Rahman's 'Kannathil Muthamittaal'..

After a long time, last week, I happened to revisit A. R. Rahman's Oru Deivam Thantha Poove (Chinmayi's version) from Kannathil Muthamittaal.

Was completely overwhelmed by Rahman's juxtaposition of eastern and western classical music in the most extra-ordinary way!

The melody is matchless! The backing strings in the 'charanam' / 'antara' are like how the currents of an ocean would be in heavy rain. Then there is this sudden Cello counterpoint at the Chellamazhayum Nee Chinna Idiyum nee portion.

I have no clue how much of my dopamine was released when the first charanam / antara ends descending down from the peak notes with the line Maranam Meenda Jananam to saunter into the 'Pallavi' / Mukhda 'Oru Deivam Thantha Poove' without any pause. The genius is even more inexplicable, when Rahman descends the string section (which is a harmonic accompaniment to the piriyum uriyum nee portion) to the lower notes before the vocal portion of the charanam / antara descends.
And oh God.. What's happening in that last Pallavi / Mukhda! Divine improvisation! Yes! Divine!
I don't know the conversation between different raagas happening in this song as I am no musician. But I am sure there are transitions happening between two or more raagas.(esp towards the last Pallavi / Mukhda).. A beautiful conversation rather..happening between them!

 

A.R. Rahman's 'Veerapandi Kottaiyile' 

'Veerapandi Kottaiyile' from Thiruda Thiruda (1993) is one of the most under-rated tracks in A.R. Rahman's career! I would not say that it has not been appreciated. It has continuously raked in compliments like 'great', 'magnificent' etc; but those adjectives alone would not suffice to describe the greatness of this track!

At the age of 26, Rahman accomplished something his contemporary classical aspirants would have dreamed of achieving at a much later stage in their career!

Veerapandi is abundant with neoclassical elements pioneered by the legendary Russian classical composer, Sergei Prokofiev, soon after World War 1. Not just the arrangements, but the tune of Veerapandi too has a rich neoclassical  base (barring the iconic 'March'-like 'Mukhda'/'Pallavi'] which exceptionally syncs with the orchestration creating an intricate 'Call-And-Response' pattern throughout the track.

For example, let's take the melody in the following line as a 'CALL':
'Rettai Chooriyan Varuguthamma, Ottrai Thaamarai Karuguthamma..'

.. It's a very neoclassical combination of notes.

The beautiful, but restrained harmony of strings and woodwinds that immediately follows the line creates an amazing melody, that is probably the most complimenting 'RESPONSE' to the above 'CALL' (Rettai Chooriyan..).
What a divine combination of melodies that converse with each other in an impeccable Call-And-Response pattern, that too with neoclassical opulence!

The second main interlude starts with a short tremolo on strings, and then the double bass announces something heavy, but Rahman takes us through beautiful woodwind counters with the double bass providing some wonderful rhythm support.

One of the best songs ever produced in the history of Indian film music!

I request everyone to listen to portions from Sergei Prokofiev's 1st Symphony, which arguably started the neoclassical movement in music. LINK: https://www.youtube.com/watch?v=p5jL6Ma9tvk