Thiruvasagam - llayaraja

Priya · Posted: Wed Jul 27, 2005 2:08 am Post subject: Thiruvasagam - llayaraja

Let us straightaway start with an apology. This review should not be in this site at all. Quite simply, Ilaiyaraaja's oratorio rendition of the hymnal Thiruvasagam belongs to that genre that crosses mere classification as 'film music' or 'classical music' or any other parochial classification. It belongs to you. To me. And to the rest of the world. It is simply universal.

To understand and appreciate this rendition of Thiruvasagam, you don't need to be an expert in western classical music or an authority in Thiruvasagam. All you need is a good pair of listening ears and a sense to appreciate good things.

Thiruvasagam, in case you didn't know, was written by that king-sage-poet Manikavasagar in praise of Lord Shiva. It is one of the biggest classical hymns of the Shaivaites. It is heard day and day out in almost all the Shiva temples. Sung by 'Odhuvaars', it is rendered in a particular staccato style and is steeped in reliogisty. For many, this rigid format is almost non-negotiable.

Thiruvasagam has an innate cadence and an in-built rhythm to it; it is intrinsic to its meaning and melody. Any change in its rendition style is a risky proposition.

So, to contemplate a different structure for this timeless epic is in itself a stroke of genius. And to have pulled it off is more than what genius can.

Ilaiyaraaja has simply proved that he is more than a genius.

His Thiruvasagam proves two things ---- one his own peerless orchestrational imagination. And Thiruvasagam's essential musical configuration. His virtuosity lies in the fact that he does not reduce Thiruvasagam to its base to fit Western Symphonic traditions. Instead he fuses a true marriage where he enhances the profundity of the lyrics and the beauty of the music.

Starting with the robust Poovar Chenni Mannan, Ilaiyaraaja shows his full repository of tonal intuitiveness as he places the song in a western format but infusing it with vedic hymnal elaboration.

This symphony-vedic marriage has been tried before by the likes of L Subramaniam (he performed with the Russian Philharmonic Orchestra). Ilaiyaraaja takes it further and provides a musical experience that it is at once devotional and divine (in its true sense of the word). The magical violin ensemble and the splendid choral accompaniment provide almost a new meaning to the philosophy of life that is delineated in the words of Manikavasagar.

The six songs (Ponnar Senni Mannan, Polla Vinayan, Pooerukonum Purantharanum, Umbarkatkarasaey, Muthu Natramam and Putril Vazh Aravum Anjen) are as varied and fragrant as flowers in a garden. In one song, he is accompanied by Bhavadharini. In another, the likes of Unni Krishnan, Madhu Balakrishnan, Vijay Yesudas, Gayathri, Manjari and Asha take over.

Ilaiyaraaja himself sings other songs. Honestly, one was skeptical about whether his voice was indeed suitable for such a serious venture. But the misgivings soon go as he brings all the right touches (being a religious text it needs all the right inflexions and feelings). His pronounced nasal voice in fact adds to the special allure

Ilaiyaraaja has also not blindly gone by symphonic orchestral traditions. He free-spiritedly experiments here too. It sure takes a blessedly outrageous genius to structure Malayalam folk kind of music in symphony and then tailor Thiruvasagam into it. Listen to Muthu Natramam, in which young guns like Unni Krishnan, Madhu Balakrishnan, Vijay Yesudas, Gayathri, Asha and Manjari sing in a lilting profusion, you will understand the genius of music itself.

In another song, he felicitously squeezes out all the musical juices of Christian choral singing to the accompaniment of magical violin pieces.

In all his precocity, it may be tempting to forget the contributions of others. But that's not fair. The Budapest Symphony Orchestra has delivered the goods asked of it. To render a religious hymn (in orchestral form) that it has never heard of is a unique challenge. But these professionals, all of 84 them we are told are graduates from music academies, have done splendid job. Lazlo Kovacs, the celebrated conductor with over 200 concerts under his belt, has obviously got the best out this over 100-year old orchestra.

In a sense, it is futile (dare one say impossible) to go into all the six songs in detail that have been strung together as a musical bouquet in this album. For each one of them provide a unique music experience --- the feeling and fervor depending on one's own individual absorption and understanding.

But suffice to say, it is once in a life experience.