Nice article, Vithur. Unnikrishnan is one of my favorites and it is good to see
that others share the same sort of reaction to his calm yet deep voice and his
immaculate understanding of the context of songs. It does not get any better
than Uyirum Neeye and Narumugaye. Thanks for sharing it.
Regards,
Dasun
To: arrahmanfans@yahoogroups.com
From: [EMAIL PROTECTED]
Date: Sat, 1 Mar 2008 23:26:33 +0530
Subject: [arr] Gentle Rain - Singer Unnikrishnan
http://www.newindpress.com/sunday/sundayitems.asp?id=SEA20080301080020&eTitle=Arts&rLink=0
I feel the softness of warm silk through the cold night. Between cold whispers
and warm promises, I find a beautiful bird suspended in satin mystery flitting
between us, gentle and yet energetic in its pirouettes. There is romance in the
air tonight, albeit framed by the glitter of an early summer drizzle. And yet
there is comfort to this tryst in the darkness. Fabric on the face, caressing
and aromatic. Like a song rendered with skilful gentleness; undisturbing,
restrained and yet sculpted.
And gently,the snatch of such a song, somewhat distant. In a trice, I am
standing beside a doorway looking deep into the eyes of an old, bent lady
tending to a grown-up son, never once complaining. There is warmth in this
pathos. This is a song entitled Uyirum Neeye (You are Life), in raga Kamas,
from the film Pavithra. The composer is A R Rahman, and the singer is the
inimitable P Unnikrishnan.
I am not a statistician, but I can tell you that Unni has sung more songs for
films than most classical musicians I know. Somehow, I have found that his
connectivity has only grown as a consequence. Not that anyone outside the
classical music fraternity particularly cares about his choice of musical
outlets. And yet, I choose to address this particular aspect of "classical
crossover" simply because I have always been a skeptic myself.
I have heard Unnikrishnan render delicate phrasings and graciously curved
improvisations in raga Atana almost a decade back at a prominent sabha during
the December music festival. There was a gentleness to this serenade, sweeping
languorously but piercing the heart and the mind with studied brilliance. In
the years that ensued, I have seen a transitional Unni swerve in and out of
this initial vibration. In this incredibly prolific journey, I have seen
certain aspects of his music emerge. His ability to engage has grown, as has
his understanding of the context within which his music should be framed.
Context often becomes confused with the term theme, and I use Unni's example to
illustrate the distinction. There is a certain vibration, a universal
"frequency" that pervades our life and times, at any given juncture. This is
not merely a "mood" but a certain framework that defines tastes, preferences
and a 'reason-to-believe'. In Chennai, I have seen this frequency change with
alarming regularity almost every year. And hence, the ubiquitous "this year was
a dull season" or "last year had more verve".
I believe this frequency to be the result of both the sociocultural template
within which we all operate and lead our lives, and the mood that pervades the
ambience around concert halls, that are affected by developments in the
classical music scenario ("So many musicians sang rare ragas this year as
compared to last year" being an exemplar of this phenomenon). Tuning into this
frequency is a part of the maturing process for any musician, irrespective of
genre. Not to say that everyone should toe the 'party line' and stick to ideas
that please the middle majority on the ever-changing bell curve of musical
preferences. But an understanding of 'how much is too much' is perhaps closer
to the point I am trying to make.
And to this, at least partially, I attribute Unni's "coming-of-age" to his
experiences in the realm without. The experience of films, seeing contexts
being stressed on an insistent basis seems to have had a glowingly positive
effect on his musical expression. I find his raga delineations having acquired
a sheen that reflects a tremendous understanding of the context. And yet, the
gentleness remains. Quiet, unassuming and almost self-effacing. But unarguably
brilliant.
To an ear trained to detect individual voices in multi-part orchestral harmony
and understand classical improvisation and its resident regulations, Unni's
voice has always carried a special place. Its dreamlike, soft quality has the
ability to reach spaces deep inside your consciouness without seeming to be so
intrusive. There is thought behind each inflection, and there is a justice that
pervades the treatment of each syllable. Heavy ornamentation in some of his
film songs notwithstanding, I find his voice having the quality of quiet rain
on cherished afternoons. Restorative.
For a large part of the last decade, I found Unni's engagement with film music
often worrisome. The skepticism was only marginally allayed during the
classical music festival. But in my own process of "growing up", understanding
some of the complexities that characterize modern living, and too often, its
disappointments, I have learnt to take solace in the restorative power of this
incredibly calm performer.
Musical expression is as plastic as the human mind. If understood well, it has
the ability to bend and flex in a way that gives it more definition. The
sculpture, once finished, retains all the properties of the original substance
and yet looks better as a consequence of all the movement. One should look at
the finished piece to understand the importance of the process. The skill of
bringing the outcome towards a unique, likeable and mature conclusion lies
entirely in the ability of the proponent to be pliable and yet not lose musical
integrity.
I have enjoyed Unni's rendering of Ennavale in Kadhalan, Narumugaye from Iruvar
progressing to more recent renditions in films such as 7G Rainbow Colony. The
rain always falls gently, coaxing an easy smile from a tired face.
I remember listening to Katre En Vasal from Rhythm also sung by Unni. The
lyrics talk of the wind that opens the door gently and announce itself as love.
To me, this will always be the best characterization of Unni's voice, riding in
gently but remaining in your mind's eye long after it has gone away.
--
regards,
Vithur
AIMING TO BE A TRUE RAHMANIAC
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