Presented in this BLOG are some movie songs composed in the same RAGA, which will help getting an idea of how a raga sounds. It is aimed at providing an introduction to CARNATIC MUSIC.
Monday, October 31, 2011
THER KONDU SENDRAVAN - ENAKKUL ORUVAN
Lyrics:
thEr koNdu sendravan yaar endru solladi thOzhi
endhan thOzhi
thEr koNdu sendravan yaar endru solladi thOzhi
endhan thOzhi
kaaNa veNdum thalaivanai
kaayavillai thalaiyaNai
thEda veNdum endhan jeevanai
thEr koNdu sendravan yaar endru solladi thOzhi
endhan thOzhi
endhan thOzhi AAAAAAAA
pottu vaiththaan poovai koNdu suttu vaiththaan
thottu vaiththaan peNmaikkuLLae ittu vaiththaan
pottu vaiththaan poovai koNdu suttu vaiththaan
thottu vaiththaan peNmaikkuLLae ittu vaiththaan
enna oru vEdhanai paththu viral sOdhanai
thEnaaatril paalOda naan enna vaadhaada
kaN viziththa kaalai vaeLai kaaNavillaiyae
thEr koNdu sendravan yaar endru solladi thOzhi
endhan thOzhi
endhan thOzhi AAAAAAAA
oomaith thendral vandhu ennai kolgiradhae
kaNgaLilae uppu mazhai peygiradhae
oomaith thendral vandhu ennai kolgiradhae
kaNgaLilae uppu mazhai peygiradhae
uLLam thotta manmadhaa ennai vittu selvadhaa
un sEdhi vaaraadhaa uL nenjam aaraadhaa
indha oli nilavai paarththu kaigaL neettudhaa aaa
thEr koNdu sendravan yaar endru solladi thOzhi
endhan thOzhi
kaaNa veNdum thalaivanai
kaayavillai thalaiyaNai
thEda veNdum endhan jeevanai
thEr koNdu sendravan yaar endru solladi thOzhi
endhan thOzhi
endhan thOzhi AAAAAAAA
Saturday, October 29, 2011
SARASA MOHANA - KOKILAVANI
http://www.sirkali.org/
Anniyan writes:
Song: Sarasa mohana sangeethAmrutha
Film: KokilavAni
Music: G Ramanathan
Lyric: S D Sundaram
Singer: Seergazhi Govindarajan.
If anybody had asked me to cite an example in the raga Sudha dhanyasi some 25 years before, probably I would have said GNB’s Himagirithanaye Hemalathe, or for a film song, a KVM’s Kalaimagal enakkoru or a MSV-TKR’s Neeye unakku endrum or at best IR’s Maancholai kilidhaano. But certainly not had I listened to this SOTD before. Such was the fascination I had for this song from the moment I heard it in Radio Ceylon way back in early 80s. What a beautiful melody! How simple the tune is! Yet the majesty!
As has been his wont, GR has churned out a classical number and serves a feast for eternal joy to his listeners. A very neat work by GR. Just a harmonium, clarionet, flute and tabla. That GR brings the sa ga ma pa ni sa arohanam of the raga to begin the interludes is noteworthy though on the predictable lines but always remember a tabla in a GR song is a co-singer more than an accompaniment (thanks Bhairavan). Follow the tabla carefully in every GR song.
Another high point of the song is the class rendition of the song by Seergazhi Govindarajan. SG was a much sought after singer in the mid fifties after Thuraiyur Rajagopala Sarma gave him a launchpad in Ponvayal (1954) with an exquisite number Siripputhan varugudhaiyya ulagai kaNdAl. GR made it a point to bestow SG with atleast one good song in most of the films he did. The same voice which he used for comic songs in a previous film will be the hero’s voice in the next film sometimes even for Sivaji or MGR. SG’s ringing voice suits the SOTD to a T and particularly the ease with which he touches the higher octaves in the lines …sundara vaankavi sugakkuralil ezhum.. sudhandhira naadhamey sangeetham is really marvellous.
The lyricist of this song Kavignar S .D. Sundaram was a noted playwright during 40s and 50s best known for his play Kaviyin kanavu which had been shown umpteen number of times during the freedom struggle. In this song, he depicts how sublime good music to be, the sheer joy it gives, the power of music and how it influences the nature in simple but sweet words. I was touched by the lines …sandhaiyiley virkkum porulalla geetham, sindhaiyiley ezhum jeeva layam. I can see Papanasam Sivan influence in SDS lines. SDS is well-known for such songs as his another song in Manidhanum Mirugamum (1953) sung by CSJ is a classic…Kaalamenum chirpi seidha kavidhai thaai kovilada. SDS is not to be confused with one another lyricist of his times, a contemporary, ‘Clown’ Sundaram who had penned many comic songs for NSK in many of his films.
KokilavAni (1956) was produced by Forward Art Films, a production company formed by actor S. A. Natarajan (of Mandirikumari fame) with Chinnappa Devar and others and naturally S A Natarajan is the hero of the film. The female lead is Tambaram Lalitha (remember?). The story is a musical subject and hence the title Kokilavani. The title attracted me very much as it reminded me that great singer NCV. The movie was a box office disaster despite GR’s lilting music Let me not delve deep into the story lest you may not relish the beauty of this song.
When this writer requested SG in a wedding reception concert some time in mid-eighties to sing this song, the unassuming singer obliged by singing a few lines as he did not remember the full song nor could this writer help him with the lines then but SG made an appreciative gesture of the choice.
The other songs written by SDS in KokilavAni are Maalaiyiley manasAnthi thandhu (SG), Thiruvey en deviye (SG,Jikki). One other mentionworthy song in KokilavAni is Azhagodaiyil neendhum iLa annam sung by Jikki.
http://www.dhool.com/phpBB2/viewtopic.php?t=6693
THUNBAM NERGAYIL - OR IRAVU
RANDOR GUY
Starring: K. R. Ramasami, A. Nageswara Rao, T. K. Shanmugham, B. S. Saroja, Lalitha, T. S. Durairaj, T. S. Balaiah, and T. P. Muthulakshmi
At his disciple Ramasami's request, Annadurai sat up one night and wrote a play and at dawn, it had been written to the last scene with hardly any corrections! The time-frame too was a single night and narrated the events taking place on that night. The hero wore only one costume right through! Hence, for more than one reason Anna titled the play, Ore Iravu!
AV. Meiyappan met Anna who agreed to write the screenplay and dialogue for Rs. 10,000. A week later, he came to the AVM Studio and stayed at No. 10 (Meiyappan's office, now renovated and modernised!). Seated on a mat at a desk without legs, Anna wrote the screenplay, while the dark hours of the night ticked away. When Meiyappan and Neelakantan called on him the next morning they found the Ore Iravu script ready and written on 300 sheets of paper.
Meiyappan gave Pa. Neelakantan the break he had been waiting for and with Ore Iravu began his long and successful career as filmmaker with several box-office hits.
Ramasami played the same role he had played on stage. The story is about a thief, the illegitimate son of a rich zamindar (Shanmugham) who had seduced the mother (Saroja). Poverty drives him to take to stealing. Indeed Anna dealt with the eternal problem of “the haves and the have-nots” in this film. He did this in his Velaikari too. In an interesting turn of events, the thief breaks into his father's house at night when his stepsister (Lalitha) is about to commit suicide! Of course, one is not aware of the real identity of the other.
Lalitha played the zamindar's daughter and Akkineni Nageswara Rao, her lover.
Others in the cast included noted screen villain and character actor T. S. Balaiah as the blackmailer, well-known comedian T. S. Durairaj, and yesteryear star B. S. Saroja.
Ore Iravu had many songs and in true AVM fashion, a dance drama “Shiv-Shakthi”. The dancers were Lalitha-Padmini, and Kumari Kamala (‘Baby' Kamala, now a young woman!). It had a Tamil folk dance (Kurathi dance) too. Interestingly for this dance, a song rendered by M. L. Vasanthakumari, “Ayya Sami... avoji sami...ayya rayyaa vayyaa you comeayaaa...!”, adapted from a popular Hindi film song, “Gorey...gorey...”, was used and it turned out to be a hit. The dancer was a noted starlet — Lakshmikantham.
One of the songs which became popular was “Tunbam nergayil nee.....” It was penned by none other than Bharathidasan (pseudonym of Kanaka Subburatnam, voices V. J, Varma and M. R. Rajeswari.)
T. K. Shanmugham also contributed a song written earlier and used by him in one of the TKS Brothers' plays. “Enga naadu...ithu enga naadu...!” was about India and the problems the country faced.
A song by Bharathiar, “Kottu murasey...kottu murasey...!” also found place and was rendered by K. R. Ramasami and T. S. Bhagavathi.
Ore Iravu was released in April 1951 with much expectation what with the AVM banner, Annadurai's script based on his hit play, dance dramas and melodious music but, it did not do well.
Remembered for: Annadurai's interesting storyline and dialogue, impressive performances by Ramasami and good music (R. Sudarsanam)
AGAYAM MAZHAI POZHINJA - DHIKATRA PARVATHI
ANANDA BHAIRAVI, SAHANA, BEHAG, NEELAMBHARI.
