After a few decades of listening to Karnatik music, I am gradually getting better at appreciating nuances while a song is sung or played on the violin. I have shared a few aha moments with people who possess far deeper knowledge than I do. However, when it comes to talam and layam, I am very much like the proverbial deer caught in the headlights. I simply freeze.
I was therefore petrified to listen to Vidwan K. Arun Prakash speak on “Laya intricacies in the compositions of Muthuswami Dikshitar.” I have heard Arun speak about layam on several occasions before, and although I probably do not grasp ninety percent of what he presents, it has always been a pleasure to listen to him. Those prior experiences gave me the courage to listen to this lecture. Arun was accompanied by Vignesh Ishwar and Madan Mohan, in a reversal of roles from the traditional concert format.
I am going to begin at the very end of the lecture demonstration. Vignesh rendered a soulful and deeply emotional “Jambupathe,” and Arun’s accompaniment on the mridangam was outstanding. This composition is an all time favorite of mine. I do not understand the technical details, but I strongly connect with the emotion embedded in the song. We all know that this is one of the Pancha Bhoota kritis, set in Yamuna Kalyani, composed on Lord Shiva at Tiruvanaikkaval, where he manifests as the element of water. The lyrics highlight this element in myriad ways.
To me, the song flows like a river, beginning as a gentle gurgling stream, then moving majestically forward, roaring into a waterfall, and finally meandering into a state of calm. Arun’s mridangam accompaniment brought out the emotion at every stage of this journey, often enhancing the mood through the thoughtful use of silence. At the request of T. M. Krishna, Arun then played an alternate accompaniment version for the same song. While that version sounded sweet, it did not come anywhere close, for me, to the impact of the first rendition.
That piece, along with “Maye Tvam Yahi” in Tarangini, stood out among all the compositions presented during the lecture. For Vignesh and Madan Mohan, this was clearly a test in front of a large and discerning audience. Rendering a charanam from one composition and swarams from another, while navigating contrasting kalapramanams and structural frameworks, is no easy task. They rose to the occasion and performed with great confidence and poise.
Arun explained how Dikshitar began innovating as early as the second line of his very first composition, thereby setting himself on a path marked by creative twists and turns. He emphasized the importance of accompanists having a deep understanding of the composition so that they can internalize Dikshitar’s vision and reflect it faithfully in their performance. Through selected examples, he brought out the various mathematical permutations, combinations, and intelligent innovations employed by Dikshitar. The sheer number of times he uttered, “Oh my God!” showed how much he revels in the brilliance of Dikshitar.
I have had the opportunity to listen in on conversations among T. M. Krishna, Shriram Kumar, and Arun on a few occasions, and the post presentation interaction felt very much like those informal exchanges, simply unfolding in public view. Shriram Kumar offered a concise lecture demonstration of his own while summing up the session.
If this summary reads like it was written by a fanboy of K. Arun Prakash, that is because it is entirely true.
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