மலர்ந்தும் மலராதவை # 26
நினைவுகளின் ஊர்வலங்கள்….
‘From the misty shores of midnight, touched with splendors of the moon
to the singing tides of heaven, and the light more clear than noon,
passed a soul that grew to music till it was with God in tune….’
- Henry Van Dyke (Tennyson)
In my first year of articleship, I had a friend called Shekhar. His childlike innocence and warmth was singular and he was greatly popular in my circle. Imagine our surprise he quietly renounced worldly life one day and embraced the monastic order of the Ramakrishna Math! Impassioned entreaties by his family and friends to reconsider his decision were in vain. Over the years I continue to call upon him, and the inner tranquility and bliss that he seems to radiate has never failed to move me.
It was Shekhar who invited me to attend the consecration of the beautiful Universal Temple at the Mylapore Math premises in February 2000. There was a weeklong festivity at the Math, and I turned up every evening to listen to the Chanting by the Swamis and the Odhuvars, the discourses by savants of varied faiths, and delightful and varied music fare by Vani Jairam, Subbu Arumugam, Seergazhi Sivachidambaram, Pithukkuli Murugadas and others.
On one of those serene evenings, Rajkumar Bharathi sang at the Math. I was mesmerized by his deep, sonorous voice; his rendition was soaked in piety. So many years have passed by since that rapturous evening, but to this day, Rajkumar Bharathi’s rich, resonant ‘தம்பூரி மீட்டிதவா’ and ‘அசைந்தாடும் மயில் ஒன்று காணும்’ linger in memory.
Shekhar was one of the energetic organizers, and he arranged for me to meet Rajkumar Bharathi after the concert. Though it was late in the evening, the unassuming singer chatted with me affably for a while. He seemed surprised that his film songs were still remembered, and when I asked him why he wasn’t heard in Tamil film music anymore, he smiled and shrugged his shoulders. As we shook hands in farewell, he said that he had sung a song recently for Ilaiyaraja in the to-be-released Bharathi, and took in my delighted responses with an impish twinkle!
I went home with mixed thoughts that night- happiness at having listened to a pleasing concert, excitement at having met the gentleman Rajkumar Bharathi, and perplexity at such a talented artiste being ignored by Tamil film composers.
A long eighteen years have passed by, and I was fortunate to speak to RB again recently, thanks to the efforts of good friend Sabesan Sir. We had an unhurried, pleasant conversation, mainly on RB’s film songs. He spoke with reverence of MSV and his experiences of working with the Master. RB was a revelation as an amazing mimic… his imitation of MSV’s reactions, appreciation and even dissatisfaction was uncanny!
I mentioned his songs one by one and RB could recall them and gave me some insights on some of them. I explained to him about this ‘மலர்ந்தும் மலராதவை’ series, and he was very appreciative that rarely heard songs from unreleased movies are being given their due here. And when I mentioned the song of his that I was going to present, he exclaimed in wonder, for the song is now all but forgotten….
A special thanks to RB sir for sending me a photograph at my request to go with this article. He is not active in Facebook, but his wife Smt. Mythili (Santhalakshmi R Bharathi) became a member of dhool yesterday. Honoured to have you here, Madam! Hopefully RB sir would get to read this article and the responses.
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Born in 1958 and tracing his lineage to the revolutionary bard, Rajkumar grew up in a household that reverberated to the incessant strumming of the tanpura and the delineation of Carnatic Kritis. His mother Lalitha was an accomplished singer and little Rajkumar would watch with wonder his mother herald in the enchantment of music day after day. Noticing her son picking up effortlessly the complex nuances of classical music, Lalitha embarked on giving him formal training when he was five years old and later enrolled him under Valliyoor Gurumoorthi.
Rajkumar adapted quickly to the rigorous schedules of his exacting Guru, and proved a sincere and diligent disciple. He also learned under the great Balamuralikrishna for some time. He later came under the tutelage of T.V.Gopalakrishnan and it is to TVG’s credit that Rajkumar has blossomed into a much sought after artiste. He gave his first full-fledged concert in 1976. He won the first prize in The Indian Fine Arts Society’s annual competition and also bagged a prized opportunity to sing in that year’s December Music Series. And even while continuing his training under TVG, Rajkumar fetched critical acclaim as a talented vocalist. He ventured also ventured into Choir Music, being a member of the famed Madras Youth Choir nurtured by the great M.B. Srinivasan.
Then when did the suffix ‘Bharathi’ get added? Not until 1982, when a Doordarshan producer, M.S. Perumal hit upon the idea of making Rajkumar sing some of his great-grandfather’s songs in a programme to celebrate the birth centenary of the Mahakavi. “Perumal Sir changed my name to Rajkumar Bharathi and the response was tremendous. People were overwhelmed to hear Bharathi's great-grandson singing his songs. I began to realize that the surname was of great advantage to me.” Rajkumar recalled in an interview.