Aagayam Mazhai Pozhinja - Dhikkatra Parvathi
Singers:VJ - Music:Veenai Chittibabu
Navatharang's Thikkatra Parvathi(1974) starred Srikanth and Lakshmi. It was directed by Singeetham Srinivasa Rao, and based on a story by Rajaji. The film won the National Award for the Best Tamil Film, and also won the Film Fare Award in the same category, and also fetched the Best Director Award for Singeetam Srinivasa Rao.
"Bharat Ratna" Chakravarthi Rajagopalachari (1878- 1972) was a great man in every sense - a zealous patriot, a trailblazing social reformer, perceptive thinker, profound scholar and author. As a writer, Rajaji was awarded the Sahitya Akademy Award. Rajaji's lucid translations of the Ramayana and Mahabharata will find place in most urban Indian households.
His other popular works in English include Baja Govindam, Thirukkural, Upanishads, Hinduism - Doctrine & Way of Life and The Geeta. His book on Marcus Aurelius is held as a celebrated treatise. His "Stories for the Innocent" makes irresistible reading. He has written around 30 books in both English and Tamil. Many of his stories had social messages, espousing eradication of evils like untouchability and dowry system. In Thikkatra Parvathi, he advocated total prohibition, by detailing the havoc caused by drink.
Singeetham Srinivasa Rao (born 21 Sep 1931) is among the most popular directors of Southern India. Thikkatra Parvathi was his second film, Neethi Nijayithi(1972) being his first. After Thikkatra Parvathi, it was Kamal who brought him back to Tamil with Rajapaarvai in 1981. Singeetam's runaway Telugu hit Sommokadidi Sokokadidi(1978) was dubbed in Tamil as Iru Nilavugal. Later Singeetam distinguished himself in films like Pesum Padam, Apoorva Sahodarargal, Michael Madana Kamarajan, Magalir Mattum etc.
He has directed more than 55 films in Telugu, Kannada and Tamil. His latest experiment is an animation feature film, Pentamedia's "Son of Aladdin" (scripted by Mark Zaslove). Singeetam is now excitedly doing the spadework for 3 different movies: a Science Fiction film in Telugu, another film called "Traffic Jam", and Kamal's next film titled "Krishnaleela". Asked about his age, he laughs and says "I think like a 21 year old!".
The music for Thikkatra Parvathi was by the renowned Veena Maestro Dr.Chittibabu. Chittibabu was said to be a child prodigy who gave his first fullfledged performance when he was barely 12 years old. He was trained by the great Emani Sankara Sastri, and blossomed into one of the most acclaimed Veena players of his generation. While his traditional pieces are soul stirring, his innovative works like "Musings of a Musician", "Solitude", "Rhapsody", "Rendezvous & Old Memories", "Fairy tale", "Royal Salute", "Temple Bells/Serenade" etc showcase the genius in all his glory.
Chittibabu was no stranger to Tamil film music. His veenai was the mellifluous backbone of Sridhar's Kalaikkoyil. Thikkatra Parvathi, was perhaps the only film he independently composed music for, and though he gave a wonderful musical structure to the story, his work went largely unnoticed, perhaps due to the film coming a cropper. In fact, VJ was amazed when I mentioned this film and her songs in it!
And Chittibabu chose VJ to sing both the songs that he envisaged for the film, an acknowledgement by one great artiste of another great artiste's talents.
"Aagayam mazhappozhinja aathukku kondattam" is a song that details vividly, stage by stage the joys of expectant motherhood and nature's magic called childbirth. Chittibabu's imaginative composition and innovative interludes make this song a timeless miracle. Each charanam has a different structure; the entire song delights in its unexpected turns. VJ brings such evocative moments to the song, it has to find place among her best efforts. Listen to the exuberance each time she sails into your heart with "Pulla perum kaalam vandhaa ponnukku kondaattam", and let us discover anew this forgotten masterpiece.
http://www.vanijairam.com/Pages/Vani1974.html
SAMSARAM SAMSARAM SAKALA DHARMA SAARAM - SAMSARAM 1950
Movie:Samsaaram
Music: S.Dhakshinamoorthy / sankara sastry in tamil
Lyrics:Kothamangalam Subbu
Cast: M.K.Radha,Pushpavalli,T.R.Ramachandran
samsaaram samsaaram samsaaram sakala dharma saaram suka jeevana aadhaaram
samsaaram samsaaram
kaNavan manaivi ondraai iru kaNNum maNiyum pole
kaNavan manaivi ondraai iru kaNNum maNiyum pole
iNai piriyaadhu iLam baalagar viLaiyaadum
samsaaram samsaaram sakala dharma saaram suka jeevana aadhaaram
uravodu uNNa veNdum oorodu vaazha veNdum
uravodu uNNa veNdum oorodu vaazha veNdum
periyorai paNiya veNdum siriyorai kaakka veNdum
samsaaram samsaaram sakala dharma saaram suka jeevana aadhaaram
samsaaram samsaaram
samsaara saagarathil thuyar thaangoNaadhapodhum
samsaara saagarathil thuyar thaangoNaadhapodhum
thaaramodu kaNavan adhai thaangi vaazha veNdum
samsaaram samsaaram sakala dharma saaram suka jeevana aadhaaram
samsaaram samsaaram samsaaram
song starts @2.00
Savitri first film 'Samsaram'
Samsaram (1950)
Cast: Pushpavalli (Kamala), Lakshmirajyam (Manju), Savitri, ANR (Venu), NTR (Raghu), Relangi (Seetharam), Surabhi Balasaraswathi (Kamakshi), Bezawada Kanthamma, Sundara Rao (Dr. Damodaram), Suryakantham, Rangaswamy, Doraswamy
Cinematography: Rehman, B. Subba Rao
Producer: Ranganath Das
Director: L.V. Prasad
Banner: Sadhana Films
Release Date: 29 Dec, 1950
Notes: Donepudi Krishna Murthy, well wisher of Savitri's family, recommended Savitri to Ranganath Das, the producer of 'Samsaram'. L.V. Prasad given her the female lead role, Kamala.
Savitri didn't forget the day 17 May, 1950 in her whole life. That day she acted infront of the camera, first time with make-up for 'Samsaram'.
She feared to act with ANR, who was the favourite actor of younger generation of that time. She took many takes for many scenes in their combination. So the director and producer decided to replace her by Pushpavalli. Anyway Savitri did a small role as one of Pushpavalli's friends in the film. We can see her in 'Takkutamaaram bandi, tankeela bandi' song. And she said a dialogue 'nuvvu achcham hero Nageswara Rao laa unnave'.
http://greatactresssavitri.blogspot.com/
Kommareddy Savitri or Savitri Ganesh (Telugu: à°¸ాà°µిà°¤్à°°ి à°•ొà°®్à°®ాà°°ెà°¡్à°¡ి; 6 December 1935 – 26 December 1981), was an Indian actress, director and producer. She had appeared in Telugu, Tamil and Hindi languages. She was known for her liveliness and captivating performance and is still treated as the benchmark for acting in movies.
Savitri was born to Nissankara Rao Guruviah and Subhadramma in Chirravur (near Tenali) in Guntur, Madras Presidency, now part of Andhra Pradesh. She learned music and Indian classical dance under Sista Purnayya Sasthri. She performed stage shows during her childhood. She acted in 318 films in Telugu, Tamil, Kannada and Hindi languages, with ten to fifteen movies released per year.
http://en.wikipedia.org/wiki/Savitri_(actress)
Friday, October 28, 2011
DEVIYAR IRUVAR - KALAI KOVIL
Conversations with M.S.V
By Sriram Lakshman
11/11/2004
M.S.Viswanathan, about whom your’s truly has sung many a paean in the vast corridors of the web world, is a remarkable genius of a composer whose compositions seem to traverse a hitherto unchartered pathway into the interiors of our hearts with minimum of fuss.
Often, the sensitive listener is at a loss for words when attempts are made to express the effect. ‘There is a great charm in his compositions’ says our ‘resident’ composer Srikanth. The word ‘charm’ , I suspect conceals a great deal of irritatingly elusive adjectives or expressions yet to be coined in the language world.
There seems to be this air of inevitability to the flow of music here where the compositions seem to have just ‘happened’….and with a lot of underlying passion.
This observation by a common listener is further bolstered by testimonies by Visveswaran (yes, Chitra Visveswaran’s husband who worked with MSV and has witnessed several recordings during the composer’s halcyon days, notably ‘kAthalikka nEramillai’ and ‘Karnan’), and several other legendary musical talents of yore.
It was this very facet of his composing skills that spurred me on to take a closer look at MSV’s career path right since his ‘Jenovah’ days, which happened even before he had teamed up with TKR. The curiosity was about ‘when it all started happening’ or ‘when the blossoming took place’.
This eventually saw me calling him up during one of my visits to India and requesting him to set aside some time for a casual conversation about his music. A time was agreed upon and the meeting did happen.
http://www.dhool.com/msv/
I have met him on a few other occasions at his residence to gain a deeper insight into the composer in MSV. An entity that expressed itself through many voices but did not have a voice of its own and pitiably so. Yes, the lack of intent to articulate the nuances of composing or plain and simple……forgetfulness. A frustration laden ‘Oh! Come on give me some pointers atleast’ is the usual response from my inner fretful self. ‘ellAm kadavuL kripai’ is a cliché often thrown at the gleefully accepting TV interviewers.
