M S Subbulakshmi and her music - Part 9: Neraval - Paratpara

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In this part of the series, we will examine a main aspect of MS's singing: her brilliant neravals. I have always enjoyed MS's neravals more than any other artists for the following reasons: her ability to create great tension, unparalleled use of vocal dynamics, outstanding diction and the resplendent raga that emerges during the neraval. Not to mention the other key factor that draws us to her neravals: the artha bhava and the emotive appeal of her voice. 

Her neravals are not only about exploring the raga, which she does effectively, but also exploring the emotion hidden in the lyrics. Of letting us experience or at least glimpse what could have gone through the composers mind and heart when they composed those words. The elation they may have felt, the bhakti bhava that would have taken hold of them, their own surrender to the supreme being. The neraval brings for all these images to our mind, for MS loses herself in the raga and the lyrics and yet, as a master musician, she is still control, never ever being melodramatic or sentimental. This ability of extraordinary self-control is what makes her neravals so very effective.

There are so many outstanding neravals that she had done and we will see a few of them in this series. We will now hear the neraval in the charanam of the Vachaspati krithi of Papanasam Sivan, 'paratpara parameswara.' We can observe how MS initially stays in the lower registers, exploring the raga here and then slowly builds up the tension as she climbs up the scale. Also note how the vocal dynamics come into play during the neraval. It is never a simple climb to the top but rather she provides you the glimpse of the peak for some time before actually reaching the peak. All the while, ensuring the raga bhava is never lost.

Any good neraval would depend on the lines chosen for neraval and the phrasing of the lines chosen. In this case, 'hari ayanum kaana ariya jothi,' is perfect for neraval and MS also shows us the drama inherent in the words: of Vishnu and Brahma searching for the full form of Shiva and failing. The lower range explorations are like Vishu's search for Shiva's feet, while the upper range exploration is like Brahma's search for Shiva's head. Of course, as with Shiva, we cannot discover the full form of a raga, for it is boundless. What we enjoy is the journey of discovery. And no one does it through neraval better than MS.



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