Meanwhile, RB completed his Electronics & Telecommunications Engineering from the prestigious Anna University and was soon employed in the R&D division of a company, working on defense related projects. Making rapid strides in the arena of Classical Music, he was faced with the difficult decision of giving up his job. “I was doing an injustice to both my job and my music. My guru, TVG, told me to quit my job if I wanted to shine in the field of music. Initially, of course, I had no assignments. And that worried me tremendously. Slowly, I realized that nothing changes by your worrying or bothering about it; what has to happen will happen…” he philosophized. But all that changed. The words of mridangist Kandaswami Pillai- 'The Aradhana of the Seven Swaras would guarantee a good life' came true. Very soon, RB was travelling all over the world, giving concerts and taking up teaching assignments. Back home in Chennai, he blossomed into a popular vocalist, drawing full houses wherever he performed, accompanied by his usual team members Madurai Balasubramaniam (Violin) and Prapancham Raveendran (Mirudangam).
At the invitation of TVG, Narayanswami Rao, of Rama Seva Mandali, Bangalore listened to RB sing in a concert in 1985. He so impressed that he arranged for a series of prestigious concerts to showcase the prowess of RB in the next 15 years.
RB has also brought out numerous music albums. ‘Bharathiar Songs’ (naturally!), ‘Classical Melodies’, ‘The Legacy’, ‘Naarayanaa - An Enticing Dasar Delite’, the multimedia presentation of the Gita, ‘Bhajans’ set to tune by K.S. Raghunathan, ‘Kaalikambal Isai Andhaadhi’, ‘Krishna Karnamritha’ (Kannada/ with Vani Jairam), ‘Sri Venkatesa Ganamrutha Lahiri’ (Kannada/ with Manjula), ‘Om and Gayatri Mantra’ are some his well-known works. His devotional songs can be heard on AIR most mornings. While in Bangalore, I have woken up almost every morning to RB’s ‘Gajananam bootha ganadi sevitam’ (Music: T.G. Lingappa) that used to be played in a neighborhood temple. Listening to his ‘Sindhaye aalayam’ (Album: Sri Raghavendra Songs) is a profoundly uplifting experience.
I remember a heartwarming statement of the humble and unpretentious RB in one of his interviews at the time- “After a concert, when somebody comes and tells me he forgot himself for a moment, I feel satisfied. I am indebted to God for having chosen me to give that elated feeling to somebody” he said.
Alas! A cruel fate deprived him of this happiness, just when he was ascending the pinnacle of his career. In the middle of a concert, RB sensed that there was something amiss in his voice. After a series of medical investigations, he was diagnosed with Dysphonia, a weakening of the vocal chords. In an interview RB said ‘My voice had been my medium of communication and to come to terms with the fact that it was no longer an asset was shattering. It was also the time I realized the faith and affection of my family and friends.’
However, coming from the valiant and resilient pedigree of the doughty Mahakavi, RB would not let this impairment cow him down to hapless lament. He soon canalized his passion into music composition that did not strain his vocal chords. He had already been composing music for dance productions and now threw himself full-fledged into those exciting avenues with passion and perseverance that is truly inspiring.
He has been a regular composer for the Rangoli Foundation, based in U.S., and his music for productions like Anubhava, Mustard Seeds, Creation Myth and Suryakanthi has won wide appreciation. Says Malathi Iyengar of Rangoli, “RB has accumulated an impressive resume of creative explorations and never reproduces the same tunes. His music brings out endless possibilities for dance improvisation. Endowed with a certain sense of style and finesse, he explores various possibilities to arrive at something that is innovative and divine”. RB was nominated for the prestigious Lester Horton Dance Award for ‘Outstanding Achievement in Composing Music’ for ‘Creation Myth’ of Rangoli. His music for ‘Kathirgama Kuravanji’ and the U.K. based Shrishti’s “Women are from Venus” has fetched laurels.
RB has composed music for works of acclaimed dancers- Alarmel Valli, Priyadarshini Govind, Rajeswari Sainath, Rama Baradwaj, Roja Kannan, Jayanthi Subramanian, Lakshmi Ramaswamy and Savitha Sastry to name a few. One of RB's finest moments was when the great Pandit Ravishankar, having seen a dance drama in Los Angeles for which RB had composed the score, greeted him with these words when they met for the first time a few years later- 'You're not just a musician, you're an artiste!'
In an interview, RB summarized his incredible achievements with succinct modesty- ‘Music chooses its own messenger and I am only carrying forward what needs to be taken to the audience!’
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RB had been drawn to film music from an early age. At college, his rendition of popular film songs of the 70s fetched him recognition and awards at the cultural events. In an interview, his wife Mythili who had been his junior in College, recalled playfully that the first song she had heard RB sing was the popular Yesudas number ‘மனைவி அமைவதெவ்லாம் இறைவன் கொடுத்த வரம்!’.
It was sometime in 1981 that RB made his debut in Tamil Film Music. It was Shyam who invited RB to render a song for a movie called ‘காலடி ஓசை’, which unfortunately did not get released. In the following year, RB received the next summons- And no, it was not again any front-ranking composer who gave him this opportunity, nor was it a block-buster that he sang his first song in- it was the talented but underutilized L. Vaidyanathan who invited RB to sing two songs in the off-beat 'ஏழாவது மனிதன். In an album comprising wholly of Bharathiar’s songs, RB sang the innovatively tuned ‘நெஞ்சில் உரமுமின்றி’ and the intense, brooding ‘நல்லதோர் வீணை செய்தே’.
