Approximately 19 years ago, with chosen verses from Manickavasagam's Thiruvasagam, Raja released an album. Then i wondered how about an album on DivyaPrabandam. Though it is late, it has come out well. Just like a kaleidoscope, this album has tracks depicted various aspects of Sri Krishna's life from his birth, to requesting him to stay back, praying Him to give powers to get rid of senses, the concept of surrender (sharanagati) etc., In the days of innovative changes, Raja stuck to his forte of four - Strings, Woodwind instruments, Brass and Percussions. Thanks for that. Let us go through the Vaaranamaayiram Track now.
The grand entry of the groom is truly a spectacle. To complement this momentous occasion, the music must be equally magnificent. As described by Aandal, the groom makes his entrance, reminiscent of being surrounded by thousands of majestic elephants—or perhaps it's the kings, likened to elephants, who pay homage to his grandeur. For 25 seconds, the Chendai melam establishes the scene, accompanied by the rhythmic beats of cymbals. At the sixth second, the wind instruments join in, with the thunthubi and horns enhancing the majestic atmosphere.
After 10 seconds of this lavish introduction, the strings enter, cleverly blending in to sound akin to wind instruments, possibly utilizing a Recorder Instrument for the effect. At the 28th second, Ananya Bhatt, the recent favourite of Raja, begins to sing. The rhythm maintains a slow, steady beat in Mishra nadai (Adi) taal, mirroring the majestic march of elephants at a consistent pace.
When the singer repeats the complete line for the second time, the powerful rhythms retreat to make way for the tabla, which complements the lyrics and enriches their charm. The bells that are introduced during the refrain of "Poorana Porkudam" symbolize a grand welcome, filling our hearts with a sense of completeness.
As the music progresses, the combination of violin and flute following the final line "Kanaa Kanden" captures the essence of a dream, transporting us to an ethereal world. The singer repeats the phrase "kana kanden" thrice, signifying her struggle to escape the dream and return to reality—a reality she is reluctant to embrace. This repetition continues as the music gradually fades.
The grandeur of the music persists as the chenda melam carries on for two avarthanams (two cycles). Then, the violin gracefully joins in. The transition from raga Sudhha Dhanyasi to raga Thilang is exceptionally smooth; the emphasis on rhythm makes the change barely perceptible for a few moments. Following this, the conch emerges in the background for one avarthanam, serving as a reminder that the lines “Varisangham nindroodha...” are about to follow, signalling a return of the rhythmic grandeur.
As the grand entry concludes, the focus shifts to the groom who must now take the bride's hand. The poet paints a vivid ambiance, referring to him as Madhusoodhan, the slayer of the demons Madhu and Kaitaba, and the one who restored the Vedas on behalf of Hyagriva. This subtly conveys that he fiercely protects what belongs to him and will go to great lengths to reclaim it.
As the song begins anew, the rhythms soften. The majestic elements of the chenda melam are echoed by the Mridangam (Matthalam), while the delicate strings in the background for four matras, spaced evenly, enhance the overall texture. The bells that punctuate the phrase “pandharkeezh....” are exquisite. Notably, the strings that complement the singer deserve special mention.
The grand chenda melam re-enters when she sings “Kaithalam Patra....” However, this time, when she reaches the line “Kanaa kanden...,” the sensuousness has slightly diminished compared to before. It remains a dream, and thus, some enthusiasm has faded. She recognizes her return to reality, which she resists. This time, she sings “Kanaa kanden” only twice, rather than three times as she did previously. Is the charm fading? It's uncertain...
The music fades away, making way for the Veena, which begins to play in Revathi Ragam—a raga renowned for its connection to the chanting of Vedas. This choice subtly indicates that this segment will be more focused on devotion than romance. The addition of strings accompanying the Veena creates yet another masterpiece. The grandeur of the rhythm has diminished!
As the singer launches into “Immaikkum ezhezhu...” (drawing from the 29th verse of Thiruppavai - undannodu utrome aavom umakke naam aatseivom...), both the Veena and the rhythm come together for an avarthanam, amplifying the experience. It reflects the poet's deepening engagement with Sri Krishna, revealing her inner conflict. As an ordinary woman, she desires to assert herself over her beloved. She feels a sense of pride when He embraces her foot with His hands, even as she acknowledges that He is the one who safeguards all beings in the Universe across seven life cycles.
Through these lines, she subtly emphasizes the principle of Sharanagati, or total surrender. Thus, while the music composer deliberately toned down the grandeur, that magnificent quality resurfaces when the line “ammi midikka...” begins. In this instance, she repeats “Kanaa kanden” only once, her frustration evident as she grapples with the realization that these are mere dreams, not reality.
The bass drum now takes center stage, its beats in Adi tala establishing the unwavering tempo. Until this point, the scene has been a dreamlike sequence: the groom's arrival, his walk, the gentle touch of his hands and feet upon the bride—fleeting images of a wedding ceremony. But now, the narrative shifts to the ultimate culmination: the union of souls and bodies, a reality beyond the realm of dreams. In a society where a woman expressing her love is often met with disapproval, Andal boldly defies convention. She inquires about the taste of Sri Krishna's mouth and tongue, directing her questions to the conch. This is no arbitrary choice; the conch, perpetually close to Krishna, is the only instrument to touch his lips—even his flute does not share this intimacy. Therefore, the conch alone knows the taste she seeks.
The song begins, set in Mayamalavagowla. The seamless transition is a testament to Raja's artistry. The violin's entrance as she completes the second line fills the listener with emotion. Andal's persistent questioning of the conch continues until the track's poignant conclusion, leaving us with a sense of the longing and pain experienced by Andal herself. As Andal kept craving for Emperumaan and merged with him, let us also crave the bliss in Raja’s music and merge with the notes.
https://www.youtube.com/watch?v=eMaEvnYRxlw&list=RDeMaEvnYRxlw&start_radio=1
.jpeg)
