Maestro Ilaiyaraaja | Photo Credit: R. Ragu

Nineteen years after presenting selected verses from Manikkavachakra Tiruvachagam In the oratorio format, maestro Ilaiyaraaja has composed music for select Pasurams Nalayira Divya Prabandham, thiruvoimozhi It is a religious compilation of 12 Tamil Azhwars. In collaboration with acclaimed educationist Professor Gnanasundaram, Ilaiyaraaja selected some of the pasurams written by Periyazhwar, Naachiyar, Kulasekara Alwar, Thondaradippodi Alwar and Thirumangai Alwar for the album. Divya Pasu Ram, which was released recently.

These Pasurams present a kaleidoscope of Krishna’s life – from birth to Thirumangai Azhwar’s prayer and dedication to the Lord to reside in Thiruvazhundur to liberation from the sufferings of the five senses.

Read this also | Unlike AR Rahman, Ilaiyaraaja does not hold copyright of his film songs, Echo tells Madras High Court

In an age of Schumpeterian changes, Ilaiyaraaja sticks to the time-tested basics by including four main sections in the orchestra: strings, woodwinds, brass (in some places), and percussion. His music and orchestration often reflects the meaning and spirit of the Azhwar Pashuram, offering a divine experience.

Professor Gnanasundaram said though the devotion in both these hymns is the same, the scope of describing the beauty of the Lord, valour and devotion of the devotees in Pasuṣrama is wider as described in the Mahabharat, Ramayana and Srimad Bhagavatam.

Ilaiyaraaja has chosen eight pasurams for the album. | Photo Credit: R. Ragu

The album begins with Periyavalar’s pasuram sung by Ilaiyaraaja, with the basic mantra ‘Om Namo Narayanaya’ sung in the background. This pasuram, which is primarily composed in raga Sindhubhairavi, sings the praises of Narayana and emphasizes the lyrics with minimal instrumentation.

The second piece is based on another Periyavalar’s Pasuaram ‘Vanna Madanakal’ (sung by Narayanan Ravishankar and V.V. Prasanna), which reminds us of ‘Kothumbi’. Tiruvachagam In the oratorio. The musical arrangement captures every single scene in these pasurams such as sprinkling of scented powder and fragrant oil to celebrate the arrival of Krishna. The piece, based on Raga Hindolam, ends with Yashoda’s realisation that this child is the supreme being.

Naachiyar Pasuharam “Vaanidai vaazhum avvanavarakku” In which Andal declares in her firm words that her body is for Sarangan who lives in Vrindavan and she will never give it to any mortal. This short and beautiful composition is sung by Vibhavari in Raga Vrindavan Sarang.

The album progresses through various Pasurams, each depicting different aspects of Krishna’s life, and Ilaiyaraaja’s instrumentation brings out the essence of each raga, such as Mohanam, Tilanga, Shuddha Dhanyasi and Mayamalavagola.

In ‘Puviyil Naan’ (sung by Shareth and Vibhavari), the composition and its instrumentation move with a different rhythm, bringing the string section to the fore while the flute recedes into the background. Ilaiyaraaja has captured the beauty of the dance of a group of peacocks with his string section just before the line ‘karungan thogai mayil peeli anindu’. From here the strings jump up and down until they reach a climax.

The album concludes with Thirumangai Azhwar’s ‘Kulantharum Selvam Thandhidu’, sung in the raga Hamsanandhi. It is a profound and poignant composition in the voice of Hariharan, in which the saint expresses his desire to merge with God.

Ilaiyaraaja’s compositions in this album offer a timeless feel that will surely benefit future generations.