In centenary year, Salil Chowdhury’s music continues to mesmerise Kerala’s cultural sphere

A curious connection exists between musician Salil Chowdhury and the way music is composed in most Malayalam films now. When the Bengali musician, whose birth centenary year was on Tuesday, first came into Malayalam, the usual practice was for the lyricists to write the lines, based on which the composer would structure the tunes.

One of the early occasions on which this whole working style was changed was when Chowdhury started composing his evergreen classic soundtrack for Chemmeen. Although there was quite some resistance to the idea initially, it was the starting point of a shift, with most young composers now creating the tunes first into which the lyrics are fit into later.

Already a big name in Bengali and Hindi film music, Chowdhury’s association with filmmaker Ramu Kariat through the Indian People’s Theatre Association (IPTA), for which he composed revolutionary songs, paved his way to Malayalam film music.

The songs of Chemmeen are so identified with Kerala’s coastal life, but the musical influences for these songs are also drawn from folk traditions from the region he hailed from, which he blends well with Western orchestration.

“Most composers weave in their signature style towards the later parts of a song, but Salilda’s signature was all over every song he composed. Be it any genre, right from the opening moment, we can recognise his signature style. It is not easy to have such a distinct identity and at the same time bring in drastic variations as he did. He was really a blessing that Malayalam cinema got from Bengal,” says music composer Sharreth.

As a music reality show host, he says the number of young children still choosing to sing his songs are a testimony to his impact.

Among the hundred odd Malayalam songs he composed for 27 films are equally beautiful and complex melodies as Saagarame Santhamakanee from Madanolsavam, Oru Mukham Maathram Kannil from Etho Oru Swapnam, Keli Nalinam from Thulavarsham, Kaadaarumasam from Ezhu Rathrikal and Sourayoodhathil from Swapnam.

His most prolific musical partnership was with O.N.V. Kurup with whom he had 45 songs, followed by Vayalar Rama Varma and Sreekumaran Thampi. No Onam season passes without listening to Chowdhury’s onam songs — Poovili Poovili Poonanamayi from Vishukkani and Onappoove poove from Ee Ganam Marakkumo.

“His music was totally a revolution, compared to what Malayalis had listened to in their films. He had a good grounding in Hindustani, imbibed the folk traditions of Bengal and was well versed in Western classical. This combination was a huge advantage for him, and the coming together of these influences is evident in his compositions,” says singer G. Venugopal.

Salil Chowdhury also brought in legendary singers from other languages like Lata Mangeshkar (Kadhali Chenkadhali, Nellu) and Manna Dey (Manasa Maine, Chemmeen) to sing in Malayalam. He composed his last song in Malayalam, the melodious Kaathil Thenmazhayayi in Thumboli Kadappuram, almost thirty years ago, but his music still remains fresh and relevant in the Malayali cultural sphere.