consent for using his music album. When he is so sensitive to the way his musical works are used by his own friends like Balumahendra, how could he ruthlessly lay his hands on the Thyagabrahmam’s krithi? He writes in one of his own songs (idhayam oru kOvil in the movie Idhaya Kovil):

naadha thiyaagaraajarum ooNai urukki
uyiril kalandhu iyatrinaarammaa
avar paadalil jeevan adhuvE avaraanaar
en paadalin jeevan edhuvO adhu neeyE

So he knows about the greatness of Thyagaraja and his compositions. Yet he has commited the disgraceful deed in Sindhu Bhairavi.

Saramathi is technically called as sampoorna oudhava raagam, ie., sampoornam in the arohanam (having all the seven swaras of its parent raagam, Nadabhairavi), and oudhavam in the avarohanam (five swaras). There is a raagam that has the same avarohanam as Saramathi, and the same avarohana swaras in arohanam too. That is Hindholam. Sa Ga2 Ma1 Da1 Ni2 Sa; Sa Ni2 Da1 Ma1 Ga2 Sa. It is a great “light” raagam. Ilayaraja has used it several times in his music. Subu’s raaga based database has a good list of the songs in this raagam. As far as I know his first Hindholam came in the movie Ilamai Kolam. The song is sreedEvi en vaazhvil sung by K.J.Yesudoss. It is a very slow tempo song. One of his another early Hindholam came in Alaigal Oivadhillai. The song is dharisanam kidaikkaadha. He has himself sung that song. Oh, it is terrible! While su-swara rendition of even a simple tune can make the listening experience magical, abha-swara rendition of even a complex tune can give a real harrowing experience! The later has happened in the above song. His unconditioned fledgling vocal cords have worked very hard like a powerful gravitational force pulling his voice down when he desperately tries to reach the upper shadjam in one instance. But the tune is good though. His other songs are Om namachchivaaya (Salangai Oli), naanaaga naan illai (Thoongadhe Thambi Thoongadhe), poththi vachcha malligai mottu (Mann Vasanai), unnaal mudiyum thambi thambi (Unnal Mudiyum Thambi), naan thEdum sevvandhi poovidhu (Dharmapathini), kannaa unai thEdugirEn vaa (Unakkagave Vazhgiren), O janani en suram nee (Pudhiya Raagam), viLakku vaippOm viLakku vaippOm (Athma). naan thEdum sevvandhi poovidhu is a terrific piece with a wonderful rhythm (very novel at that time). It is a good westernised Hindholam. A. R. Rahman has given one very pure classical Hindholam too. The song comes in May Madham (maargazhi poovE maargazhi poovE). It is very good. I was told that it was sung by some Houston based new singer.

If you changed the Ni in Hindholam from Ni2 to Ni3 then we get Chandrakauns raagam. Ilayaraja has got a couple of songs in this raagam too. His first Chandrakauns came in Kaadhal Oviyam (veLLichchalangaigaL). It is a fantastic song. Great job by S. P. B. What a great change does this small alteration in the location of Ni in Hindholam makes to the mood quality! The tail piece of this song is in Sriranjani raagam. His second Chandrakauns came in Thai Mookaambigai (isaiyarasi). My brother tells me that it was called by a different raagam in one TV program in Doordarshan. Anyway it should be very close to Chandrakauns. The best of his Chandrakauns is azhagu malaraada abinayangaL soozha in Vaidehi Kaathirundhaal. Oh, what a song! Vaali has done a great job writing the status of an unconsumated young celibate widow. In his short story “siluvai” master writer Jayakanthan daringly writes about the cruelty of being a celibate just in the last line of the story narrating a nun’s short bus travel. Vaali has written about the same terrible celibacy from a young widow’s point of view. In Varusham Padhinaaru there is another Chandrakauns karaiyaadha manamum undo. Lately we got two more idhunaaL varume in Chembaruthi, and unnai ninachu urugum in Rasaiyya. A. R. Rahman has also tried Chandrakauns in his Bombay. The Hindi version goes like “ruk jao, ruk jao”. I don’t know the Thamizh version.

Lakshminarayanan Srirangam Ramakrishnan,
Internal Medicine Department,
Brackenridge Hospital,
Austin, Tx 78701.