I was going to have nothing of that and flaunted my exposure to his numbers that lay buried under the sands of the merciless time, only to get past his subtle veneer.
The number I had spoken about first was ‘varavENdum oru pozhuthu’ in ‘kalaikkOyil’. That seemed to have done the trick , he got up with a start and yelled out to his assistant Guna, ‘pottiya koNdu vA’. The harmonium was promptly ushered in and chords that were not in the track flowed out in cascades as he sang the song (with incorrect lyrics ofcourse :)….’varavENdum oru nilavu’ ….it went. ‘You said you were from America. Where did you hear this number?’ was another surprise laden response. I had this ‘you ain’t seen nothin’ yet’ look on my face and let loose another number from the same movie….’muLLil rOjA’ sung by LRE with PBS interjecting with his humming , a most exhilarating exhibition of humming. This seemed to have floored him, he did rake his memory and quite a bit and said “ ‘ kaNmaNI sarOjA’ appadi varum illE “.
He seemed to have lost himself in the endearing nostalgic memories of the past after my affirmative nod. Goodness !!! It required somebody half his age to remind him of a composition for his own home production. PBS told me that so intoxicated was MSV with the humming bit, that he was requested to sing through it for all the musicians again after the recording.
‘unga compostions-il santhangaL romba vithhiyAsamA irukkE’….I quoted ‘angam puthu vitham azhaginil oru vitham’ , ‘azhagiya thamizh magaL ivaL’ as examples (to which the ‘bolt out of the blue’ question was ‘neenga Kannadasan abimAnI thAnE?’. Even a hardended KD critic would have nodded his head in agreement as a reflex action, (considering the great sense of seriousness)).
My question to him was ‘what came first the tune or the words?’. MSV’s reply was not unpredictable. “‘meter-ukku matter-a illa matter-ukku meter-a?’ enbathu kavignarum nAnum mun koottiyE discuss seyyAthathu. It all depended upon who arrived at the studio first.”
I am reminded now of an incident narrated to me in one of the conversations. The movie was ‘pOlice kAran magaL’. MSV arrived first for Sridhar to present him with the ‘song situation’. The melody tuned was ‘ponnenbEn siru poovenbEn’. Kannadasan was his usual nonchalant self when asked to do his bit for the song. ‘kAthal duet-a? athAn athhAn pothhAn mayiru mattai ezhuthiyAchhE. innumA ?’. Sridhar’s response ‘ithu different situation aNNE….’ seemed to satisfy the kavignar. He continued with ‘ennadA ViswanathA …thathhagAram thariyA illai nAn sollattumA?’. MSV it seems sang the tune for the kavignar only for the audience to get bamboozled as words incessantly flowed for the meters dished out, at times even taking the lead. The tune was modified a wee bit to accommodate the words that ‘happened’.
Now, back to the conversation, ‘azhagiya thamizh magaL ivaL……tune mothalla pOttathu’. Much against the relentlessly stubborn MGR’s wishes had the song been squeezed in . The resultant ‘hit’ status of the song was used by MSV in his future assignments to have his way with MGR. An instance where Sivaji did a MGR was narrated to me. The song was ‘ponmagaL vanthAL’ except the reason for the rejection was different… ‘The charanams sound like thiruppugazh to me’. How glad now are we that the composer and the director looked past the imposing presence of Sivaji !!!!
‘PBS oru sagAptham’ is the reflex answer that comes out when the crooner’s name is mentioned. He continues “Listen to PBS’ songs for every composer including me. The melody that he sings becomes his, ceases to be the composer’s.” Afterall, MSV overwhelmed by emotions after PBS ‘rolled’ his way through ‘udalukku uyir kAval’, is supposed to have stated ‘aNNE ithukku appuram unga rate Ethhareenga’. PBS till date recollects the incident and cherishes the memory. Well, what about the extra bits that singers like PBS and SPB seemed to be adding ? That does not seem to be in sync with his ‘avar ninaithhathu vara varaikkum vida mAttAr’ image. He nods in total agreement to the second statement and further adds ‘en manasula irukkarathai avargaL (singers) kodukkara varaikkum vida mAttEn. ithukku thAn nAnE singers-ai train paNNuvEn. No assistants here.’ . He goes on to add that when the singer’s improvs bettered his own ideas, he did accommodate them. ‘Balu-virrku swara gnyanam kidaiyAthu, kELvI gnyanam romba jAsthI. sila vAttI avanE pOttuduvAn (the sangathis). Oru vAttI pAdi kAmithhAl appadiyE pAdi viduvArgAL…..athu thAn Balu, athu thAn LR Easwari’. Well, praises galore for these singers.
His penchant for usage of wind instruments has always stood out, be it Shehnai, trumpet or sax. The supremely soothing, apt Shehnai piece in ‘AlayamaNiyin Osayai nAn kEttEn’ is a case of Shehnai not sounding like its depressing,dampening self. Yes, couldn’t resist broaching on that. ‘athai vAsithhathu Satyam. nAn ‘OK’ solluvathu varaikkum sAppida mAttAn’. MSV’s recollection was coated with a light-hearted grin. Sathyam is a MSV favourite. He had played along with Bismillah Khan in the movie Karnan (note the double Shehnai in ‘iravum nilavum vaLarattumE’ and Bismillah Khan’s piece in Hamsanandi before PBS sings ‘enna koduppAn’ set to the same raga). The assessment (by MSV) at the end of the recording was ‘en Sathyam avarai (guess who?:) vida siranthavan’.
I have presented only a synopsis of what transpired during our conversations. I will try my level best to keep chipping in with what my memory serves me, when it does. Oh yeah….did I achieve what I set out to achieve ? Well, ‘how’ is the word puts true artistes in a nonplussed state. I confess, I did get tempted into putting it across to MSV and yes, what did I tell you ? Nonplussed state ? Yes, I was right.
(To be continued).
Conversations with M.S.V - Part II
By Sriram Lakshman
01/25/2005
Recollecting details of all past meetings with the composer……
MSV’s attempts at taking a stab at the past, went into the Golden age of Hindi Film Music on that occasion. “Naushad enakku deivam mAthiri” is an admiration laden starting point. Naushad’s music in “anmOl ghadi (HFM buffs will remember “Awaz de kahan hai”, set to pahadi, sung by Noorjehan and Surendra), Ratan, Udan Khatola, Baiju Bawra, aan”, he says, elevated him to ecstatic states. He fondly recollects the days of waiting on tenterhooks for the release of a Naushad Album. Interesting to note that he included “Aan” which had “Muhabbat jhoomE jinkE sAth”, rendered by Rafi, the pallavi of which, though set to a slightly different meter, was applied to kick-start the hugely famous “senthamizh thEn mozhiyAL” in mAlayitta mangai (1957). The fact that Naushad re-used the same meter for his “huE hum jinkE liyE barbAd” again by Rafi in Deedar is a different matter altogether. As an aside, this song endeared itself to PBS, enough for him to use it during his audition test.
“Have you heard ‘poomAlayil Or malligai’?“ is the question he interrupts the flow with. Oh of course !!! He goes onto sing the pallavi of “thoo mErA chAnd main thErI chAndnI” again, composed by Naushad. He follows this by singing the swarams for the flute interlude. There seems to be this familiar twist to this phrase and it reminds one of…..the “shake” in the pallavi of “poomAlayil Or malligai”…..at the word “poomAlayil”. He goes on, “ithu thAn composing” with a mischevious glint in his eyes. I marveled at how a simple twist could lay the foundation for a “melody” strong duet that would warm the bosoms of even the greatest music haters.
What about the story behind the other classic in the same movie (Ooty varai uravu), “thEdinEn vanthathu” ? It is well known that the song, much like what happens with every Sridhar movie, was squeezed in at the very last minute, in a hurry. MSV reflects, “There is a slight twist to that tale. Actually the tune and the BGMs had been approved by Sridhar. P. Susheela had been brought in and the rehearsels had also been completed but a nervous Sridhar, unconsciously biting his nails, appeared less than pleased all of a sudden. His peeve was that the tune could have a different flavour. So out went the tune.” The tune and the orchestral embellishments had to be done all over again, except that MSV preferred to compose the tune on a piano. The whole process, I was told, was over in 20 minutes flat. A great number with the sangathi at “vAsalil” reflecting the composer’s sense of improvisation and placement of musical phrases. The start of the charanam is not predictable and the charanams loop back to the pallavi with a humming for rendering the “seamless” feel.
He flips back to the Bollywood mode and cannot stop talking about his closeness to composers Jaikishen and R.D. Burman, the latter, especially. I interject with citing an example of composing style of Naushad creeping in, in the song “thanga mOgana thAmarayE” in puthayal. Interesting to note that Naushad composed a similar sounding number, after the release of puthayal…can't seem to recollect it now. Will furnish details later. Hastening to add that Naushad finds a place in my musical heart as well and my intentions are farthest from besmirching Naushad’s reputation as one of the very important building blocks of Indian Film Music. An affirmative nod is the response followed by “irukkum. Quite naturally”.
