Tuesday, January 8, 2013

THAMIZH MALAI THANAI SOODUVAAN - AMBIKAPATHI


 VADIVELUM MAYILUM THUNAI - MANIRANGU
 THAMIZH MALAI - KAMBODHI
 SATRE SARINDHA - KEDHARAGOWLAI, GOWLAI..

MANAME KANAMUM - SAVITHRI


manamE kanamum
raagam: ABHERI
taaLam: aadi
Composer: Paapanaasam Shivan
Language: Tamil

pallavi

maname kanamum maravaadhey
Jagadheesan malar padhamey

anupallavi

moham moozhgi paazhaagaathey
maya vaazhvu sathama...

caraNam 1

naadhan naamam nee bhaji indrey
naalai endraal yaare kandaar
aadhalaal bhava roham ozhindidave...

caraNam 2

nadayum thalara dEham oDunga
naavadhu kuzhara kangal manga
enna seivaar thunai yaar varuvaar unakku..

http://www.karnatik.com/c1406.shtml

A Raga's Journey — Aspects of Abheri

CHARULATHA MANI
SHARE  ·   PRINT   ·   T+  
Abheri as we know it today is one of the most attractive and popular ragas. It is known in North India by the name Bhimpalasi and Sri Muthuswamy Dikshitar affectionately called it Devagandharam. It is also called Karnatakadevagandhari in texts of music.
Abheri is synonymous with “Nagumomu ganaleni” composed by Saint Thyagaraja, a lilting composition with a light hint of pathos. I often see people requesting “Eppadi padinaro,” a Tamil composition of Suddhananda Bharati popularised by D.K Pattammal, or “Bhajare manasa” of Mysore Vasudevachar.
Abheri is often confused with Suddha Dhanyasi. The difference is that Abheri hasnishada and rishabha in the descent while Suddha Dhanyasi is a symmetrical scale. I hear you, I will not go into technical details – just a bit of information to whet your appetite for music.
In Tamil film music, Papanasam Sivan's “Maname ganamum,” sung by MS Subbulakshmi in “Savitri” set off the Abheri rage. The raga's stamp is evident in the lines “maaya vaazhvu sadama” and “eesan malar padame.”
The pièce de résistance in Abheri is of course SM Subbiah Naidu's “Singara velane deva” from “Konjum Salangai,” sung by S Janaki with the nadaswara accompaniment of Karukkurichi Arunachalam. The line “senthuril ninraadum deva” reminds us of the nadaswara vidvan's typical phrasings.
K V Mahadevan gave us “Isaithamizh nee seidha” in “Thiruvilaiyadal,” and Viswanathan-Ramamurthy, in “Pasamalar,” composed the immortal “Malarndum malaraada.” The raga's stamp comes through in the lines “maaman thangai magalana... ulagai vilai pesuvar.”
Lyricist Kannadasan's home production “Vanambadi” has P Sushila singing “Gangai karai thottam.” Another P Sushila favourite in Abheri is “Pazhamudir cholayile” from “Kuzhandaiyum Deivamum.” And no, I haven't forgotten “Vaaraai” from “Mandirikumari,” in the resplendent voices of Trichy Loganathan and Jikki, and “Vaarayo vennilave” from “Missiamma,” which catapulted A M Raja to fame.
The 1970s and 1980s saw Abheri in a new light with songs like “Chinnachiru vayadil” from “Meendum Kokila,” where KJ Yesudas, in the lines “Kalla thanam ennadi,” gives the pure Abheri touch. Other heady concoctions in Abheri include “Neela vana odaiyil” (“Vaazhve Maayam”) and “Naadam en jeevanae” (“Kaadhal Oviyam”).
AR Rahman's “Kannodu Kanbadellam” from “Jeans” once again revived Abheri, and more recently “Unakkul naane” from “Pachaikili Muthucharam” by Harris Jayaraj ensured this raga's popularity today. Recall the violin background in this song, a stunning traversal in two complete octaves of Abheri with one sweep of the bow.
In Hindi film music, “Yeh zindagi usee ki hai” from “Anarkali” and “Khilte hain gul yahaan” from “Sharmilee” come to mind. “Khoya khoya chaand” in Rafi's voice from “Kala Bazaar” is another number with Bhimpalasi touches.
The peppy “Tu cheez badi hai mast mast” (from “Mohra”) is an example of how even raga-based songs can make you dance. Viju Shah's sensational hit had the swaras “p n s... p r s” as a refrain lending a desitouch to the groovy tune. See you again in a fortnight with my favourite picks in a different raga.

