Uploaded September 2024 | Updated September 2026, 3 weeks ago
Melody and female vocals by Vishnegwari V.S, veena by Latha Henthry, vocals by J, arrangement by Farya Faraji. This is a Tamil-language song that incorporates elements of Carnatic Classical Music and Tamil folk music, using the verses 404 to 407 of the epic poem Kalingattuparani.
The Kalingattuparani is a 12th-century Tamil poem written by Jayamkondar about the victory of Kulottunga Chola I over the Kalinga king, Anantavarman Chodaganga in the Chola-Kalinga war. Parani is a type of literature about a historical figure that slays a thousand war elephants in battle. The poem is regarded as one of the masterpieces of Tamil literature for its mastery of diction and the way its poetry creates rythmic effects.
I worked with Tamil rapper J. to deliver the poem in its original metre, and contacted Vishnegwari V.S, a professionally trained Carnatic vocalist from Tamil Nadu who used her expertise in Carnatic music and anthropological knowledge to devise a melody for the otherwise spoken nature of the original poem. The raagam, or mode chosen by her is Gambheera Nattai. To quote her: "the choice is rooted in the rāgam's inherent power and majesty, which perfectly encapsulate the grandeur and intensity of the epic’s war sequences. The war scenes in Kalingathu Parani are rich with valor and heroism.
Gambheera Nattai is traditionally used in compositions that evoke strength and divinity, making it an ideal choice to reflect the heroic qualities of the warriors in Kalingathu Parani."
The instruments used are the South Indian mridangam and kanjira drums and the South Indian meena. Konnakol, the practice of vocalising drum patterns with stock syllables, accompanies the rythmic texture of the piece.
Lyrics in Tamil:
404
எடுமெடு மெடுமென வெடுத்ததோர் இகலொலி கடலொலி யிகக்கவே
விடுவிடு விடுபரி கரிக்குழாம் விடும்விடு மெனுமொலி மிகைக்கவே. 1
405
வெருவர வரிசிலை தெறித்தநாண் விசைபடு திசைமுகம் வெடிக்கவே
செருவிடை யவரவர் தெழித்ததோர் தெழியுல குகள்செவி டெடுக்கவே. 2
இருபடைகளும் குதிரைகளும்
406
எறிகட லொடுகடல் கிடைத்தபோல் இருபடை களுமெதிர் கிடைக்கவே
மறிதிரை யொடுதிரை மலைத்தபோல் வருபரி யொடுபரி மலைக்கவே. 3
யானைப் படையும் குதிரைப் படையும்
407
கனவரை யொடுவரை முனைத்தபோற் கடகரி யொடுகரி முனைக்கவே
இனமுகின் முகிலொடு மெதிர்த்தபோல் இரதமொ டிரதமு மெதிர்க்கவே.
English translation:
Let us begin the war!
Let us begin the war!
Soldiers on both camps shouted,
War cries reverberated like the roar of the ocean!
Charge the cavalry here!
Send the elephant division there!
These war cries went on increasing!
They stringed their strong bows
Rending all the directions by their noise!
In the battle-field.
War cries struck the world dumb!
Both the armies dashed against each other
Like the confrontation of two oceans;
The charging of the cavalries,
Like the confrontation of foaming waves!
Warring elephants dashed against each other
Like the clash of the mountains!
Chariots charged against each other
Like the clash of the clouds!
Melody and female vocals by Vishnegwari V.S, veena by Latha Henthry, vocals by J, arrangement by Farya Faraji. This is a Tamil-language song that incorporates elements of Carnatic Classical Music and Tamil folk music, using the verses 404 to 407 of the epic poem Kalingattuparani.
The Kalingattuparani is a 12th-century Tamil poem written by Jayamkondar about the victory of Kulottunga Chola I over the Kalinga king, Anantavarman Chodaganga in the Chola-Kalinga war. Parani is a type of literature about a historical figure that slays a thousand war elephants in battle. The poem is regarded as one of the masterpieces of Tamil literature for its mastery of diction and the way its poetry creates rythmic effects.
I worked with Tamil rapper J. to deliver the poem in its original metre, and contacted Vishnegwari V.S, a professionally trained Carnatic vocalist from Tamil Nadu who used her expertise in Carnatic music and anthropological knowledge to devise a melody for the otherwise spoken nature of the original poem. The raagam, or mode chosen by her is Gambheera Nattai. To quote her: "the choice is rooted in the rāgam's inherent power and majesty, which perfectly encapsulate the grandeur and intensity of the epic’s war sequences. The war scenes in Kalingathu Parani are rich with valor and heroism.
Gambheera Nattai is traditionally used in compositions that evoke strength and divinity, making it an ideal choice to reflect the heroic qualities of the warriors in Kalingathu Parani."