Despite RB holding his own amidst KJY’s lilting ‘காக்கைச் சிறகினிலே’ and SPB’s rousing ‘அச்சமில்லை அச்சமில்லை’, his doorstep wasn’t exactly besieged by composers eager to have RB sing in their music. At the end of a chequered career, V. Kumar composed two wonderful songs written by his favourite Vaali for RB in the film சங்கரி (1984)- ‘பாரதிக்கு ஒரு கண்ணம்மா’, where B. Neeraja hums to RB’s song, and 'மஞ்சள் வெய்யில் செவ்வானத்தில்’, a sprightly RB/Vani duet. Shankar-Ganesh were churning out albums by the dozen in the early 80s, but they thought it fit to employ RB’s vocals for only two of their compositions- One of them was for the 1982 movie ‘மருமகளே வாழ்க’- the song was a RB- S.P. Shailaja duet ‘அழகுச் சித்திரம்’ filmed on an unlikely pair- S.V. Shekhar & Jayamalini! The other song that RB sang for Shankar-Ganesh was for 'பொன் வீணையே என்னோடு வா ’ from காகித ஓடம் (1986) that came out in two versions, a SPB solo, and a RB/B.S.Sasirekha duet. Both the versions became popular and found adequate airtime in that period.
L. Vaidyanathan summoned his protégé once again to sing Vairamuthu’s bracing ‘தொடுவானம் நிஜம்மல்ல’ with S. Janaki in Yugi Sethu’s ‘கவிதை பாட நேரமில்லை’ (1987). RB then sang a folksy ‘தண்ணி இரைக்கயிலே’ for an upcoming S.A. Rajkumar (இரயிலுக்கு நேரமாச்சு/1988). The same year, an obscure Rajesh Khanna invited RB to render ‘ஜன்னலுக்கு பக்கத்துல சின்ன ரோஜா’ (நம்ம ஊர் நாயகன்). In between RB rendered with Janaki an intricately crafted classical take on different dance forms ‘உன் வேதனை ஓர் ஆலாபனை’ for Ilaiyaraja's 'சலங்கையில் ஒரு சங்கீதம்' (1986) dubbed from Telugu. RB recalled that Ilaiyaraja was not present during the recording. After this song, RB was away from Tamil film music for many years until Ilaiyaraja invited him to sing the Mahakavi’s exhilarating ‘கேளடா மானிடவா எம்மில் மேலோர் கீழோரில்லை’ for 'பாரதி' (2000).
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However, it was MSV who gave RB many of his prized film songs. In the late 70s and early 80s, MSV encouraged many young singers and gave them some enviable openings. And like T.L. Maharajan, Jolly Abraham and Seergazhi Sivachidambaram, RB was also called by the Mellisai Mannar to sing under his baton.
RB told me that he was blessed to have had numerous opportunities of singing for the Master and that he cherished each of those instances. He had never thought that he would one day sing for the genius whose works he had admired since childhood. He was thrilled and even slightly apprehensive when he received the first summons, but the Master soon put him at ease with his affable warmth, graciousness and simplicity. The song was ‘அன்பான மனைவி அமைகின்றன வீடு’ for a movie titled ‘காவியத்தில் ஒருத்தி’ that remained unreleased. MSV was intrigued and then impressed when he saw RB jotting down the notations as MSV sang the song to him.
This was the first of the many MSV-RB collaborations that deserve a separate page in the chronicles of Tamil Film Music of the 80s. RB recalled with gratitude the solicitude displayed by MSV- the Master would take care to schedule the recording in the evening, as RB was employed at the time.
Komal Swaminathan’s 'யுத்த காண்டம்', a Pongal release of 1983, had a MSV-tuned RB/Vani delight: ‘கண்கள் சொன்னது போர் தொடுக்க’. The third song that RB sang for MSV was again for a non-starter- this one was a lovely duet with Janaki ‘சில் சில் சில்லென மழைப்பொழிந்தது’ for an untitled project of I.V. Sasi that never took off. RB was exultant when the Master gave him a ‘Thumbs Up’ after the recording.
The haunting ‘சந்திரனைப் பார்த்தால் சூரியனாய் தெரிகிறது’ from 'பிரம்மச்சாரிகள்' followed next. MSV structured the song so as to lay emphasis on the lyrics and RB brought to pulsating life Pulamaipithan’s imagery of the hallucinations and despair of a lovelorn youth. RB recalled how the exacting Master insisted on several takes before he was satisfied. The song was a great favourite of Radio Ceylon all through 1983.
Sivaji’s 'சிரஞ்சீவி' saw a belated release in 1984, and with it came the Master’s salubrious RB/ Janaki duet ‘நிலவு வந்து நீராட’. For Visu’s 'புயல் கடந்த பூமி' (also 1984), MSV composed the scintillating RB/ Vani duet 'ஆரம்பமாகும் ஆனந்தராகம்’. K. Shankar’s ‘நவக்கிரகநாயகி’ (1985) boasted of the next gorgeous MSV/RB/Vani collaboration- ‘சந்தனக்குடம் ஒன்று சதிராடுது’. RB recalled that he brought to the attention of MSV that the tune had slipped from the Gowlai scale in few places and was overwhelmed at the Master’s bigheartedness in allowing him to make the minor amendments he felt fit.
