Noteworthy

In Diwali season, which celebrates the return of Lord Ram to his kingdom, Vasumathi Badrinathan recalls some of her favourite songs about Ram. This list is drawn from the intimacy that comes from years of listening, practicing and reflecting on Carnatic m

Diwali, the festival of lights, symbolically heralds the triumph of good over evil with the return of the victorious Lord Ram to his kingdom. This Diwali, I recall some of my favourite songs about Ram. This list is drawn from the intimacy that comes from years of listening, practicing and reflecting upon the art of Carnatic music.

I start with Chinna Nade in Kalanidhi raga which is a rarely-heard composition. The composition touches upon the zest of the call of Sita, who exhorts her husband to take her to the forest during his exile. Contrary to the Sita we know through popular representation, here is a woman expressing herself in no uncertain terms. I have heard the late D.K. Jayaraman handle this song. How comfortably we hear the female protagonist speak through the voice of a male performer! It is intriguing. If, on the one hand, lies this breezy composition, on the other lies its parallel Eppadi manam in lilting Useni raga by Arunachala Kavi. How could you even think of leaving me behind, perseveres Sita convincingly.

Naati Mata in Devakriya is a discovery decades ago from within the oft-heard cassettes at home, once again in the peerless style of D.K. Jayaraman.

Enta Nine, whose raga Mukhari is itself timeless, is another on my list. Mukhari’s meandering moods and its elusive character paradoxically rooted in stability, make it a raga like none other. Tyagaraja describes Sabari’s fortune who awaited Ram, feasted on his beauty and sought his redemption.

And then, one cannot forget the indomitable composition Bhavayami Raghuramam by the monarch Swati Tirunal? A lyrical and musical masterpiece encapsulating succintly the important landmarks of the life of Ram, this composition was immortalised in my mind by the unequalled M.S. Subbulakshmi.

One more Tyagaraja musthear is Koluvaiyunnade. This song in Devagandhari has its imprint in my mind for the way it absorbs the essence of the raga and for the exotic imagery it conjures.

A resplendent Ram in court, as a king would be, the fragrance of perfumes pervading the air, celestial maidens dancing, the Lord reclining on the couch of Adisesha in golden garments with Sita smearing him with sandal paste. Such is the scene evoked. To me, it is a luminous song. I have heard the late Nedunuri Krishnamurty, at his melodious best, sing this song unfailingly in his concerts.

Mysore Vasudevachar’s