If so many music lovers across generations hail M.S. Viswanathan, it is not without reason. His music had something for everyone.
Listeners addicted to the lingering compositions of MSV’s predecessors G. Ramanathan and K.V. Mahadevan, were accustomed to a liberal dose of Carnatic music in their film songs, but they could not stay away from MSV, however hard they tried, for the classical idiom found new expression in his compositions.
Many consider the PBS classic ‘Nilave Ennidam Nerunkadey’ a ready reference to identify the raga Bageshri. While MSV uses it to evoke emotions of unrequited love in the song, a more effervescent variant of the raga is found in the romantic duet ‘Nee Ennenna Sonnalum Kavidai.’
Whether it is in the Dwijavanti-based ‘Amutha Tamizhil Ezhuthum Kavithai’ in MGR’s ‘Maduraiyai Meetta Sundarapandian’ or ‘Madavi Ponmayilaal’ brimming with raga Kharaharapriya in TMS’s voice or ‘Isai Kettal Puvi Asaindhadum’ based on vintage Kalyani or ‘Ullathil Nalla Ullam’ in raga Chakravaham, the composer has given us adequate evidence to establish his affinity with carnatic music.
Had he stopped where his predecessors left, MSV may have become just another good composer in the history of Tamil film music. But the fact that his body of work spans so many other genres points to his contribution in expanding the musical appetite of listeners. And that is in fact why MSV is at the core of the transition of Tamil film music itself. MSV also experimented with other techniques – for instance he employs Suthangam, a tradition followed in Devaram singing, in ‘Karnan’ in the scene where court poets will sing in praise of the king.
From heavy metallish music to utterly folksy, he covered so many genres