கண்ணே கனியமுதே (1986) ranks among MSV’s best albums in the 80s, and ‘அகிலம் திருநடனமிடும்’ kicks off to a rousing start by RB who is joined midway by SPB. 1987 saw MSV giving RB some magnificent songs- ‘காலம் மாறுது’ had a stirring delineation of ‘மார்கழித்திங்கள்’ by RB. Besides this, RB also got to sing some songs of the Mahakavi such as ‘ஒளி படைத்த கண்ணினாய்’ and 'மங்கியதோர் நிலவினிலே’ for the same movie. K. Shankar’s ‘வேலுண்டு வினையில்லை’ was another 1987 release that had some marvelous MSV- RB collaborations- ‘உருவாய் அருவாய்’- a verse from Kandhar Anubuthi (RB & Swarnalatha), ‘நாள் என்ன செய்யும்’ – a verse from Kandar Alankaram, ‘அண்டமாய் அவனியாகி’- a Pamban Swami verse and ‘ஓம்கார வடிவான’ (RB & Swarnalatha). The munificent MSV bestowed upon the forgettable தங்கக் கலசம் (1988) some unforgettable songs, and RB and Chitra sang therein a duet of dreamy enchantment: ‘தாமரை இலையே’.
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Kannada film music has treated RB with befitting respect. It was LV again who ushered him there, and soon RB was approached by many music directors to sing their Kannada compositions. A sample: ‘Sihi sihi entha sihi sihi’ with S. Janaki (Male Bandhu Male/ GKV), ‘Sri rama jaya rama gunarama’ with P. Susheela & Chorus (Thaayiya Aase/ Vijayabhaskar), ‘Nee hinga nodabyada nanna’ and ‘Pranaya geetheya haadidhe manasu’ with Bangalaore Lata- both from Prematharanga (M. Ranga Rao), ‘Mutho muthu’ with Vani (Asha/ GKV), ‘Baruvaaga onti neenu’ (Swabhimana/ Shankar-Ganesh), ‘Marayeke soundaryake’ and ‘Aagasake moda sangaadhi’ with Chitra- both from Vijayotsava (Shankar-Ganesh)
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RB's son Niranjan Bharathi is a chip of the old block. The young man is a gifted poet and has already published 'வானமே ஓர் எல்லையில்லை', a collection of poetry. He has been anchoring a programme on Tamil called 'மொழியறிவோம்' in Puthiya Thalaimurai TV. He made a fetching debut as lyricist, penning the popular 'கண்ணாடி நீ கண்ஜாடை நான்' in the 2011 blockbuster 'மங்காத்தா'. His works since then have elicited critical notice. Here is wishing the young man all the very best!
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Presenting today a RB- Vani duet of eternal allure, a bewitching MSV composition from a movie that was not released.
This was one more treasure that lay forgotten in Alibaba’s cave, more familiar to you all as the Virudunagar recording center. The EP record did not excite my fancy at first as it had lost its jacket and was encased in a dull plastic sheath. I had discovered so many other long sought-after treasures that I did not pay attention to this one. It was the last in a pile of similar dusty, damaged ‘plates’. I had already kept aside the ones I wanted and was rushing through the remaining just to make sure that I had not left behind something precious. I am glad I did, for this was indeed something precious!
The record contained the songs of a little-known movie called ‘+ 2’ (Vijay Cine Combines). The movie, of course, was never released. Yet, I felt goosebumps as I held the scruffy and scarred vinyl record in my hands, for it had secreted within its confines an exquisite sliver of childhood memory…a song that was a regular feature of Radio Ceylon’s பொங்கும் பூம்புனல் all through the summer of 1983. The mere mention of the song in the record was a time machine that took me back…. I was once again in that sultry summer…. the indefinite closure of schools in empathy with the conflict in Sri Lanka….. a bored boy whose constant companion was Enid Blyton/ Hardy Boys and Radio Ceylon….and this enchanting song that was awaited and savoured, day after day…. நினைவுகளின் ஊர்வலங்கள்….
Radio enthusiasts may more readily recall the jaunty ‘ப்ளஸ் 2 படிக்கிற பாமா’ (Malaysia Vasu & ‘Navarasam’ GKS) from this movie that was popular at the time. However, the Master is more in his elements in this stunning duet…. Pulamaipithan’s lyrical lines are woven into the trellis of a tune whose flow is splendorous euphony… a lilting humming that heralds the enticement that is follow, the rich baritone of RB so elegantly complimented by the soprano Vani…. the breathtaking detour that the second charanam meanders on…. the magnificent orchestration that clasps the composition in its tight, yet tender embrace….A throwback on a time when film music excited and enthralled, stirred and stimulated….. A procession of precious memories indeed….
Song: Ninaivugalin Oorvalangal
Film: Plus Two (Unreleased)
Vocals: Rajkumar Bharathi & Vani Jairam
Lyrics: Pulamaipithan
Music: M.S. Viswanathan
https://www.youtube.com/watch?v=Egz9xz_Lhf4&feature=youtu.be
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Those were the not very happy years for the Master himself…..He could see the sun beginning to set on his long, spectacular innings… RB’s voice turned a little emotional as he mentioned to me one of Master’s frustrated statements to him at the time- ‘தம்பி, உங்கள எங்கேயோ கொண்டுப்போய் வைக்கணும்னு நினைக்கிறேன்... முடியலையே!’ I felt my eyes turn moist when I heard RB telling me this...for a brief second, I could sense the anguish of the Master….
