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Download Thyagaraja meets Bach - Confluence of three ragas
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www.shyamantak.com Thyagaraja meets Bach - Confluence of three ragas and the Western idiom. A melodic fusion by Gopal Shyamantak. A reflection. Why “Thyagaraja meets Bach”? I was greatly influenced by Maestro Ilaiyaraaja’s album “How to name it?” (1986). In this album, I was moved by the pieces - “Study for Violin”, “Chamber Welcomes Thyagaraja” and “I Met Bach in My House”. Maestro Ilaiyaraaja dedicated this album to J S Bach and Thyagaraja and it was his first fusion music album. Inspired and motivated by this album, I came up with this composition “Thyagaraja meets Bach”. This, I believe, is my way of paying tribute to all Gods of music. Mayamalawagowla and its riches In this piece, I have used three Carnatic Ragas. They are Mayamalawagowla, Charukesi and Chalanatai. This composition starts with the 15th Melakarta Mayamalawagowla [S R1 G3 M1 P D1 N3 S – S N3 D1 P M1 G3 R1 S]. Why Mayamalawagowla? It is a divine raga and when I listen to it I think of Sri Thyagaraja. The Arabian history to the raga adds to its color. The composition travels for some time with trills and ornaments that should captivate one’s mind. “Study for violin” from the album “How to name it?” is embellished with Mayamalawagowla raga. Charukesi and the bliss The 26th Melakarta Charukesi’s Arohanam and Avarohanam are S R2 G3 M1 P D1 N2 S – S N2 D1 P M1 G3 R2 S. In the Arohanam stretch the soulful movement from P to D1 to N2 haunts me every time I listen to this raga. In the descend, the blissful glide through M1, G3 and R2 is always divine. It travels in a very melodic fashion in staccato style and is loaded with more Carnatic gamakam characteristics. The song “Mayanginen solla thayanginen” composed by Maestro Ilaiyaraaja is one classic example of Charukesi. Chalanatai and the blues Listening to the 36th Melakarta Chalanatai [S R3 G3 M1 P D3 N3 S – S N3 D3 P M1 G3 R3 S] one is always overwhelmed by the impressive blues effect. While I maintained the Western scale F minor steadily throughout my composition, I veered to an unconventional blues melody in C. Chalanatai was waiting for me…The song “Pani vizhum malar vanam” composed by Maestro Ilaiyaraaja is a good example of Chalanatai. The holy confluence J S Bach, one of the greatest musicians ever to grace this earth, has given us wonderful compositions. My usage of F minor, C blues, arpeggios, and styles (staccatos, legatos, trills, ornamentation…) stand testimony to the great Western composer’s authority. The fusion and the confluence come rushing in the end aptly in Mayamalawagowla. The surprise element in this composition is that I have started in the Western scale (F minor) and ended the composition with the Carnatic Sadjamam (C major).