ENNA SEIDHAALUM ENDHAN THUNAI NEEYE - IRUMBU THIRAI



song : enna seithAlum enthan thuNai neeyE
film : irumbu thirai
singers : Radha Jayalakshmi
music : S.V.VENKATRAMAN
lyric : PApanAsam sivan 

enna seithAlum enthan thuNai neeyE 
en annaiyae umaiyE .. ennai nee (enna) 

chinna vayathu muthal unnaiyE nambinEn 
sinanthenai adithAlum parintheduthANaithAlum - ini (enna) 

mun vinaiyAl inba thunbangal viLainthida 
mooda mathi kondunnai nOvathen pEdhamai 
en vidhiyAl idar Ayiram soozhinum 
ellam un thiruviLaiyAdal enreNNi ini (enna)


A Raga’s Journey — Kingly Kharaharapriya

CHARULATHA MANI
SHARE  ·   COMMENT (3)   ·   PRINT   ·   T+  
The luxurious pastures of this raga – Kodipalai in ancient Tamizh music; the regal Kharaharapriya in Carnatic music – are evergreen and have stood the test of time for centuries. A sampoorna (complete with all seven notes) raga, this scale takes Sadja, Chatusruti Rishabha, Sadharana Gandhara, Suddha Madhyama, Pancama, Chatusruti Dhaivata, and Kaisikhi Nishada. This raga has symmetrical tetrachords in its scale. The harmonies that are possible in this raga are many and priceless, like the RG-DN or GRS-NDP prayoga.
Saint Thyagaraja has composed several masterpieces in this raga, some slow, some fast, some yearning for Rama, some discerning the truths of worldly maya. We have “Chakkaniraja”, “Mitri bhagyame”, “Nadachi nadachi”, “Pakkala nilabadi”, “Kori sevimpa” (one of the Kovur pancharatnas) and many more, each one of them testimony to Kharaharapriya’s divine power. Dikshitar and Shyama Sastri have not composed in this raga. Papanasam Sivan’s “Appan avatharitha”, “Senthil andavan” and “Janakipathe” are immortal, and one cannot forget”Navasiddhi Petralum” of Neelakanta Sivan.
One of the earliest appearances of Kharaharapriya was in”Kubera Kuchela”, the song “Nadai alangaram kanden” sung by P U Chinnappa, and composed by Carnatic musician Kunnakudi Venkatrama Iyer. The song went on to become a super-hit and Kharaharapriya became a “happening” raga in film music. In the film “Shakuntalai”, M. S. Subbulakshmi sang “Endhan idathu tholum” laden with brighas and sangatis in Kharaharapriya, and this too was well received among the music lovers. The music by S. V. Venkatraman was a treat.
“Maya valaiyil” from “Gulebagavali”, sung by TM Soundararajan, is structured along the lines of “Navasiddhi”. The bright opening heading towards the upper Sadja establishes the raga indubitably. “Ariyaparuvamada” from “Missiamma” is a cute song in this raga sung by P. Leela and tuned by S. Rajeswara Rao. The beginning in Dhaivata and calm landing in the Pancama point clearly to Kharaharapriya.
“Enna seidhalum endan thunai neeye” from “Irumbu Thirai” is one of my personal favourites. Composed by S. V. Venkataraman, the song's opening once again highlights the Dhaivata-Nishada combination.
“Madhavi pon mayilal” from “Iru Malargal” is one of the most famous pieces in this raga. Composed by MS Viswanathan and sung by TMS, this song begins regally in the upper Gandhara and the phrase culminates with a lovely gamaka at the Nishada. Progressive sangatis, clever structure and deft raga-handling make this song a favourite.
“Maharajan ulagai” from “Karnan” by MSV-Ramamurthy is a different approach to Kharaharapriya - subdued, classy, and in tisra-nadai. “Isaiyai Tamizhai” from “Agasthiyar” is a lilting piece in Kharaharapriya. Kunnakudi Vaidhyanathan's music, complemented by the voices of Seerkazhi Govindarajan and T R Mahalingam, makes this complex piece an aural treat.
Ilayaraja has composed several pieces in Kharaharapriya, noteworthy of which is “Poo malarndhida” from “Tic Tic Tic”. A slightly westernised presentation, aimed at being a little light-hearted and funny, this song sticks to the grammar of Kharaharapriya. “Sangeeta swarangal” from “Azhagan” composed by Maragathamani is an interesting piece, the phrase “DNP GRGMP” comes as a refrain ushering in a fresh approach to the raga.
“Pachai nirame” from “Alaipayuthey” by A R Rahman is largely based on this raga and brings out the romantic, meandering, and relaxing facets of this scale. Recently “Sadhikkatha kangalil” from the film “180”, composed by Sharreth, is a delightful Kharaharapriya. I loved listening to this piece; the typical Keralite percussive instruments giving a traditional flavour to the soft love song.
Film songs are aplenty in this scale. The Kafi thaat corresponds to Kharaharapriya raga in Hindustani music.