The instruments used are the South Indian mridangam and kanjira drums and the South Indian meena. Konnakol, the practice of vocalising drum patterns with stock syllables, accompanies the rythmic texture of the piece.
Lyrics in Tamil:
404
எடுமெடு மெடுமென வெடுத்ததோர் இகலொலி கடலொலி யிகக்கவே
விடுவிடு விடுபரி கரிக்குழாம் விடும்விடு மெனுமொலி மிகைக்கவே. 1
405
வெருவர வரிசிலை தெறித்தநாண் விசைபடு திசைமுகம் வெடிக்கவே
செருவிடை யவரவர் தெழித்ததோர் தெழியுல குகள்செவி டெடுக்கவே. 2
இருபடைகளும் குதிரைகளும்
406
எறிகட லொடுகடல் கிடைத்தபோல் இருபடை களுமெதிர் கிடைக்கவே
மறிதிரை யொடுதிரை மலைத்தபோல் வருபரி யொடுபரி மலைக்கவே. 3
யானைப் படையும் குதிரைப் படையும்
407
கனவரை யொடுவரை முனைத்தபோற் கடகரி யொடுகரி முனைக்கவே
இனமுகின் முகிலொடு மெதிர்த்தபோல் இரதமொ டிரதமு மெதிர்க்கவே.
English translation:
Let us begin the war!
Let us begin the war!
Soldiers on both camps shouted,
War cries reverberated like the roar of the ocean!
Charge the cavalry here!
Send the elephant division there!
These war cries went on increasing!
They stringed their strong bows
Rending all the directions by their noise!
In the battle-field.
War cries struck the world dumb!
Both the armies dashed against each other
Like the confrontation of two oceans;
The charging of the cavalries,
Like the confrontation of foaming waves!
Warring elephants dashed against each other
Like the clash of the mountains!
Chariots charged against each other
Like the clash of the clouds!

![Catullus VII - Roman Music
Vocals, music & arrangement by Farya Faraji. This is another historically informed approximation of what Ancient Roman music may have sounded like based on our current available evidence and research. The poetry of the Classical world is one of the first places to look for reconstructions, as their poetic style was inherenrly musical: Ancient Greek and Latin poetry made use of the short vs long vowel distinctions of their language and stress accent-pitch rules to create what effectively amounted to a form of rap. It is known their poetry was sung, meaning a poem on its own is effectively a skeleton of a musical score: the poem tells you where the pitch rises, where it falls, which syllables are accentuated, which are held longer, etc. A melodic outline is contained inherently within each poem, and what remains is to fill it with a musical composition, which in this case is an original melody written in the Hypodorian Chromatic mode of the ancient genus modal system. The chromatic modes of the ancients have a distinctly jazz or blues-like feel to our modern ears due to their close clustering of semitones paired with larger interval gaps.
For this reconstruction, I employed the theories of the likes of Stefan Hagel, Armand dAngour, Barnaby Brown and others, who argue that the whole of ancient music may very well have used a harmonic, dichordal system. This system is only attested in two textual passages referring specifically to older styles found in more ancient Antiquity, but according to prof. Hagel among many others, it is possible the Roman period itself would have made use of such dichords. I thus forewent the largely monophonic arrangement style of the previous reconstructions to instead work with this dichordal model, where every note of the main melody is paired with a harmonising note, those ranging from fourths and fifths, to thirds and seconds, the latter both considered dissonant to the ancient ears, seconds being especially harsh dissonances to modern Western-trained ears.
The poem is by Catullus, a foundational poet of the Latin language, known for his interest in small-scale intimate poetry rather than great epics. The arrangement employs an ancient Greco-Roman lyra, aulos, frame drums, ancient cymbals, and a pan flute. The pronunciation employs restored Classical pronunciation accurate to Catullus time.
Lyrics in Latin:
Quaeris quot mihi basiationes
tuae Lesbia sint satis superque
quam magnus numerus Libyssae harenae
lasarpiciferis iacet Cyrenis
oraclum Iovis inter aestuosi
et Batti veteris sacrum sepulcrum
aut quam sidera multa cum tacet nox
furtivos hominum vident amores
tam te basia multa basiare
vesano satis et super Catullo est
quae nec pernumerare curiosi
possint nec mala fascinare lingua.
Translation:
You ask how many kisses
Of yours, Lesbia, would be enough and more for me.
As great as the number of Libyan sands
That lie at Cyrene producing silphium
Between the oracle of sweltering Jupiter
And the sacred tomb of old Battus,[a]
Or as many as the stars that, when the night is silent,
See the secret love affairs of men:
For you to kiss so many kisses
is more than enough for crazy Catullus,
These kisses which neither the curious can count
Nor an evil tongue bewitch. Catullus VII - Roman Music](https://i.ytimg.com/vi/VhHJta8PhMA/mqdefault.jpg)