The number of film songs that RB sang might be paltry, yet he brought to each one of them a sheen, a grace, a stamp of distinguished class. Even today, Tamil Film Music can enrich itself by harnessing his marvelous talents, if not as a singer, as a gifted composer of rare merit…..நல்லதோர் வீணை செய்தே, அதை நலங்கெட புழுதியில் எரிவதுண்டோ?
நினைவுகளின் ஊர்வலங்கள்….
‘From the misty shores of midnight, touched with splendors of the moon
to the singing tides of heaven, and the light more clear than noon,
passed a soul that grew to music till it was with God in tune….’
- Henry Van Dyke (Tennyson)
In my first year of articleship, I had a friend called Shekhar. His childlike innocence and warmth was singular and he was greatly popular in my circle. Imagine our surprise he quietly renounced worldly life one day and embraced the monastic order of the Ramakrishna Math! Impassioned entreaties by his family and friends to reconsider his decision were in vain. Over the years I continue to call upon him, and the inner tranquility and bliss that he seems to radiate has never failed to move me.
It was Shekhar who invited me to attend the consecration of the beautiful Universal Temple at the Mylapore Math premises in February 2000. There was a weeklong festivity at the Math, and I turned up every evening to listen to the Chanting by the Swamis and the Odhuvars, the discourses by savants of varied faiths, and delightful and varied music fare by Vani Jairam, Subbu Arumugam, Seergazhi Sivachidambaram, Pithukkuli Murugadas and others.
On one of those serene evenings, Rajkumar Bharathi sang at the Math. I was mesmerized by his deep, sonorous voice; his rendition was soaked in piety. So many years have passed by since that rapturous evening, but to this day, Rajkumar Bharathi’s rich, resonant ‘தம்பூரி மீட்டிதவா’ and ‘அசைந்தாடும் மயில் ஒன்று காணும்’ linger in memory.
Shekhar was one of the energetic organizers, and he arranged for me to meet Rajkumar Bharathi after the concert. Though it was late in the evening, the unassuming singer chatted with me affably for a while. He seemed surprised that his film songs were still remembered, and when I asked him why he wasn’t heard in Tamil film music anymore, he smiled and shrugged his shoulders. As we shook hands in farewell, he said that he had sung a song recently for Ilaiyaraja in the to-be-released Bharathi, and took in my delighted responses with an impish twinkle!
I went home with mixed thoughts that night- happiness at having listened to a pleasing concert, excitement at having met the gentleman Rajkumar Bharathi, and perplexity at such a talented artiste being ignored by Tamil film composers.
A long eighteen years have passed by, and I was fortunate to speak to RB again recently, thanks to the efforts of good friend Sabesan Sir. We had an unhurried, pleasant conversation, mainly on RB’s film songs. He spoke with reverence of MSV and his experiences of working with the Master. RB was a revelation as an amazing mimic… his imitation of MSV’s reactions, appreciation and even dissatisfaction was uncanny!
I mentioned his songs one by one and RB could recall them and gave me some insights on some of them. I explained to him about this ‘மலர்ந்தும் மலராதவை’ series, and he was very appreciative that rarely heard songs from unreleased movies are being given their due here. And when I mentioned the song of his that I was going to present, he exclaimed in wonder, for the song is now all but forgotten….
A special thanks to RB sir for sending me a photograph at my request to go with this article. He is not active in Facebook, but his wife Smt. Mythili (Santhalakshmi R Bharathi) became a member of dhool yesterday. Honoured to have you here, Madam! Hopefully RB sir would get to read this article and the responses.
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Born in 1958 and tracing his lineage to the revolutionary bard, Rajkumar grew up in a household that reverberated to the incessant strumming of the tanpura and the delineation of Carnatic Kritis. His mother Lalitha was an accomplished singer and little Rajkumar would watch with wonder his mother herald in the enchantment of music day after day. Noticing her son picking up effortlessly the complex nuances of classical music, Lalitha embarked on giving him formal training when he was five years old and later enrolled him under Valliyoor Gurumoorthi.
Rajkumar adapted quickly to the rigorous schedules of his exacting Guru, and proved a sincere and diligent disciple. He also learned under the great Balamuralikrishna for some time. He later came under the tutelage of T.V.Gopalakrishnan and it is to TVG’s credit that Rajkumar has blossomed into a much sought after artiste. He gave his first full-fledged concert in 1976. He won the first prize in The Indian Fine Arts Society’s annual competition and also bagged a prized opportunity to sing in that year’s December Music Series. And even while continuing his training under TVG, Rajkumar fetched critical acclaim as a talented vocalist. He ventured also ventured into Choir Music, being a member of the famed Madras Youth Choir nurtured by the great M.B. Srinivasan.
Then when did the suffix ‘Bharathi’ get added? Not until 1982, when a Doordarshan producer, M.S. Perumal hit upon the idea of making Rajkumar sing some of his great-grandfather’s songs in a programme to celebrate the birth centenary of the Mahakavi. “Perumal Sir changed my name to Rajkumar Bharathi and the response was tremendous. People were overwhelmed to hear Bharathi's great-grandson singing his songs. I began to realize that the surname was of great advantage to me.” Rajkumar recalled in an interview.
