Two Vasanthams — Two Ragas, One Emotion
Ilaiyaraaja’s oeuvre represents the seamless convergence of classical rigour and emotive storytelling. His approach to raga is not merely technical but deeply human — each raga is a living entity, resonating with emotion and spiritual expression. Among his most captivating creations are two compositions sharing the suffix Vasantham, yet arising from entirely distinct melodic and emotional worlds: Mallika Vasantham and Kalyana Vasantham.
Though each raga has a unique parentage, scale, and personality, both evoke the subtle emotional hue known in Tamil as sōgam — a restrained, tender melancholy that lingers in the listener’s mind. Through these two compositions, Ilaiyaraaja demonstrates how ragas with disparate tonal structures can converge to produce a shared emotional resonance.
I. Mallika Vasantham – The Unheard Beauty
Film: Nyaya Geddithu (Kannada)
Song: Saavira Janumadhalu
Ragam: Mallika Vasantham — S G₃ M₁ P N₃ S | S N₃ D₁ P M₁ G₃ R₁ S
Parent Raga: Mayamalavagowla
Thalam: Chatushra Eka Talam
Singers: S. Janaki, S. P. Balasubrahmanyam
Actors: Roopa, Kannada Prabhakar
Music: Ilaiyaraaja
This composition is unique — the only song ever composed in Mallika Vasantham for cinema. Its raga, devised by Ilaiyaraaja, has never been used before or after in any film music. The scale, while rooted in Mayamalavagowla, exhibits traces of Kedaram and Shankarabharanam in both the arohanam and avarohanam, lending it subtle shades of classical depth.
Arohanam and Avarohanam
Arohanam: S G₃ M₁ P N₃ S
Avarohanam: S N₃ D₁ P M₁ G₃ R₁ S
The omission of R₁ in the ascent creates an airy, open progression, while its inclusion in the descent restores emotional grounding. This duality produces an internal tension — a yearning quality that moves effortlessly between luminous ascent and introspective descent.
Characteristic Phrases (Prayogas)
- G₃ M₁ P–N₃ S — signature ascent evoking longing.
- S N₃ D₁ P M₁ — descending sigh reflecting gentle melancholy.
- P M₁ G₃ R₁ S — concluding phrases establishing repose and serenity.
Ilaiyaraaja’s treatment ensures smooth, continuous transitions; the song’s voice and orchestration glide between notes, producing a contemplative effect rather than overt dramatics.
Composition Analysis: Saavira Janumadhalu
The song embodies brother–sister affection, expressed through musical devotion rather than overt sentimentality. The opening prelude — S–N–D–P–M–G–R — declares the avarohanam before the rhythm enters, reflecting a reflective rather than declarative approach. The Chatushra Eka Talam lends a lilting cyclic motion, complementing the dialogue between S. P. Balasubrahmanyam’s grounded voice and S. Janaki’s tremulous timbre.
The orchestration — soft flutes outlining swara contours and muted strings sustaining harmonies — emphasises the emotional depth. Certain chordal choices lend fleeting shades reminiscent of Punnagavarali, which is why casual listeners sometimes confuse the raga, though its grammar is distinctly Mallika Vasantham.
Cultural Resonance: Nāga Panchami in Karnataka
In Karnataka, Saavira Janumadhalu is often played during Nāga Panchami, a festival celebrating familial protection and sibling bonds. Sisters pray for their brothers’ longevity and prosperity, offering milk or ghee on their backs, while worshipping serpent idols or anthills (putthu) as symbols of divine guardianship. Traditional foods such as Pooran Poli are prepared, and simple folk games are part of the day. In this context, the song functions as a melodic archana, reflecting prayer, protection, and familial love.
II. Kalyana Vasantham – Emotion Within Serenity
Parent Raga: Harikambhoji (28th Melakarta)
Arohanam: S G₂ M₁ D₂ N₂ S
Avarohanam: S N₂ D₂ M₁ G₂ S
Type: Audava–Audava (Pentatonic)
Kalyana Vasantham is capable of expressing both joy and subdued sorrow, depending on how Ilaiyaraaja phrases the swaras. Its open pentatonic structure omits R and P, allowing the raga to convey radiance or emotional depth.
1. Gnaan Gnaan Paadanum – Poonthalir
Singer: Jency Anthony
Mood: Joyous, radiant, pure
The song employs Kalyana Vasantham as a luminous melodic framework. Key phrases — G₂ M₁ D₂ N₂ S and S N₂ D₂ M₁ G₂ — unfold gently, with occasional touches of Srothaswini to add sparkle. Strings, bells, and soft pads highlight the raga’s purity, while the vocals embody innocence and devotional warmth.
2. Nenjil Ulla – Rishi Moolam
Singer: P. Jayachandran
Mood: Subtle sorrow, emotional outburst restrained within serenity
Here, the same raga expresses introspection and latent melancholy. Ilaiyaraaja elongates M₁–D₂–N₂ phrases, creating emotional suspension and release. The orchestration — sustained cellos and muted violins — supports this subtle sōgam, while the vocal delivery conveys a restrained, internalised emotional outpouring.
III. Comparative Reflection – Two Paths, One Emotion
| Aspect | Mallika Vasantham | Kalyana Vasantham |
|---|---|---|
| Parent Raga | Mayamalavagowla | Harikambhoji |
| Type | Sampoorna (7 swaras) | Audava–Audava (5 swaras) |
| Mood | Devotional tenderness, sibling affection | Joy (Poonthalir), restrained sorrow (Rishi Moolam) |
| Key Prayogas | G₃ M₁ P–N₃ S / S N₃ D₁ P M₁ | G₂ M₁ D₂ N₂ S / S N₂ D₂ M₁ G₂ |
| Emotional Centre | Familial love, prayer, purity | Inner emotional spectrum — joy and spiritual reflection |
| Orchestral Colour | Veena, flute, muted strings | Strings, cello, soft choral textures |
Though structurally distinct, both ragas share a common emotional thread: inward reflection, devotion, and the subtle sōgam of restrained feeling. Ilaiyaraaja’s genius lies in this ability to adapt raga grammar for cinematic emotional landscapes, allowing joy, love, or sorrow to emerge from the same melodic material.
IV. Conclusion
In Saavira Janumadhalu, love is sanctified through devotion and sibling affection. In Nenjil Ulla, emotion is cathartic yet inward. In Gnaan Gnaan Paadanum, joy shines luminously. These two Vasanthams exemplify Ilaiyaraaja’s mastery — the art of translating raga into the human emotional spectrum. They are reflections rather than siblings, two distinct manifestations of the same poetic spirit.
No comments:
Post a Comment