(The music for the Lenin Rajendran’s Rathri Mazha starring Vineeth and Meera Jasmine won the best music director award for Ramesh Narayanan and the best male and female singer awards for Srinivas and Sujatha.)
A renowned food critic once commented on Food Network® about trying to judge something. He was judging a dish prepared by a very famous and respected Chef known for his Mexican Cuisine. He explained his difficult dilemma after tasting that dish: How should I judge this? I assume that this is very authentic—but I did not like it taste-wise…so, should I rate this dish high or low?
While I am not a professional music critic, I am sure many listeners (I know quite a few myself) had the same dilemma while listening to the extraordinary musical creations in this album. Several years ago, I remember listening to a concert by Ramesh Narayan (RN) in the Poornathreyesa Temple in Thrippoonithura. Like everyone present there, I too was stunned by his performance. Hence, writing a critical review about his compositions might amount to sacrilege. Still, I am going to write my opinions about this album. Please take a listen to the songs yourself, and you are welcome to disagree!
Let’s take a raaga: Reethi gowla. Its notes travel a tortuous pattern, while ascending and descending (e.g. Sa ga Ri ga ma ni Dha ma Ni Ni Sa or in the Key of C: C, D#,D, D#, F, A#, A, F, A#, A#, C(v8)). There are several beautiful songs composed in this raga (e.g. Onnam Raagam, Kandu Njan, Azhaghana Ratchasiyae, Pranathosmi). However, there is Meettaatha Oru Veenai (Poonthottam) composed by Maestro Ilayaraaja. If you hear that song, especially the pallavi and the anupallavi, you will just flow smoothly with the song, and will never realize that the song has used a raga with such a discontinuous pattern. My point is that a music director can take a very strong classical raaga and make it sound smooth and simple.
Other examples of such feats (using other ragas) are: Azhage (Amaram), Pramadavanam (His Highness), Vaalkkannezhuthiya (Paithrukam) etc. The songs of Raathrimazha are mostly too complicated for a normal listener. However, the pieces are well orchestrated and authentic. It is no surprise that the album won the state award for the Music Direction, and Playback Singing (male and female).
Let’s start with the simplest of the lot and perhaps the most cinematic of them all.
Aalolam (Solo versions by Sujatha & Nishad)
The song starts with a short signature (E F# G# G# A…). The uniqueness of this song is its slow pace and the traditional “folk-lullaby†ambience. I liked the innovative use of female chorus, subdued with a good dosage of strings. The chorus sometimes even gives a eerie touch (listen to the part where Sujata repeats aakaasha…..kaliveedu). Towards the middle of the song, it goes to a place where you feel good, but nothing extraordinary. One thing that caught me by surprise is the excellent rendering by Nishad. We need not dwell on Sujata’s singing, as she is always awesome. But, Nishad has great potential. He has emoted well and sung the gamakams (note-slides) with ease.
Bhasuri Sruthi (Sujata & Srinivas)
This song has fetched State Awards for both singers. Starting off the song in what seems to be the notes of Yaman (just the start), the song travels in almost a zigzagging way to different scales, with the addition of occasional accidental notes (anya swaras; e.g. C#). Or maybe, it is a very complicated Hindusthani raga that I could not understand. I was a bit confused by the melody as it progresses in to the later stages. For example, a nice start like Aashadapournamiyileeran nilaavil… suddenly turns into a very ordinary melody. I liked the start and most parts of the orchestration. The strings sometimes felt very synthetic and hollow. The beginning piano notes reminded me of the Oscar winning piano theme for the movie “Finding Neverlandâ€. But overall, the song is hummable and it will stay in your minds for a while. Obviously, the award committee recognized the complicated nature of the song–hence the award for the singers (and the MD).
En Nenchile (Hariharan)
For some reason, I could not get my mind around this song. I was a bit surprised by the “retro†rhythm (except the Tabla). Also, sometimes, I felt like the song is too complex. The song is seemed fine at the charanam stage. Hariharanji, as usual sings the tough raagaalapana and swaras as though it is a walk in the park.
Manasse (Ramesh Narayan)
This song (from a classical standpoint) struck me like thunder and lightning. It seems to use the notes of Amrutavarshini (used in many “rain†sequences). I was spellbound by the use of these notes in a very dark and often angry way. Somewhat like the feeling you get when you hear Revathy raagam (e.g. Kudajaadriyil, Sreelathikakal). The effect of Amrutavarshini is in the repetition of the pattern–Sa Ga Ma (pratimadhyama). Usually, you get a more positive and romantic feel, whereas here, it is more dark and revolting. Overall, this one is a treat for classical music fanatics.
Raathri Mazha (Ramesh Narayan, Gayathri)
This number sounds more like a recital of a poem, than a song. The lyrics are very simple (e.g. Raathrimazhayodu njaan parayatte, ninte sokaardramaam sangeetham ariyunnu njaan). Sometimes, the lyrics seemed to be stretched out and sung like a niraval in carnatic classical music. Again, for a classical music fanatic, this song would be addictive. The second musical interlude aimlessly takes on a very confusing melody and beat out of nowhere. It leads to a crescendo with chorus etc.
Overall, the album is not for everyone. If you like hardcore Hindusthani music, or just poetry recitals, you would definitely like this album. Personally, I felt that the songs were authentic, complicated, and definitely a brave attempt by a well accomplished classical musician. The courage-factor is in trying to market these songs to an audience increasingly addicted to the trivial “ringtone†music that the so-called “music directors†are churning out these days. Oh, wait a minute, which camp am I on? Given the trash I get to hear everyday and the despondency I feel when I hear most of today’s “hit†Malayalam film songs, I will gladly take refuge in hearing songs like the ones in this album. At least, I know that these are authentic. It is music, not pre-manufactured electronic cacophony.
Just as I wrap up, I hear Hariharanji’s delicate singing…Aaahaya pookkal, mazhai thoovum neram, manathin raagam (Meettaatha, Poonthottam, Ilayaraaja)…and I start wondering, can anyone measure up to such high levels composing?
(Krishna Kumar is a final year P.h.D student in Management and is based in Virginia, United States. His music interest stemmed from his training in Carnatic music – Editor)
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