OK, then…how did the MSV idiom of music evolve? FYI, CR Subburaman had been confined to the hospital wards for a long time and the onus of composing for Devadas and Chandi Rani had fallen on MSV. In a way, MSV inherited CR Subburaman’s troupe, in which, TK Ramamurthy was the lead violinist. “Moving away from the composing styles of mama (KV Mahadevan) and G Ramanatha Iyer was foremost in my mind when I was pitchforked in, as an independent composer. This is the reason why, when you listen to title music of a movie, you can brand it as a KVM, GR or a MSV-TKR movie. We had distinct styles and different perspectives on music”. He gesticulates a lot when he says that. Was that the reason he chose atAna for ‘varugirAr unnaithhEdI’ in thangapathumai? This raga had not been used much (or not at all used) by his fellow composers until then. KVM’s atAnA ‘yAr tharuvAr intha ariyAsanam’ came in much later. Hmmm….not much of a response, he shocked himself by recollecting the song. The song had been forgotten totally !!!
“Melody is the soul for music” is his motto. Gives me an opportunity to sneak in the cheeky “What about your ‘attitude’ towards raga based melody ? I for sure cannot discern any intentions of your consciously incorporating a raga, except in a few cases”. MSV answers “The bhAvam of the lyrics will need to be brought out in a musical/melodic form. This may nor may not result in a raga. For instance, if you notice traces of Desh in ‘sinthu nathiyinmisai’ it is purely coincidental. Many vidwans have confronted me on this issue and I have always maintained that infusing something ‘new’ had been my central/core theme.”
He says he was told that Bharathi muttered the words while putting them across on paper and MSV only mimicked him, introducing pauses after the word nilavinilE merely for taking breath. KS Gopalakrishnan ‘froze’ on what he thought could make it as a tune. Thus was born the tune for ‘sinthu nathiyin misai’. Couldn’t help flaunting my accumulated knowledge on his compositions at this juncture and promptly interjected “‘androru nALilE nilavil’ (from nAdOdI ) is yet another more or less pure Desh composition”. Patted myself on the back following MSV’s gleeful acknowledgement.
I do not yet have answers for those songs where tunes made it first, or for that matter, cases where Kannadasan’s pre-written pallavis enthused the composer to create the tunes for the charanams…to be written by Kannadasan !!! “Neenga sollunga. pattathhu rANI pArkkum pArvai….mettukku kavithaiyA, kavithaikku mettA ?” ..that was a question thrown at me for which I promptly chose the latter. This was primarily because of MSV’s proven ability to obliterate the inherent santhams within a poetry and imposing his own. I thought that this song was yet another instance of ‘meter demolition’. I was incorrect here, I was told, much to my surprise. Pride was evident when he said “enga pAttula (songs composed with Kannadasan) meter-ukku matter-A matter-ukku meter-A endru solla mudiyAthu”.
What about songs like ‘oru nAL iravu’ set to Rasikapriya (72nd Mela) to some and Sumanesa Ranjini to a few others ? More or less the same sequence of notes were used for the peppy ‘indru vantha intha mayakkam’. He appeared quite clueless about Sumanesa Ranjini, he had not heard about it at all !! He did not know the raga the 2 songs were set to !! But I had one last ace up my sleeve. Karnan !!! All songs were set to ragas, I thought, consciously. Ragas like Hamsanandi, Ananda Bhairavi, Gambeera Nattai, Sahana, Pilu, suthha Saveri/Arabi, Behag, Saranga Tharangini, Pure Neelambari and Karaharapriya,Chakravakam had been used to infuse ‘musical’ life into the ‘never to be forgotten’ lyrics by Kannadasan. Certainly, some amount of thinking must have gone into the compositions. I promise the readers, I will get a convincing answer from the composer very soon on this, as the response was, I thought, not ‘weighty’ enough then. It was “The Hindustani style of presenting a melody has always captivated me. Karnan was one movie where I could take the plunge headlong and hence you had ‘Pahadi’ (kaNNukku kulamEthu) as Northies would like to hear. I had to bring in Hidustani music instrumentalists from Bombay, like Bismillah Khan (Shehnai) and (I forgot) Seth (Sarangi)”. Actually, an expected luke warm answer from a composer who forgets his own creations and cannot realize his own worth. This accusation of mine, with overtones of frustration was communicated to him for which a hearty laugh was the answer !!!
“Now for a quiz” I continued , “ ‘anubavam puthumai’ padathhil varum PBS-PS duet enna pallavi” . Eventually, I had to sing out the pallavi to him for which he remarked “neenga pAda pAdathhAn gyabagam varuthu” !!! .
Interviewing this gentleman involves bringing in his assistants who could help him reconstruct the scenario(s) during song compositions. This is what I intend to do. A friend and I did contact Mr. Visweswaran (Chitra Visweswaran’s husband), (he had functioned as an assistant to MSV and had witnessed songs of Karnan and kAthalikka nEramillai being recorded ) as a prelude to what I had in mind. Imagine Lalgudi Jayaraman’s frustration when he tried determining the raga for ‘malligai en mannan mayangum’, failed and had to put it through to Subbudu !!!
Mention of PBS’ and PS’ names veered the conversation towards singers yet again. MSV is quite grateful as he acknowledges the contribution of singers. He recalls, ‘Dandapani Desikar had a superb voice but he was not quite comfortable with complex sangathis. TMS’ strength was his clear diction, voice and his ability to relate to the situation. Oru kOdi rupees koduthhAlum TMS’-ukku abaswaram varAthu. (wah! Wah! What a certificate)). Susheela, Janaki, Balu, Easwari , PBS have all played their parts well. Sometimes I keep a singer in mind while composing for an actor but most of the time, I will need to go by the dictates of the tune. surukkamA sonnA, ‘kuruvi thalayil panaga vekka koodAthu’ (I am sure he said this during another interview). This was the situation I was faced with, because of which I had to make PBS sing for MGR in ‘neeyO nAnO yAr nilavE’ in mannAthi mannan”.
A discerning listener will certainly concur with MSV on this. Please give this song a hear and enjoy the lucid ‘PBS birkas’ that the tune yearns for. TMS had been MGR’s choice for this song as the other MGR songs ‘achham enbathu madamayadA’ , ‘AdAtha manamum uNdO’ and ‘kaniya kaniya mazhalai pEsum’ had had TMS at his very best voice. But are we glad that MGR did relent in this case !!! He had tried out KJ Yesudoss in the mid sixties as well….’nenjathhai aLLi konjam thA thA’, ‘enna pArvai’, ‘alangAram kalaiyAtha’, ‘suvai ethilE’ etc. ‘Balu, without notating can sing with precision what singers with swara gyanam cannot. I have seen singers parsing tunes into swarams and fumbling but with Balu…never has that happened ‘ , ‘ with Dr. BMK and Vani Jeyaram I can stretch into the reserves of my composing repertoire while carving out a tune and feel confident that justice will be done to it. I was the first one to suggest to KJY to learn music formally. Same was the case with Mandolin Srinivas as well” are some miscellaneous remarks punctuating our conversation. MSV had noted that U.Srinivas was too good to play for movies and felt that he could be South’s answer to the Mandolin genius of the North, Sajjad Husain. Sajjad was an ace film music composer as well, who, but for his uncompromising nature and sharp tongue could have exposed us to new paradigms in composing. He breathed his last a some years back, an unsung hero, whose best compositions remained unsung.
A few more, like “CS Jayaraman, Tiruchy Loganathan, Seerkazhi, TMS etc had what you call as a Tamil voice. Powerful!!! Even Naushad in an event in Shanmukananda hall wanted ‘Odam nathiyinilE’ to be sung and stated often that he relished the song. I was really surprised to find that Naushad had great collection of film songs from all South Indian languages“ added life to the conversation.
DEVIYAR IRUVAR MARUGANUKKU - KALAI KOVIL
Conversations with M.S.V
By Sriram Lakshman
11/11/2004
M.S.Viswanathan, about whom your’s truly has sung many a paean in the vast corridors of the web world, is a remarkable genius of a composer whose compositions seem to traverse a hitherto unchartered pathway into the interiors of our hearts with minimum of fuss.
Often, the sensitive listener is at a loss for words when attempts are made to express the effect. ‘There is a great charm in his compositions’ says our ‘resident’ composer Srikanth. The word ‘charm’ , I suspect conceals a great deal of irritatingly elusive adjectives or expressions yet to be coined in the language world.
There seems to be this air of inevitability to the flow of music here where the compositions seem to have just ‘happened’….and with a lot of underlying passion.
This observation by a common listener is further bolstered by testimonies by Visveswaran (yes, Chitra Visveswaran’s husband who worked with MSV and has witnessed several recordings during the composer’s halcyon days, notably ‘kAthalikka nEramillai’ and ‘Karnan’), and several other legendary musical talents of yore.
It was this very facet of his composing skills that spurred me on to take a closer look at MSV’s career path right since his ‘Jenovah’ days, which happened even before he had teamed up with TKR. The curiosity was about ‘when it all started happening’ or ‘when the blossoming took place’.
This eventually saw me calling him up during one of my visits to India and requesting him to set aside some time for a casual conversation about his music. A time was agreed upon and the meeting did happen.
http://www.dhool.com/msv/
I have met him on a few other occasions at his residence to gain a deeper insight into the composer in MSV. An entity that expressed itself through many voices but did not have a voice of its own and pitiably so. Yes, the lack of intent to articulate the nuances of composing or plain and simple……forgetfulness. A frustration laden ‘Oh! Come on give me some pointers atleast’ is the usual response from my inner fretful self. ‘ellAm kadavuL kripai’ is a cliché often thrown at the gleefully accepting TV interviewers.http://www.dhool.com/msv/
I was going to have nothing of that and flaunted my exposure to his numbers that lay buried under the sands of the merciless time, only to get past his subtle veneer.