Meanwhile, RB completed his Electronics & Telecommunications Engineering from the prestigious Anna University and was soon employed in the R&D division of a company, working on defense related projects. Making rapid strides in the arena of Classical Music, he was faced with the difficult decision of giving up his job. “I was doing an injustice to both my job and my music. My guru, TVG, told me to quit my job if I wanted to shine in the field of music. Initially, of course, I had no assignments. And that worried me tremendously. Slowly, I realized that nothing changes by your worrying or bothering about it; what has to happen will happen…” he philosophized. But all that changed. The words of mridangist Kandaswami Pillai- 'The Aradhana of the Seven Swaras would guarantee a good life' came true. Very soon, RB was travelling all over the world, giving concerts and taking up teaching assignments. Back home in Chennai, he blossomed into a popular vocalist, drawing full houses wherever he performed, accompanied by his usual team members Madurai Balasubramaniam (Violin) and Prapancham Raveendran (Mirudangam).
At the invitation of TVG, Narayanswami Rao, of Rama Seva Mandali, Bangalore listened to RB sing in a concert in 1985. He so impressed that he arranged for a series of prestigious concerts to showcase the prowess of RB in the next 15 years.
RB has also brought out numerous music albums. ‘Bharathiar Songs’ (naturally!), ‘Classical Melodies’, ‘The Legacy’, ‘Naarayanaa - An Enticing Dasar Delite’, the multimedia presentation of the Gita, ‘Bhajans’ set to tune by K.S. Raghunathan, ‘Kaalikambal Isai Andhaadhi’, ‘Krishna Karnamritha’ (Kannada/ with Vani Jairam), ‘Sri Venkatesa Ganamrutha Lahiri’ (Kannada/ with Manjula), ‘Om and Gayatri Mantra’ are some his well-known works. His devotional songs can be heard on AIR most mornings. While in Bangalore, I have woken up almost every morning to RB’s ‘Gajananam bootha ganadi sevitam’ (Music: T.G. Lingappa) that used to be played in a neighborhood temple. Listening to his ‘Sindhaye aalayam’ (Album: Sri Raghavendra Songs) is a profoundly uplifting experience.
I remember a heartwarming statement of the humble and unpretentious RB in one of his interviews at the time- “After a concert, when somebody comes and tells me he forgot himself for a moment, I feel satisfied. I am indebted to God for having chosen me to give that elated feeling to somebody” he said.
Alas! A cruel fate deprived him of this happiness, just when he was ascending the pinnacle of his career. In the middle of a concert, RB sensed that there was something amiss in his voice. After a series of medical investigations, he was diagnosed with Dysphonia, a weakening of the vocal chords. In an interview RB said ‘My voice had been my medium of communication and to come to terms with the fact that it was no longer an asset was shattering. It was also the time I realized the faith and affection of my family and friends.’
However, coming from the valiant and resilient pedigree of the doughty Mahakavi, RB would not let this impairment cow him down to hapless lament. He soon canalized his passion into music composition that did not strain his vocal chords. He had already been composing music for dance productions and now threw himself full-fledged into those exciting avenues with passion and perseverance that is truly inspiring.
He has been a regular composer for the Rangoli Foundation, based in U.S., and his music for productions like Anubhava, Mustard Seeds, Creation Myth and Suryakanthi has won wide appreciation. Says Malathi Iyengar of Rangoli, “RB has accumulated an impressive resume of creative explorations and never reproduces the same tunes. His music brings out endless possibilities for dance improvisation. Endowed with a certain sense of style and finesse, he explores various possibilities to arrive at something that is innovative and divine”. RB was nominated for the prestigious Lester Horton Dance Award for ‘Outstanding Achievement in Composing Music’ for ‘Creation Myth’ of Rangoli. His music for ‘Kathirgama Kuravanji’ and the U.K. based Shrishti’s “Women are from Venus” has fetched laurels.
RB has composed music for works of acclaimed dancers- Alarmel Valli, Priyadarshini Govind, Rajeswari Sainath, Rama Baradwaj, Roja Kannan, Jayanthi Subramanian, Lakshmi Ramaswamy and Savitha Sastry to name a few. One of RB's finest moments was when the great Pandit Ravishankar, having seen a dance drama in Los Angeles for which RB had composed the score, greeted him with these words when they met for the first time a few years later- 'You're not just a musician, you're an artiste!'
In an interview, RB summarized his incredible achievements with succinct modesty- ‘Music chooses its own messenger and I am only carrying forward what needs to be taken to the audience!’
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It was sometime in 1981 that RB made his debut in Tamil Film Music. It was Shyam who invited RB to render a song for a movie called ‘காலடி ஓசை’, which unfortunately did not get released. In the following year, RB received the next summons- And no, it was not again any front-ranking composer who gave him this opportunity, nor was it a block-buster that he sang his first song in- it was the talented but underutilized L. Vaidyanathan who invited RB to sing two songs in the off-beat 'ஏழாவது மனிதன். In an album comprising wholly of Bharathiar’s songs, RB sang the innovatively tuned ‘நெஞ்சில் உரமுமின்றி’ and the intense, brooding ‘நல்லதோர் வீணை செய்தே’.
