An Introduction to Maestro Ilayaraja's Contribution To Telugu Film Music By RS Balaji
Note:This is only an introduction for a series of
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This article gives an introduction to Maestro Ilayaraja's
contribution to Telugu film music. Though a complete listing of his
contribution is beyond the scope of this article, a few his major
films and songs that have set the trend for Indian film music and
also serve as a textbook for students of music, have been indicated.
Maestro Ilayaraja presents a unique form of music that is a
perfect blend of the western and Indian musical forms. He applies
this form of music to match every kind of mood that is demanded by
situations in Indian films.
The Maestro has done an outstanding contribution to the world
of light music (in films). He has used ragas ranging from
simple pentatonic scales like mohanam, madyamavathi, sudha
dhanyasi to major ragas like Keeravani, Kalyani and
Dharmavathi, to bring out soul stirring melodies that
captivate the minds of their listeners. His melodies in films like
Abinandana, Anvaeshana, Geethanjali, Kokila and Chanti
are a few examples of the trend that has been set by the Maestro.
The prime feature of this trend is the fusion of western classical
music with Indian classical. The amazing chord progressions and
three part counterpoints synchronized over simple and complex rhythm
patterns and time cycles mark the Maestro's harmoniously unique
orchestration. The Maestro has shown how this same form of fusion
can be used to make music for the masses, in films like Bobbili
Raja, Jagadheka Veerudu Athiloka Sundari, Siva and
DharmaKhesthram.
The Maestro's music in films like Swarnakamalam,
Sagarasangamam, Alapana, Sankeertana and Rudraveena
remain as perfect examples of carnatic classical compositions in
telugu film music. These films present traditional carnatic
classical music applied to match various situations. Some of the
songs in these films have been composed for Indian classical dance
situations.
Maestro Ilayaraja's music is known for its power to take its
listeners close to the mood of the song. This feature can be
particularly found in his south Indian folk music which virtually
brings the feel of a village environment. Specific examples of such
songs include: Nammaku Nammaku Eraeyini…(Rudraveena),
Kanti Choopu Chaalunaiyya…(Chinna Rayudu),
Sannajaji Padaga…(Kshatriya puthrudu).
Maestro Ilayaraja has not only set a trend for songs in film
music, but has also proved the power of music to match different
moods, through his background scores. His symphony for the
background score in the film HeyRam is an example that shows
how western classical music can be applied to an Indian context.
Through his excellent timing and apt choice of sounds the Maestro
has proved the importance of background score for a film.
Thanks to Maestro Ilayaraja for his wonderful musical gift to
the Telugu music world.
Note: The author RS Balaji is a disciple of Maestro
Ilayaraja.