The number I had spoken about first was ‘varavENdum oru pozhuthu’ in ‘kalaikkOyil’. That seemed to have done the trick , he got up with a start and yelled out to his assistant Guna, ‘pottiya koNdu vA’. The harmonium was promptly ushered in and chords that were not in the track flowed out in cascades as he sang the song (with incorrect lyrics ofcourse :)….’varavENdum oru nilavu’ ….it went. ‘You said you were from America. Where did you hear this number?’ was another surprise laden response. I had this ‘you ain’t seen nothin’ yet’ look on my face and let loose another number from the same movie….’muLLil rOjA’ sung by LRE with PBS interjecting with his humming , a most exhilarating exhibition of humming. This seemed to have floored him, he did rake his memory and quite a bit and said “ ‘ kaNmaNI sarOjA’ appadi varum illE “.
He seemed to have lost himself in the endearing nostalgic memories of the past after my affirmative nod. Goodness !!! It required somebody half his age to remind him of a composition for his own home production. PBS told me that so intoxicated was MSV with the humming bit, that he was requested to sing through it for all the musicians again after the recording.
‘unga compostions-il santhangaL romba vithhiyAsamA irukkE’….I quoted ‘angam puthu vitham azhaginil oru vitham’ , ‘azhagiya thamizh magaL ivaL’ as examples (to which the ‘bolt out of the blue’ question was ‘neenga Kannadasan abimAnI thAnE?’. Even a hardended KD critic would have nodded his head in agreement as a reflex action, (considering the great sense of seriousness)).
My question to him was ‘what came first the tune or the words?’. MSV’s reply was not unpredictable. “‘meter-ukku matter-a illa matter-ukku meter-a?’ enbathu kavignarum nAnum mun koottiyE discuss seyyAthathu. It all depended upon who arrived at the studio first.”
I am reminded now of an incident narrated to me in one of the conversations. The movie was ‘pOlice kAran magaL’. MSV arrived first for Sridhar to present him with the ‘song situation’. The melody tuned was ‘ponnenbEn siru poovenbEn’. Kannadasan was his usual nonchalant self when asked to do his bit for the song. ‘kAthal duet-a? athAn athhAn pothhAn mayiru mattai ezhuthiyAchhE. innumA ?’. Sridhar’s response ‘ithu different situation aNNE….’ seemed to satisfy the kavignar. He continued with ‘ennadA ViswanathA …thathhagAram thariyA illai nAn sollattumA?’. MSV it seems sang the tune for the kavignar only for the audience to get bamboozled as words incessantly flowed for the meters dished out, at times even taking the lead. The tune was modified a wee bit to accommodate the words that ‘happened’.
Now, back to the conversation, ‘azhagiya thamizh magaL ivaL……tune mothalla pOttathu’. Much against the relentlessly stubborn MGR’s wishes had the song been squeezed in . The resultant ‘hit’ status of the song was used by MSV in his future assignments to have his way with MGR. An instance where Sivaji did a MGR was narrated to me. The song was ‘ponmagaL vanthAL’ except the reason for the rejection was different… ‘The charanams sound like thiruppugazh to me’. How glad now are we that the composer and the director looked past the imposing presence of Sivaji !!!!
‘PBS oru sagAptham’ is the reflex answer that comes out when the crooner’s name is mentioned. He continues “Listen to PBS’ songs for every composer including me. The melody that he sings becomes his, ceases to be the composer’s.” Afterall, MSV overwhelmed by emotions after PBS ‘rolled’ his way through ‘udalukku uyir kAval’, is supposed to have stated ‘aNNE ithukku appuram unga rate Ethhareenga’. PBS till date recollects the incident and cherishes the memory. Well, what about the extra bits that singers like PBS and SPB seemed to be adding ? That does not seem to be in sync with his ‘avar ninaithhathu vara varaikkum vida mAttAr’ image. He nods in total agreement to the second statement and further adds ‘en manasula irukkarathai avargaL (singers) kodukkara varaikkum vida mAttEn. ithukku thAn nAnE singers-ai train paNNuvEn. No assistants here.’ . He goes on to add that when the singer’s improvs bettered his own ideas, he did accommodate them. ‘Balu-virrku swara gnyanam kidaiyAthu, kELvI gnyanam romba jAsthI. sila vAttI avanE pOttuduvAn (the sangathis). Oru vAttI pAdi kAmithhAl appadiyE pAdi viduvArgAL…..athu thAn Balu, athu thAn LR Easwari’. Well, praises galore for these singers.
His penchant for usage of wind instruments has always stood out, be it Shehnai, trumpet or sax. The supremely soothing, apt Shehnai piece in ‘AlayamaNiyin Osayai nAn kEttEn’ is a case of Shehnai not sounding like its depressing,dampening self. Yes, couldn’t resist broaching on that. ‘athai vAsithhathu Satyam. nAn ‘OK’ solluvathu varaikkum sAppida mAttAn’. MSV’s recollection was coated with a light-hearted grin. Sathyam is a MSV favourite. He had played along with Bismillah Khan in the movie Karnan (note the double Shehnai in ‘iravum nilavum vaLarattumE’ and Bismillah Khan’s piece in Hamsanandi before PBS sings ‘enna koduppAn’ set to the same raga). The assessment (by MSV) at the end of the recording was ‘en Sathyam avarai (guess who?:) vida siranthavan’.
I have presented only a synopsis of what transpired during our conversations. I will try my level best to keep chipping in with what my memory serves me, when it does. Oh yeah….did I achieve what I set out to achieve ? Well, ‘how’ is the word puts true artistes in a nonplussed state. I confess, I did get tempted into putting it across to MSV and yes, what did I tell you ? Nonplussed state ? Yes, I was right.
(To be continued).
Conversations with M.S.V - Part II
By Sriram Lakshman
01/25/2005
Recollecting details of all past meetings with the composer……
MSV’s attempts at taking a stab at the past, went into the Golden age of Hindi Film Music on that occasion. “Naushad enakku deivam mAthiri” is an admiration laden starting point. Naushad’s music in “anmOl ghadi (HFM buffs will remember “Awaz de kahan hai”, set to pahadi, sung by Noorjehan and Surendra), Ratan, Udan Khatola, Baiju Bawra, aan”, he says, elevated him to ecstatic states. He fondly recollects the days of waiting on tenterhooks for the release of a Naushad Album. Interesting to note that he included “Aan” which had “Muhabbat jhoomE jinkE sAth”, rendered by Rafi, the pallavi of which, though set to a slightly different meter, was applied to kick-start the hugely famous “senthamizh thEn mozhiyAL” in mAlayitta mangai (1957). The fact that Naushad re-used the same meter for his “huE hum jinkE liyE barbAd” again by Rafi in Deedar is a different matter altogether. As an aside, this song endeared itself to PBS, enough for him to use it during his audition test.
“Have you heard ‘poomAlayil Or malligai’?“ is the question he interrupts the flow with. Oh of course !!! He goes onto sing the pallavi of “thoo mErA chAnd main thErI chAndnI” again, composed by Naushad. He follows this by singing the swarams for the flute interlude. There seems to be this familiar twist to this phrase and it reminds one of…..the “shake” in the pallavi of “poomAlayil Or malligai”…..at the word “poomAlayil”. He goes on, “ithu thAn composing” with a mischevious glint in his eyes. I marveled at how a simple twist could lay the foundation for a “melody” strong duet that would warm the bosoms of even the greatest music haters.
What about the story behind the other classic in the same movie (Ooty varai uravu), “thEdinEn vanthathu” ? It is well known that the song, much like what happens with every Sridhar movie, was squeezed in at the very last minute, in a hurry. MSV reflects, “There is a slight twist to that tale. Actually the tune and the BGMs had been approved by Sridhar. P. Susheela had been brought in and the rehearsels had also been completed but a nervous Sridhar, unconsciously biting his nails, appeared less than pleased all of a sudden. His peeve was that the tune could have a different flavour. So out went the tune.” The tune and the orchestral embellishments had to be done all over again, except that MSV preferred to compose the tune on a piano. The whole process, I was told, was over in 20 minutes flat. A great number with the sangathi at “vAsalil” reflecting the composer’s sense of improvisation and placement of musical phrases. The start of the charanam is not predictable and the charanams loop back to the pallavi with a humming for rendering the “seamless” feel.
He flips back to the Bollywood mode and cannot stop talking about his closeness to composers Jaikishen and R.D. Burman, the latter, especially. I interject with citing an example of composing style of Naushad creeping in, in the song “thanga mOgana thAmarayE” in puthayal. Interesting to note that Naushad composed a similar sounding number, after the release of puthayal…can't seem to recollect it now. Will furnish details later. Hastening to add that Naushad finds a place in my musical heart as well and my intentions are farthest from besmirching Naushad’s reputation as one of the very important building blocks of Indian Film Music. An affirmative nod is the response followed by “irukkum. Quite naturally”.
