Ilaiyaraaja created complex compositions at great speed – sometimes, he took merely half a day to crank out a future chart topper. Play Pani Vizhum Iravu, Mouna Ragam (1986). Just one example: AM Rajah’s composition Pattu Padava from Then Nilavu (1961), in which the interlude is repeated between the two charanams.Īmong the reasons for the recurring interlude were possibly technological challenges and the difficulties involved in recording elaborate pieces. In many songs, these interludes were repetitive, with the same notes and orchestration repeating before every charanam. The crisp interludes were breaks for listeners and acted as links between the lyric sections. These songs had a repeating pallavi followed by very short interludes before the singer started the charanams, which contained the weight of the lyricist’s ideas. A majority of compositions by such composers as KV Mahadevan, MS Viswanathan and CR Subburaman followed the three-charanam model. Until the 1970s, film tunes focused more on the lyrics than the music. He has composed over 5,000 songs in over 1,000 films, and it is no exaggeration to say that if the interludes were converted into tunes, we could count add 5,000 songs to his discography. To the standard three-charanam track, Ilaiyaraaja introduced preludes and interludes – and the film song was never the same again. Ever since his debut, Annakili (1976), Ilaiyaraaja revolutionised Tamil film music, bringing together a range of genres to produce classics that were both popular in their time as well as timeless.Īmong Ilaiyaraaja’s numerous contributions was the change he brought about in the structure of the Tamil film track. The Tamil film industry is celebrating 75 years of music composer Ilaiyaraaja, who was born on June 2, 1943.
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