MADHIRAKSHI - Sikkil C Gurucharan & Anil Srinivasan

Red earth and pouring rain. The mingling of two elemental forces produces a singularity so vibrant that distinguishing one element from another becomes untenable. Throughout the development of thought, the merger of dual energies producing a singular, vibrant entity has been captured across contexts. And this need not be restricted to the union of lovers alone. The union of a devotee with his deity through his realization of supreme consciousness is the first example of this process. This, to the devotee, is love, longing and supreme desire. Imagine, then, the idea that the tantalizing prospect of achieving such a singularity can be brought close and then withdrawn. The passionate longing for fusing these dual energies to achieve a singular, vibrant energy also creates desire. The compositions in this album have thus been chosen to represent a longing, a state of intoxication in the presence of desire. Red earth and pouring rain. A longing, a state of intoxication in the presence of desire. A triumph of dual energies forming one, vibrant singularity. Madhirakshi depicts the longing for that which is intensely desired yet unattainable Madhirakshi Aasai Mugam is a poet’s dream. Penned by Subramania Bharathi, this piece recognizes the loss of a memory as more unbearable than the loss of being.

Although the piece is ostensibly dedicated to Lord Krishna, the poignancy of the melody (in Raga Jonpuri) seems to suggest the spirit of losing someone beloved. The intoxication of a memory, faint yet irretrievable, creates desire. As though in answer to the poet’s plea, Pirava Varam (in Raga Lathangi), a composition by Papanasam Sivan, specifically yearns for the memory of one lifetime to be carried into the next, if at all one were to be reborn. This piece defines the deepest and most profound desire as being released from the cycle of birth and rebirth. The Tamil Sangam produced poetry whose themes have not only stood the test of time, but continue to provide answers to current day problems with an uncanny ability to transcend time. Yayum Yayo is a poem taken from the Kuruntokai, composed almost fifteen centuries ago. The poem is definitely about love, but it is also a statement of triumph. It underscores the importance of the dual state – a mixture of entities, beings and systems of thought that seems to exist almost seamlessly as one. This ‘oneness’ is depicted best in the line “Sembulai Pei Neer Pola” (the mixture of red earth and pouring rain). This poem is sung in Raga Brindavana Saranga. “Payyada”, a famous poem composed by Kshetrayya, is an ode to unrequited love. This composition is a departure from the gentler energies of the previous pieces. It is a dedication to the intensity and deep sorrow at being seduced, having been allowed to dream of the dual state and then being disappointed. The intoxication at being in the presence of the object of one’s desire turns into profound sorrow at being told that this very object is unattainable. Beyond this, and beyond the pain lies an abyss of non-being. This ‘padam’ in Raga Nadanamakriya is thus ensconced in that space where time ceases to exist. And hence, this composition also marks a departure from following a distinct rhythmic pattern, giving way to a more freely held sense of time.

In contrast, “Omana Thinkal” is a gentle, swaying dedication of a devoted teacher for his most famous pupil. Composed by Iraiyamman Thampi as a lullaby for the young Swati Tirunal, this piece is set in Raga Arabhi. The sacred relationship of a teacher and his pupil is a unique, yet equally important celebration of dual energies. Kulashekhara Azhwar, the king turned mystic saint was a resident of Mannar Kovil, a temple to Lord Srinivasa in southern Tamil Nadu. In this celebrated ‘pasuram’, he describes his ascent to ‘oneness’ in renouncing his wealth and his kingdom and devoting himself purely to the pursuit of supreme consciousness. The piece is sung in Raga Hamsanandi and defines the one ideal necessary to a merger of dual energies – that of abject humility. These six pieces are a tribute to that ideal. Sikkil Gurucharan has been trained in carnatic music for the past 13 years . He imbibes the rich tradition of Semmangudi Srinivasa Iyer through his Guru, Vaigal Gnanaskandan and his grandmothers Sikkil Sisters, world renowned flautists. He has carved a niche for himself in the carnatic music scene using his sonorous voice and bhakti laden renditions. He has several albums to his credit and has won many awards and accolades. Gurucharan has teamed up with his school senior , Anil, for the first time to make “Madhirakshi”, a carnatic album with piano. Anil Srinivasan is an accomplished pianist, having trained classical piano both in India and the United States. A native of Chennai, he is based in New York and is involved in several collaborative projects with both Western Classical and South Indian Classical musicians. He has won several awards at the international level and has performed extensively in the United States, Europe and India.