OK, then…how did the MSV idiom of music evolve? FYI, CR Subburaman had been confined to the hospital wards for a long time and the onus of composing for Devadas and Chandi Rani had fallen on MSV. In a way, MSV inherited CR Subburaman’s troupe, in which, TK Ramamurthy was the lead violinist. “Moving away from the composing styles of mama (KV Mahadevan) and G Ramanatha Iyer was foremost in my mind when I was pitchforked in, as an independent composer. This is the reason why, when you listen to title music of a movie, you can brand it as a KVM, GR or a MSV-TKR movie. We had distinct styles and different perspectives on music”. He gesticulates a lot when he says that. Was that the reason he chose atAna for ‘varugirAr unnaithhEdI’ in thangapathumai? This raga had not been used much (or not at all used) by his fellow composers until then. KVM’s atAnA ‘yAr tharuvAr intha ariyAsanam’ came in much later. Hmmm….not much of a response, he shocked himself by recollecting the song. The song had been forgotten totally !!!
“Melody is the soul for music” is his motto. Gives me an opportunity to sneak in the cheeky “What about your ‘attitude’ towards raga based melody ? I for sure cannot discern any intentions of your consciously incorporating a raga, except in a few cases”. MSV answers “The bhAvam of the lyrics will need to be brought out in a musical/melodic form. This may nor may not result in a raga. For instance, if you notice traces of Desh in ‘sinthu nathiyinmisai’ it is purely coincidental. Many vidwans have confronted me on this issue and I have always maintained that infusing something ‘new’ had been my central/core theme.”
He says he was told that Bharathi muttered the words while putting them across on paper and MSV only mimicked him, introducing pauses after the word nilavinilE merely for taking breath. KS Gopalakrishnan ‘froze’ on what he thought could make it as a tune. Thus was born the tune for ‘sinthu nathiyin misai’. Couldn’t help flaunting my accumulated knowledge on his compositions at this juncture and promptly interjected “‘androru nALilE nilavil’ (from nAdOdI ) is yet another more or less pure Desh composition”. Patted myself on the back following MSV’s gleeful acknowledgement.
I do not yet have answers for those songs where tunes made it first, or for that matter, cases where Kannadasan’s pre-written pallavis enthused the composer to create the tunes for the charanams…to be written by Kannadasan !!! “Neenga sollunga. pattathhu rANI pArkkum pArvai….mettukku kavithaiyA, kavithaikku mettA ?” ..that was a question thrown at me for which I promptly chose the latter. This was primarily because of MSV’s proven ability to obliterate the inherent santhams within a poetry and imposing his own. I thought that this song was yet another instance of ‘meter demolition’. I was incorrect here, I was told, much to my surprise. Pride was evident when he said “enga pAttula (songs composed with Kannadasan) meter-ukku matter-A matter-ukku meter-A endru solla mudiyAthu”.
What about songs like ‘oru nAL iravu’ set to Rasikapriya (72nd Mela) to some and Sumanesa Ranjini to a few others ? More or less the same sequence of notes were used for the peppy ‘indru vantha intha mayakkam’. He appeared quite clueless about Sumanesa Ranjini, he had not heard about it at all !! He did not know the raga the 2 songs were set to !! But I had one last ace up my sleeve. Karnan !!! All songs were set to ragas, I thought, consciously. Ragas like Hamsanandi, Ananda Bhairavi, Gambeera Nattai, Sahana, Pilu, suthha Saveri/Arabi, Behag, Saranga Tharangini, Pure Neelambari and Karaharapriya,Chakravakam had been used to infuse ‘musical’ life into the ‘never to be forgotten’ lyrics by Kannadasan. Certainly, some amount of thinking must have gone into the compositions. I promise the readers, I will get a convincing answer from the composer very soon on this, as the response was, I thought, not ‘weighty’ enough then. It was “The Hindustani style of presenting a melody has always captivated me. Karnan was one movie where I could take the plunge headlong and hence you had ‘Pahadi’ (kaNNukku kulamEthu) as Northies would like to hear. I had to bring in Hidustani music instrumentalists from Bombay, like Bismillah Khan (Shehnai) and (I forgot) Seth (Sarangi)”. Actually, an expected luke warm answer from a composer who forgets his own creations and cannot realize his own worth. This accusation of mine, with overtones of frustration was communicated to him for which a hearty laugh was the answer !!!
“Now for a quiz” I continued , “ ‘anubavam puthumai’ padathhil varum PBS-PS duet enna pallavi” . Eventually, I had to sing out the pallavi to him for which he remarked “neenga pAda pAdathhAn gyabagam varuthu” !!! .
Interviewing this gentleman involves bringing in his assistants who could help him reconstruct the scenario(s) during song compositions. This is what I intend to do. A friend and I did contact Mr. Visweswaran (Chitra Visweswaran’s husband), (he had functioned as an assistant to MSV and had witnessed songs of Karnan and kAthalikka nEramillai being recorded ) as a prelude to what I had in mind. Imagine Lalgudi Jayaraman’s frustration when he tried determining the raga for ‘malligai en mannan mayangum’, failed and had to put it through to Subbudu !!!
Mention of PBS’ and PS’ names veered the conversation towards singers yet again. MSV is quite grateful as he acknowledges the contribution of singers. He recalls, ‘Dandapani Desikar had a superb voice but he was not quite comfortable with complex sangathis. TMS’ strength was his clear diction, voice and his ability to relate to the situation. Oru kOdi rupees koduthhAlum TMS’-ukku abaswaram varAthu. (wah! Wah! What a certificate)). Susheela, Janaki, Balu, Easwari , PBS have all played their parts well. Sometimes I keep a singer in mind while composing for an actor but most of the time, I will need to go by the dictates of the tune. surukkamA sonnA, ‘kuruvi thalayil panaga vekka koodAthu’ (I am sure he said this during another interview). This was the situation I was faced with, because of which I had to make PBS sing for MGR in ‘neeyO nAnO yAr nilavE’ in mannAthi mannan”.
A discerning listener will certainly concur with MSV on this. Please give this song a hear and enjoy the lucid ‘PBS birkas’ that the tune yearns for. TMS had been MGR’s choice for this song as the other MGR songs ‘achham enbathu madamayadA’ , ‘AdAtha manamum uNdO’ and ‘kaniya kaniya mazhalai pEsum’ had had TMS at his very best voice. But are we glad that MGR did relent in this case !!! He had tried out KJ Yesudoss in the mid sixties as well….’nenjathhai aLLi konjam thA thA’, ‘enna pArvai’, ‘alangAram kalaiyAtha’, ‘suvai ethilE’ etc. ‘Balu, without notating can sing with precision what singers with swara gyanam cannot. I have seen singers parsing tunes into swarams and fumbling but with Balu…never has that happened ‘ , ‘ with Dr. BMK and Vani Jeyaram I can stretch into the reserves of my composing repertoire while carving out a tune and feel confident that justice will be done to it. I was the first one to suggest to KJY to learn music formally. Same was the case with Mandolin Srinivas as well” are some miscellaneous remarks punctuating our conversation. MSV had noted that U.Srinivas was too good to play for movies and felt that he could be South’s answer to the Mandolin genius of the North, Sajjad Husain. Sajjad was an ace film music composer as well, who, but for his uncompromising nature and sharp tongue could have exposed us to new paradigms in composing. He breathed his last a some years back, an unsung hero, whose best compositions remained unsung.
A few more, like “CS Jayaraman, Tiruchy Loganathan, Seerkazhi, TMS etc had what you call as a Tamil voice. Powerful!!! Even Naushad in an event in Shanmukananda hall wanted ‘Odam nathiyinilE’ to be sung and stated often that he relished the song. I was really surprised to find that Naushad had great collection of film songs from all South Indian languages“ added life to the conversation.