http://www.thehindu.com/life-and-style/metroplus/a-ragas-journey-kingly-kharaharapriya/article3310742.ece

Sunday, January 6, 2013

KAIYILA VANGINEN - IRUMBU THIRAI



http://www.inbaminge.com/t/i/Irumbuth%20Thirai/Kaiyile%20Vaanginen%20Paiyile%20Podalai.eng.html





கையில வாங்கினேன் பையில போடல
காசு போன இடம் தெரியலே
கையில வாங்கினேன் பையில போடல
காசு போன இடம் தெரியலே

என் காதலி பாப்பா காரணம் கேப்பா
ஏது சொல்லுவதேன்றும் புரியல்லே
ஏழைக்கு காலம் சரியில்லே

கையில வாங்கினேன் பையில போடல
காசு போன இடம் தெரியலே

மாசம் முப்பது நாளும் உழைச்சு
வறுமை பிடிச்சு உருவம் இளைச்சு
காசு வாங்கினா கடன்காரன் எல்லாம்
கணக்கு நோட்டோட நிக்குறான்
வந்து எனக்கு உனக்குன்னு பிக்குறான்

காசு வாங்கினா கடன்காரன் எல்லாம்
கணக்கு நோட்டோட நிக்குறான்
வந்து எனக்கு உனக்குன்னு பிக்குறான்

கையில வாங்கினேன் பையில போடல
காசு போன இடம் தெரியலே

சொட்டு சொட்டா  வேர்வை விட்டா
பட்டினியால் பாடு பட்டா
கட்டு கட்டா நோட்டு சேருது
கெட்டிக்காரன் பொட்டியிலே
அது குட்டியும் போடுது வட்டியிலே

கட்டு கட்டா நோட்டு சேருது
கெட்டிக்காரன் பொட்டியிலே
அது குட்டியும் போடுது வட்டியிலே

கையில வாங்கினேன் பையில போடல
காசு போன இடம் தெரியலே

விதவிதமாய் துணிகள் இருக்கு
விலையை கேட்டா நடுக்கம் வருது
வகை வகையா  நகைகள் இருக்கு
மடியை பாத்தா  மயக்கம் வருது
எதை எதையோ வாங்கனுமின்னு
எண்ணமிருக்குது  வழியில்லே
இதை எண்ணாமல் இருக்கவும் முடியல்லே

கையில வாங்கினேன் பையில போடல
காசு போன இடம் தெரியலே

கண்ணுக்கு அழகா பொண்ண படைச்சான்
பொண்ணுக்கு துணையா ஆண படைச்சான்
ஒன்னுக்கு பத்தா செல்வத்த படைச்சான்
உலகம் நிறைய இன்பத்த படைச்சான்
என்னப் போல பலரையும் படைச்சி
அண்ணே என்னப் போல பலரையும் படைச்சி
இதுக்கும் அதுக்கும் ஏங்க வச்சான்
ஏழைய கடவுள் ஏன் படைச்சான்

கையில வாங்கினேன் பையில போடல
காசு போன இடம் தெரியலே


kaiyila vaanginaen paiyila podalae
kaasu pona idam theriyalae en
kaadhali paappaa kaaranam kaeppaa
yaedhu solluvathendrum puriyallae
yaezhaikku kaalam sariyillae
kaiyila vaanginaen

maasam muppadhu naalum uzhachchu
varumai pidichchu uruvam ilachchu
kaasu vandhaa kadankaaranellam
kanakku nottoda nikkuraan vandhu
enakku unakkunnu pikkuraan
kaiyila vaanginaen

sottu sotta vaervai vitta
pattiniyaal paadu patta
kattu katta nottu saerudhu
gettikkaaran pottiyilae adhu
kuttiyum podudhu vattiyilae
kaiyila vaanginaen

vidhavidhamaai thunigal irukku
vilaiyai kaettaa nadukkam varudhu
vagai vagaiya nagaigal irukku
madiyai paaththamayakkam varudhu
yedhaiyedhaiyo vaanganuminnu
ennamirukkudhu vazhiyillae idhai
ennaamalirukkavum mudiyallae
kaiyila vaanginaen



Irumbu Thirai (Tamilஇரும்புத்திரை; English: Iron Curtain) is a 1960 Black-and-white Mondo film Tamil film written by produced and directed byS. S. Vasan. The film stars Shivaji GanesanVyjayanthimala in the lead[1] with K. A. ThangaveluSaroja DeviS. V. Ranga RaoPandari Bai andVasundhara Devi as the ensemble cast of the film. The film's soundtrack was composed by S. V. Venkatraman and the lyrics were penned byKothamangalam SubbuPapanasam Sivan and Pattukkottai Kalyanasundaram. The editing was done by M. Umanath while the camera was handled by P. Elappa and N. C. Bala Krishna. The story revolves around the two brothers Manikam and Kondamuthu and their mill owner. The film was a blockbuster and the biggest grosser of the year completing a 175-day run at the box office.