Despite RB holding his own amidst KJY’s lilting ‘காக்கைச் சிறகினிலே’ and SPB’s rousing ‘அச்சமில்லை அச்சமில்லை’, his doorstep wasn’t exactly besieged by composers eager to have RB sing in their music. At the end of a chequered career, V. Kumar composed two wonderful songs written by his favourite Vaali for RB in the film சங்கரி (1984)- ‘பாரதிக்கு ஒரு கண்ணம்மா’, where B. Neeraja hums to RB’s song, and 'மஞ்சள் வெய்யில் செவ்வானத்தில்’, a sprightly RB/Vani duet. Shankar-Ganesh were churning out albums by the dozen in the early 80s, but they thought it fit to employ RB’s vocals for only two of their compositions- One of them was for the 1982 movie ‘மருமகளே வாழ்க’- the song was a RB- S.P. Shailaja duet ‘அழகுச் சித்திரம்’ filmed on an unlikely pair- S.V. Shekhar & Jayamalini! The other song that RB sang for Shankar-Ganesh was for 'பொன் வீணையே என்னோடு வா ’ from காகித ஓடம் (1986) that came out in two versions, a SPB solo, and a RB/B.S.Sasirekha duet. Both the versions became popular and found adequate airtime in that period.
L. Vaidyanathan summoned his protégé once again to sing Vairamuthu’s bracing ‘தொடுவானம் நிஜம்மல்ல’ with S. Janaki in Yugi Sethu’s ‘கவிதை பாட நேரமில்லை’ (1987). RB then sang a folksy ‘தண்ணி இரைக்கயிலே’ for an upcoming S.A. Rajkumar (இரயிலுக்கு நேரமாச்சு/1988). The same year, an obscure Rajesh Khanna invited RB to render ‘ஜன்னலுக்கு பக்கத்துல சின்ன ரோஜா’ (நம்ம ஊர் நாயகன்). In between RB rendered with Janaki an intricately crafted classical take on different dance forms ‘உன் வேதனை ஓர் ஆலாபனை’ for Ilaiyaraja's 'சலங்கையில் ஒரு சங்கீதம்' (1986) dubbed from Telugu. RB recalled that Ilaiyaraja was not present during the recording. After this song, RB was away from Tamil film music for many years until Ilaiyaraja invited him to sing the Mahakavi’s exhilarating ‘கேளடா மானிடவா எம்மில் மேலோர் கீழோரில்லை’ for 'பாரதி' (2000).
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However, it was MSV who gave RB many of his prized film songs. In the late 70s and early 80s, MSV encouraged many young singers and gave them some enviable openings. And like T.L. Maharajan, Jolly Abraham and Seergazhi Sivachidambaram, RB was also called by the Mellisai Mannar to sing under his baton.
RB told me that he was blessed to have had numerous opportunities of singing for the Master and that he cherished each of those instances. He had never thought that he would one day sing for the genius whose works he had admired since childhood. He was thrilled and even slightly apprehensive when he received the first summons, but the Master soon put him at ease with his affable warmth, graciousness and simplicity. The song was ‘அன்பான மனைவி அமைகின்றன வீடு’ for a movie titled ‘காவியத்தில் ஒருத்தி’ that remained unreleased. MSV was intrigued and then impressed when he saw RB jotting down the notations as MSV sang the song to him.
This was the first of the many MSV-RB collaborations that deserve a separate page in the chronicles of Tamil Film Music of the 80s. RB recalled with gratitude the solicitude displayed by MSV- the Master would take care to schedule the recording in the evening, as RB was employed at the time.
Komal Swaminathan’s 'யுத்த காண்டம்', a Pongal release of 1983, had a MSV-tuned RB/Vani delight: ‘கண்கள் சொன்னது போர் தொடுக்க’. The third song that RB sang for MSV was again for a non-starter- this one was a lovely duet with Janaki ‘சில் சில் சில்லென மழைப்பொழிந்தது’ for an untitled project of I.V. Sasi that never took off. RB was exultant when the Master gave him a ‘Thumbs Up’ after the recording.
The haunting ‘சந்திரனைப் பார்த்தால் சூரியனாய் தெரிகிறது’ from 'பிரம்மச்சாரிகள்' followed next. MSV structured the song so as to lay emphasis on the lyrics and RB brought to pulsating life Pulamaipithan’s imagery of the hallucinations and despair of a lovelorn youth. RB recalled how the exacting Master insisted on several takes before he was satisfied. The song was a great favourite of Radio Ceylon all through 1983.
Sivaji’s 'சிரஞ்சீவி' saw a belated release in 1984, and with it came the Master’s salubrious RB/ Janaki duet ‘நிலவு வந்து நீராட’. For Visu’s 'புயல் கடந்த பூமி' (also 1984), MSV composed the scintillating RB/ Vani duet 'ஆரம்பமாகும் ஆனந்தராகம்’. K. Shankar’s ‘நவக்கிரகநாயகி’ (1985) boasted of the next gorgeous MSV/RB/Vani collaboration- ‘சந்தனக்குடம் ஒன்று சதிராடுது’. RB recalled that he brought to the attention of MSV that the tune had slipped from the Gowlai scale in few places and was overwhelmed at the Master’s bigheartedness in allowing him to make the minor amendments he felt fit.