KADALIL ALAIGAL PONGUM - MAGARANDHAM
Film : magarandham
Singer : SPB
Music : shanker ganesh
Song : kadalil alaigaL
lyrics : Vaali
kadalil alaigaL pongum anaal karaiyai thandumO
verum karaiyaitheendumO
kadalil alaigaL pongum anaal karaiyai thandumO
verum karaiyaitheendumO
en udalil unarvu pongum
undhan uruvai thaandumO
veru uravai thEEndumO
chinnachinna karanatthhal kannamathil neerthuligal
ennai mattum purindhu kondAl athanayum thEn thuligaL
ThEn thuliyai theakki vaikkum
thamarai enn idayam amma
ThEn thuliyai theakki vaikkum
thamarai enn idayam amma
ThAmaraiyai malara vaikkum
aadhavanin udhayam amma
kadalil alaigaL pongum anaal karaiyai thandumO
verum karaiyaitheendumO
kaNNgaL chonna kavidai ellam
kal eazhutthu pOndradhamma
kal eazhu endrirundhAl
kaalam enna seiyum amma
kal eazhu endrirundhAl
kaalam enna seiyum amma
Neer aditthu neer vilagi
paarthathillai bhoomiyiley
nee pirinthu naan irunthaal vazhkaiyillai
ponmagalae
kadalil alaigaL pongum anaal karaiyai thandumO
verum karaiyaitheendumO
en udalil unarvu pongum
undhan uruvai thaandumO
veru uravai thEEndumO
à®®் à®®் à®®் à®®் à®®் à®®் à®®் à®®்
கடலில் அலைகள் பொà®™்குà®®் ஆனால் கரையைத் தாண்டுà®®ோ
வெà®±ுà®®் தரையைத் தீண்டுà®®ோ
கடலில் அலைகள் பொà®™்குà®®் ஆனால் கரையைத் தாண்டுà®®ோ
வெà®±ுà®®் தரையைத் தீண்டுà®®ோ
என் உடலில் உணர்வு பொà®™்குà®®் உந்தன் உருவைத் தாண்டுà®®ோ
வேà®±ு உறவைத் தீண்டுà®®ோ
சின்னச் சின்ன காரணத்தால் கன்னமதில் நீà®°்த்துளிகள்
சின்னச் சின்ன காரணத்தால் கன்னமதில் நீà®°்த்துளிகள்
என்னை மட்டுà®®் புà®°ிந்து கொண்டால் அத்தனையுà®®் தேன் துளிகள்
என்னை மட்டுà®®் புà®°ிந்து கொண்டால் அத்தனையுà®®் தேன் துளிகள்
தேன் துளியைத் தேக்கி வைக்குà®®் தாமரையின் இதயமம்à®®ா
தேன் துளியைத் தேக்கி வைக்குà®®் தாமரையின் இதயமம்à®®ா
தாமரையை மலர வைக்குà®®் ஆதவனின் உதயமம்à®®ா
கடலில் அலைகள் பொà®™்குà®®் ஆனால் கரையைத் தாண்டுà®®ோ
வெà®±ுà®®் தரையைத் தீண்டுà®®ோ
கண்கள் சொன்ன கவிதை எல்லாà®®் கல்லெà®´ுத்து போன்றதம்à®®ா
கண்கள் சொன்ன கவிதை எல்லாà®®் கல்லெà®´ுத்து போன்றதம்à®®ா
கல்லெà®´ுத்து என்à®±ிà®°ுந்தால் காலம் என்ன செய்யுமம்à®®ா
கல்லெà®´ுத்து என்à®±ிà®°ுந்தால் காலம் என்ன செய்யுமம்à®®ா
நீரடித்து நீà®°் விலகி பாà®°்த்ததில்லை பூà®®ியிலே
நீ(à®°ி)டித்து நீà®°் விலகி பாà®°்த்ததில்லை பூà®®ியிலே
நீ பிà®°ிந்து நானிà®°ுந்தால் வாà®´்க்கையில்லை பொன்மகளே
கடலில் அலைகள் பொà®™்குà®®் ஆனால் கரையைத் தாண்டுà®®ோ
வெà®±ுà®®் தரையைத் தீண்டுà®®ோ
என் உடலில் உணர்வு பொà®™்குà®®் உந்தன் உருவைத் தாண்டுà®®ோ
வேà®±ு உறவைத் தீண்டுà®®ோ
திà®°ைப்படம்: மகரந்தம் (1981)
இயக்கம்: கோபாலகிà®°ுà®·்ணன்
நடிப்பு: à®®ோகன் à®°ாà®®், à®°ாதிகா, à®…à®°ுணா
இசை: சங்கர் கணேà®·்
Thursday, October 27, 2011
VINA RADA NA MANAVI - TYAGARAJA SWAMI
Vina raada na--devagandhari--Adi--Nedunuri by Narayanan
LYRICS
vina raadha
raagam: dEvagaandhaari
29 shankaraabharaNam janya
Aa: S R2 M1 P D2 S
Av: S N3 D2 P M1 G3 R2 S
taaLam: dEshaadi
Composer: Tyaagaraaja
Language: Telugu
pallavi
vina rAdA nA manavi vina rAdA nA manavi
anupallavi
kanakAga kAvETi ranga shrIkAnta kAntalella kAminci pilacitE
caraNam 1
tEjinekki bAga teruvuna rAga rAjasatulu jUci rammani pilacitE
caraNam 2
bhAgadEya vaibhOga ranga shrI tyAgarAjanuta taruNulu pilacitE
LYRICS
vina raadha
raagam: dEvagaandhaari
29 shankaraabharaNam janya
Aa: S R2 M1 P D2 S
Av: S N3 D2 P M1 G3 R2 S
taaLam: dEshaadi
Composer: Tyaagaraaja
Language: Telugu
pallavi
vina rAdA nA manavi vina rAdA nA manavi
anupallavi
kanakAga kAvETi ranga shrIkAnta kAntalella kAminci pilacitE
caraNam 1
tEjinekki bAga teruvuna rAga rAjasatulu jUci rammani pilacitE
caraNam 2
bhAgadEya vaibhOga ranga shrI tyAgarAjanuta taruNulu pilacitE
Monday, October 24, 2011
RAMANUKKU MANNAN MUDI - PATHU MADHA BANDHAM
P Bhanumathi in Pathu Madha Bandham (1974)
movie also had Sarojadevi, AVM Rajan ,Rajashiri ,Muthuraman ..
Dr. Paluvayi Bhanumathi Ramakrishna (7 September 1925 - 24 December 2005) was a noted Indian film actress, director, music director, singer, producer, book writer and songs writer. Most of her works are in Telugu and Tamil languages.
Contents[hide] |
[edit]Early life
She was born as third child to Saraswatamma and Bommaraju Venkata Subbaiah, in Doddavaram village of Prakasam district, Andhra Pradesh. She grew up watching her father performing stage shows. Her father, Venkatasubbiah, was a staunch lover of classical music and gave her early training in music.
[edit]Career
Bhanumathi entered the film industry in 1935, and acted in over 200 films in Telugu and Tamil. She was also called as Ashtavadhani by the film industry people as she was a writer, actor, director, producer, singer, music director, editor and studio owner. She also had a good knowledge of Astrology and philosophy.
[edit]Film career
She made her debut in Telugu cinema in 1939 as Kalindi in Vara Vikrayam (Telugu), directed by C. Pullaiah. She had acted in Malathi Madhavam,Dharma Patni and Bhaktimala. Her first popular film was Krishna Prema. Her next popular film was Swargaseema, a milestone film in her career. She later acted in many memorable movies like Chakrapani, Laila Majnu, Vipranarayana, Malliswari, Batasari and Anthastulu. In 1953, she made her directorial debut with Chandirani (made simultaneously in Tamil, Telugu and Hindi). Her last film was made in 1998, entitled Pelli Kanuka. C. N. Annadurai gave her a title "Nadippukku Ilakkanam" (means Grammar for acting) that suits her aptly.
Apart from being an exceptional actress, she was also a very talented musician. She is one of the fine actress of Telugu film industry. She was adept in both Carnatic and Hindustani music. She gave voice to her songs despite it being the norm to use playback singers for actors. Some of her songs are still popular like Pilichina biguvatara, Kila Kila Navvulu, Oh Pavurama, Preme Nerama. She also provided music to a lot of her films.
During her later years she served on various movie related organizations. She was a Member of State Film Awards Committee for two years. She was also a Visiting Professor at the Film Institute for one year. She was Member of Children Film Society for 5 years, from 1965 to 1970.
[edit]Literary career
Bhanumati was also a talented writer with a number of short stories to her credit. Her autobiography Nalo Nenu was published in Telugu and later, released in English as Musings. Andhra Pradesh Sahitya Academy awarded her as the best short story writer for her popular short stories "Attagari Kathalu". She was a Member of Lalit Kala Academy for 5 years, and Sahitya Academy, Andhra Pradesh for 10 years. She served as Director and Principal of the Tamil Nadu Government Music College, Chennai for three years.
[edit]Philanthropy
She was an eminent social worker who was closely associated with a number of Social Service Organizations. She was the founder member and treasurer of Madras branch of Altrusa International Inc., Chicago for life long starting from 1963. She was a life member of the 'Red Cross Society'. She established an educational institution named as "Dr. Bhanumathi Ramakrishna Matriculation School" at Saligramam, Chennai providing free education to the poor.
[edit]Personal life
During the shooting of the film Krishna Prema, she met P. S. Ramakrishna Rao, an assistant director for that film. He was a film producer, director and editor of Telugu and Tamil Films. The couple later married on 8 August 1943 and later launched a popular production company, Bharani Pictures on their son's name.
She died at the age of 80 years in Chennai.
[edit]Awards
Bhanumati was awarded the Padma Bhushan, the third highest civilian recognition by the Government of India.
- Padma Shri, in 1966
- Rashtrapati Award from Govt of India for Best Actress - Antastulu, Palanati Yuddham
- Kalaprapoorna, Andhra University, Visakhapatnam, in 1975
- Kalaimamani (connoisseur of arts), Government of Tamilnadu, in 1983
- Honorary Doctorate, Sri Venkateswara University, Tirupathi, in 1984
- Raghupathi Venkaiah Award, from the Government of Andhra Pradesh, in 1986
- Best Director, Nandi Award, in 1986
- Raja-Lakshmi Award for the year 1998 from Sri Raja-Lakshmi Foundation, Chennai
- NTR National Award, from the Government of Andhra Pradesh, in 2000
- Padma Bhushan, prestigious national award in 2003
- She won the National Film Award for Best Book on Cinema for her Naalo Nenu in 1994.
[edit]Filmography
This is partial list of her films. Kindly help expanding it.
[edit]Playback singer
Bhanumati gave her voice for herself and many actors to sing many songs.
