Carnatic Raja

 There are several Carnatic exponents who keep wondering about Raja’s ability to freely compose music based on several rare ragas. Most music composers are happy with Mohanam, Kalyani and a few other low risk ragas that work very well for film music. Raja has tried out several rare ragas casually, and also harmonized them (I will cover some more heavy lifting WCM stuff shortly). Here are some examples:

1. Reetigowlai (Chinna Kannan Azhaikiran - Kavi kuyil - 1977)
2. Lathangi (Thogai Ilamayil - Payanangal Mudivathillai - 1982)
3. Hamsanandhi (Vedam Anuvilum - Salangai Oli - 1983)
4. Lalitha (Ithazhil Kadhai Ezhuthum - Unnal Mudiyum thambi - 1988)
5. Amirthavarshini (Thoongatha vizhigal rendu - Agni Natchathiram- 1989)
6. Paavani (Paatha Vizhi - Guna - 1992)
7. Nalinakanthi (Enthan Nenjil - Kalaignan - 1993)
8. Saranga Tharangini (Isaiyil Thodanguthamma - Hey Ram- 2000)
9. Panthuvarali (Piraiye - Pithamagan- 2004), Raja Paarvai (1980) title music

Please note that I have avoided references to ragas such as Shankarabharanam, Sarasangi, Charukesi, Keeravani, Gowri Manohari or Natabhairavi. More on this later. I do not want to focus too much on Carnatic music as I have even lesser knowledge than my small understanding of WCM. I also do not rate the capability to set tunes in rare ragas as a great genius qualifier. MSV has used several rare ragas such as ‘Mahathi’ for Apoorva Ragangal. It is our own music and we are supposed to be good at it, aren’t we? I will get back to some more discussion on Raja’s Carnatic foray after covering some other WCM topics.