கண்ணே கனியமுதே (1986) ranks among MSV’s best albums in the 80s, and ‘அகிலம் திருநடனமிடும்’ kicks off to a rousing start by RB who is joined midway by SPB. 1987 saw MSV giving RB some magnificent songs- ‘காலம் மாறுது’ had a stirring delineation of ‘மார்கழித்திங்கள்’ by RB. Besides this, RB also got to sing some songs of the Mahakavi such as ‘ஒளி படைத்த கண்ணினாய்’ and 'மங்கியதோர் நிலவினிலே’ for the same movie. K. Shankar’s ‘வேலுண்டு வினையில்லை’ was another 1987 release that had some marvelous MSV- RB collaborations- ‘உருவாய் அருவாய்’- a verse from Kandhar Anubuthi (RB & Swarnalatha), ‘நாள் என்ன செய்யும்’ – a verse from Kandar Alankaram, ‘அண்டமாய் அவனியாகி’- a Pamban Swami verse and ‘ஓம்கார வடிவான’ (RB & Swarnalatha). The munificent MSV bestowed upon the forgettable தங்கக் கலசம் (1988) some unforgettable songs, and RB and Chitra sang therein a duet of dreamy enchantment: ‘தாமரை இலையே’.
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Kannada film music has treated RB with befitting respect. It was LV again who ushered him there, and soon RB was approached by many music directors to sing their Kannada compositions. A sample: ‘Sihi sihi entha sihi sihi’ with S. Janaki (Male Bandhu Male/ GKV), ‘Sri rama jaya rama gunarama’ with P. Susheela & Chorus (Thaayiya Aase/ Vijayabhaskar), ‘Nee hinga nodabyada nanna’ and ‘Pranaya geetheya haadidhe manasu’ with Bangalaore Lata- both from Prematharanga (M. Ranga Rao), ‘Mutho muthu’ with Vani (Asha/ GKV), ‘Baruvaaga onti neenu’ (Swabhimana/ Shankar-Ganesh), ‘Marayeke soundaryake’ and ‘Aagasake moda sangaadhi’ with Chitra- both from Vijayotsava (Shankar-Ganesh)
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RB's son Niranjan Bharathi is a chip of the old block. The young man is a gifted poet and has already published 'வானமே ஓர் எல்லையில்லை', a collection of poetry. He has been anchoring a programme on Tamil called 'மொழியறிவோம்' in Puthiya Thalaimurai TV. He made a fetching debut as lyricist, penning the popular 'கண்ணாடி நீ கண்ஜாடை நான்' in the 2011 blockbuster 'மங்காத்தா'. His works since then have elicited critical notice. Here is wishing the young man all the very best!
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Presenting today a RB- Vani duet of eternal allure, a bewitching MSV composition from a movie that was not released.
This was one more treasure that lay forgotten in Alibaba’s cave, more familiar to you all as the Virudunagar recording center. The EP record did not excite my fancy at first as it had lost its jacket and was encased in a dull plastic sheath. I had discovered so many other long sought-after treasures that I did not pay attention to this one. It was the last in a pile of similar dusty, damaged ‘plates’. I had already kept aside the ones I wanted and was rushing through the remaining just to make sure that I had not left behind something precious. I am glad I did, for this was indeed something precious!
The record contained the songs of a little-known movie called ‘+ 2’ (Vijay Cine Combines). The movie, of course, was never released. Yet, I felt goosebumps as I held the scruffy and scarred vinyl record in my hands, for it had secreted within its confines an exquisite sliver of childhood memory…a song that was a regular feature of Radio Ceylon’s பொங்கும் பூம்புனல் all through the summer of 1983. The mere mention of the song in the record was a time machine that took me back…. I was once again in that sultry summer…. the indefinite closure of schools in empathy with the conflict in Sri Lanka….. a bored boy whose constant companion was Enid Blyton/ Hardy Boys and Radio Ceylon….and this enchanting song that was awaited and savoured, day after day…. நினைவுகளின் ஊர்வலங்கள்….
Radio enthusiasts may more readily recall the jaunty ‘ப்ளஸ் 2 படிக்கிற பாமா’ (Malaysia Vasu & ‘Navarasam’ GKS) from this movie that was popular at the time. However, the Master is more in his elements in this stunning duet…. Pulamaipithan’s lyrical lines are woven into the trellis of a tune whose flow is splendorous euphony… a lilting humming that heralds the enticement that is follow, the rich baritone of RB so elegantly complimented by the soprano Vani…. the breathtaking detour that the second charanam meanders on…. the magnificent orchestration that clasps the composition in its tight, yet tender embrace….A throwback on a time when film music excited and enthralled, stirred and stimulated….. A procession of precious memories indeed….
Song: Ninaivugalin Oorvalangal
Film: Plus Two (Unreleased)
Vocals: Rajkumar Bharathi & Vani Jairam
Lyrics: Pulamaipithan
Music: M.S. Viswanathan
https://www.youtube.com/watch?v=Egz9xz_Lhf4&feature=youtu.be
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Those were the not very happy years for the Master himself…..He could see the sun beginning to set on his long, spectacular innings… RB’s voice turned a little emotional as he mentioned to me one of Master’s frustrated statements to him at the time- ‘தம்பி, உங்கள எங்கேயோ கொண்டுப்போய் வைக்கணும்னு நினைக்கிறேன்... முடியலையே!’ I felt my eyes turn moist when I heard RB telling me this...for a brief second, I could sense the anguish of the Master….
The number of film songs that RB sang might be paltry, yet he brought to each one of them a sheen, a grace, a stamp of distinguished class. Even today, Tamil Film Music can enrich itself by harnessing his marvelous talents, if not as a singer, as a gifted composer of rare merit…..நல்லதோர் வீணை செய்தே, அதை நலங்கெட புழுதியில் எரிவதுண்டோ?
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