Year | Film | Songs | ||
---|---|---|---|---|
1939 | Vara Vikrayam | |||
1941 | Dharma Patni | Anuraagam Leka Anandamunda Nilu Niluma Neelavarnaa | ||
1943 | Krishna Prema | |||
1945 | Swarga Seema | Oho Ho Pavurama, Oho Tapodhana | ||
1949 | Laila Majnu | Preme Neramouna Maapai Ee Pagela | ||
1951 | Malliswari | Manasuna Mallera Maalaloogene Parugulu Teeyali O Gittalu Urakalu Veyali (with Ghantasala) Pilachina Biguvatara Auraura Eda Thanunnado Baava (with Ghantasala) | ||
1952 | Prema | Divya Premaku Satiaune (with Ghantasala) | ||
1953 | Chandirani | Eeroju Bhale Roju Ide Prema Idena Enduko Teliyani Ennadu Anukoni Ee Sambaraalemiti Evaraalakinturu Naamora Enaleni Vedana Kilaa Kilaa Navvulaa Kurisene Vennelaa O Taraka (with Ghantasala) | ||
1954 | Chakrapani | Pakkala Nilabadi Kolichemu Uyyala Jampalaloogaravaya | ||
1954 | Vipra Narayana | Raa Raa Naa Swamy | ||
1956 | Chintamani | |||
1956 | Tenali Ramakrishna | Kannulu Ninde Kannela Vinna Mannanaleera Raja Teerani Naa Korikale Teerenu Ee Roju | ||
1961 | Batasari | Oh Baatasaari Nanu Maruvakoyi | ||
1963 | Anuragam | Sannajaji Teeveloi Sampenga Poovuloi | ||
1964 | Bobbili Yuddham | Srikara Karunalavala Venugopala | ||
1964 | Vivaha Bandham | Vinnava Vinnava Manasulona Dagivunna Madhurageeti | ||
1965 | Antastulu | Dulapara Bulloda Dummu Dulapara Bulloda Vinara Vissanna Ne Vedam Cheputa Vinaranna | ||
1965 | Todu Needa | Enno Ratrulu Vastayi Kaani Idiye Toli Reyi When I was just a little girl - I asked my mother what will I be | ||
1967 | Grihalakshmi | Laali Laali Gopala Bala Laali Laali Melukovayya Kaveti Ranga Sriranga | ||
1971 | Mattilo Manikyam | Saranam Nee Divya Charanam | ||
1973 | Vichitra Vivaham | Ammayilu Abbayilu Naa Matalo Nijam Vintara Meeru | ||
1974 | Ammayi Pelli | Vandanamu Raghunandana Sethu Bandhana Bhakta Chandana | ||
1984 | Mangamma Gari Manavadu | Sree Suryanarayana Meluko (with Vani Jayaram) | ||
1986 | Muddula Manavaralu | |||
1990 | Bamma Maata Bangaru Baata | Dilli Ki Raja Aina Bamma Maata Bangaru Baata | ||
1998 | Pelli Kanuka | List of Tamil songs |
[edit]Producer
- Ratnamala
- Prema
- Chakrapani (1954)
- Laila Majnu
- Batasari
- Vipra Narayana.
http://en.wikipedia.org/wiki/Bhanumathi_Ramakrishna
ippadiyum oru peN - A Hundred Songs of Bhanumathi
By
Saravanan
How does an ill-equipped geography enthusiast go about tracing the course of a mighty river that thunders its way from its source, meanders into majestic tributaries, serenades magnificent cities, irrigates vast lands, brings succor to parched throats across provinces and finally flows into the sea, proud, dignified and awesome as ever…
How does a mere tfm aficionado attempt a life-sketch of a woman who exuded greatness in everything she did, a multi-talented genius of rare principles who lived life on her own terms and never hesitated to speak her mind, a one-woman industry who stormed every male bastion in tinsel town and pulled off incredible successes with gleeful nonchalance, a daring entrepreneur who reveled in repeatedly breaking into smithereens zealously held pre-conceived notions of the male dominated industry, a trail-blazing pioneer who towered over her contemporaries and subsequent pretenders by the strength of her impeccable prowess, a strong-willed and domineering taskmaster who could never suffer lesser mortals easily, a cheerful and contented person wholly conscious of her glorious achievements, a venerable veteran in every aspect of filmmaking who spanned generations and still remains unchallenged as the greatest performer of them all, …Sure she did grace the portals of tfm as a singer and music composer of rare merit and has left behind songs of timeless allure, but then this was just one facet of this remarkable woman…
Simple, the tfm enthusiast gives up, albeit sheepishly! For it is sheer folly to contemplate a comprehensive chronicle of the life and times of a colossus like Mrs. Bhanumati Ramakrishna Paaluvaayi (September 7, 1925 - December 24, 2005). All he can do is take up one facet of the genius that is familiar to him, i.e. her songs from her Tamil movies and persist to present them as best as he can as a humble homage to memory of the remarkable woman, with the first part appearing on her birthday today.
Bhanumati acted and sang in her first movie when she was 13, wrote her first story when she was 14, married the man of her choice against the wishes of her parents when she was one month short of 18, settled to a life of marital bliss away from grease paint and glamour for a while and then made a majestic return to cinema when she was 20 and now a mother as well, set up her own production company and then a studio when she was 24 and made an imposing debut as a director when she was 28. She set her own standards and then strove tirelessly to surpass herself. Her screen presence was legendary and her songs sung with enjoyment and élan. She wrote, acted, composed music, sang, edited, produced, directed, ran a well-equipped movie studio with amazing acumen….. “People in the film industry call me a high-spirited woman who tried to get what she wanted and often succeeded. Their assessment was correct!” said a forthright Bhanumati in an interview. No false pretences of modesty in her! And beyond cinema, she wore innumerable hats as homemaker, culinary expert, award-winning writer, painter, astrologer, educationist, social worker….
As I said, as a narrator, it is impossible (for me) to do adequate justice to Bhanumati’s remarkable repertoire in full. Hence let me be content with attempting a discography of tfm work and give audio links for many of her songs from Tamil movies as we progress album by album. I must confess here that though I did unearth many of Bhanumati’s songs from my collections, some songs proved elusive, like her songs from ‘rajamukti’, for instance. I know I had them somewhere, but despite vigorous efforts to ferret them out, they remain stubbornly hidden. I know I’ll come across them some day when I am not looking for them particularly, but then that is one of Murphy’s tiresome laws that one learns to live with!
How does a mere tfm aficionado attempt a life-sketch of a woman who exuded greatness in everything she did, a multi-talented genius of rare principles who lived life on her own terms and never hesitated to speak her mind, a one-woman industry who stormed every male bastion in tinsel town and pulled off incredible successes with gleeful nonchalance, a daring entrepreneur who reveled in repeatedly breaking into smithereens zealously held pre-conceived notions of the male dominated industry, a trail-blazing pioneer who towered over her contemporaries and subsequent pretenders by the strength of her impeccable prowess, a strong-willed and domineering taskmaster who could never suffer lesser mortals easily, a cheerful and contented person wholly conscious of her glorious achievements, a venerable veteran in every aspect of filmmaking who spanned generations and still remains unchallenged as the greatest performer of them all, …Sure she did grace the portals of tfm as a singer and music composer of rare merit and has left behind songs of timeless allure, but then this was just one facet of this remarkable woman…
Simple, the tfm enthusiast gives up, albeit sheepishly! For it is sheer folly to contemplate a comprehensive chronicle of the life and times of a colossus like Mrs. Bhanumati Ramakrishna Paaluvaayi (September 7, 1925 - December 24, 2005). All he can do is take up one facet of the genius that is familiar to him, i.e. her songs from her Tamil movies and persist to present them as best as he can as a humble homage to memory of the remarkable woman, with the first part appearing on her birthday today.
Bhanumati acted and sang in her first movie when she was 13, wrote her first story when she was 14, married the man of her choice against the wishes of her parents when she was one month short of 18, settled to a life of marital bliss away from grease paint and glamour for a while and then made a majestic return to cinema when she was 20 and now a mother as well, set up her own production company and then a studio when she was 24 and made an imposing debut as a director when she was 28. She set her own standards and then strove tirelessly to surpass herself. Her screen presence was legendary and her songs sung with enjoyment and élan. She wrote, acted, composed music, sang, edited, produced, directed, ran a well-equipped movie studio with amazing acumen….. “People in the film industry call me a high-spirited woman who tried to get what she wanted and often succeeded. Their assessment was correct!” said a forthright Bhanumati in an interview. No false pretences of modesty in her! And beyond cinema, she wore innumerable hats as homemaker, culinary expert, award-winning writer, painter, astrologer, educationist, social worker….
As I said, as a narrator, it is impossible (for me) to do adequate justice to Bhanumati’s remarkable repertoire in full. Hence let me be content with attempting a discography of tfm work and give audio links for many of her songs from Tamil movies as we progress album by album. I must confess here that though I did unearth many of Bhanumati’s songs from my collections, some songs proved elusive, like her songs from ‘rajamukti’, for instance. I know I had them somewhere, but despite vigorous efforts to ferret them out, they remain stubbornly hidden. I know I’ll come across them some day when I am not looking for them particularly, but then that is one of Murphy’s tiresome laws that one learns to live with!
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