Contents

  [hide

[edit]Plot

The story revolves around the two brothers Manikam and Kondamuthu and their mill owner.

[edit]Cast

ActorRole
Sivaji GanesanManikam
VyjayanthimalaManju
Saroja DeviMalathi
K. A. ThangaveluKondamuthu
S. V. Ranga Rao
Pandari Bai
Vasundhara Devi

[edit]Crew

[edit]Production

In 1959, S. S. Vasan was making a Tamil film which would be a bilingual to Hindi film Paigham starring Dilip Kumar and Vyjayanthimala with theme built around capital-labour relations.[2][3] The untitled film was referred as "Gemini Production .. ..", after some unsuccessful over the suggestion of the title, Vasan invited his employees to suggest a title for the under-production movie where almost 2, 500 entries was submitted to him.[2] After examining one by one, he finally satisfied with the title Irumbu Thirai, which means Iron Curtain, which symbolized the ideology of Marxist film theory.[2] He also hosted a reception to honor the boy who suggested the title and rewarded him with some price money.[2] For the mother of the lead actress, Vasundhara Devi the real-life mother of Vyjayanthimala was fixed where she also reprises her role in the Hindi version of the film,[4] along with her all the female cast including Vyjayanthimala, B. Saroja DeviPandari Bai also reprises their roles as well.[5][6]

[edit]Soundtrack

The soundtrack was composed by S. V. Venkatraman who earlier had many hit number through BhookailasMeeraValmiki and Panakkaari.[7] The hit album had Kothamangalam Subbu,Papanasam Sivan and Pattukkottai Kalyanasundaram as the lyricists.[8] The singers consist of T. M. SoundararajanP. Leela, Thiruchi Loganathan, L. R. EswariRadha JayalakshmiSeerkazhi Govindarajan.[9] The song Nenjil Kudiyirukkum was well received by the audience especially the line “nilamai ennavendru theriyuma,” which was made in Shanmukhapriya raga was also appreciated by critics alike.[10]
  • Nenjil Kudiyirukkum ; Singers: T. M. SoundararajanP. Leela ; Lyricist: Pattukottai Kalyanasundram
  • Pottukitta Renduperum ; Singers: Thiruchi Loganathan, L. R. Eswari ; Lyricist: Pattukottai Kalyanasundram
  • Aasai Konda Nenju ; Singer: P. Leela ; Lyricist: Pattukottai Kalyanasundram
  • Dabba Dabba
  • Enna Seidhaalum ; Singers: Radha Jayalakshmi; Lyricist: Papanasam Sivan
  • Kaiyile Vaanginen Paiyile Podalai ; Singer: Thiruchi Loganathan ; Lyricist: Pattukottai Kalyanasundram
  • Manidharai Manidhar Sari Nigar Samamaai ; Singer: Seerkazhi Govindarajan ; Lyricist: Pattukottai Kalyanasundram
  • Nandri Ketta Manitha
  • Nikkatuma
  • Yerai Pidithavanum


With a finger on people's pulse
He scrapped scenes shot at enormous cost and did them all over again if there was an error. Such was his penchant for perfection. A quality that made S. S. Vasan and his films legendary. In his centenary year, RANDOR GUY pays a tribute to the movie mogul.

HE WAS hailed as `the Cecil B. de Mille of India.' Indeed he was the first Indian movie mogul. Spectacle, grandeur and opulence, he was the first filmmaker in this part of the world, to invest the celluloid with such qualities. Like some kind of rare physician he knew the esoteric art of feeling the pulse-beat of moviegoers and learnt the exclusive and evasive skills of quickening it. He also understood that whatever might be the purpose and the value of the medium, cinema was basically a vehicle of mass entertainment and not education or elevation.
Lavishness in production, splashing money in promoting, packaging and publicising a picture, he was a pioneer in Indian Cinema and had no equals, then, and now. `Be wise and advertise!' He had a character speak in his film "Miss. Malini" (1947), giving expression to one of his personal beliefs. And he showed what one could achieve with punch-plus publicity.
Writer, journalist, adman, magazine publisher, film distributor, studio-owner, filmmaker and producer — that was S. S. Vasan. He created film history establishing trends, and breaking box-office records in many languages. He and his Gemini Studio in Madras were household names and also part and parcel of the cultural scene of South India. The familiar Gemini Twins blowing the bugles (`When the bugles blow, there's a good show!' so ran the motto) was a stamp for quality, clean, wholesome, family entertainment and money's worth.
Vasan scrapped scenes shot at enormous cost and re-shot them all merely because somebody whatever be his age, status or qualification pointed out an error. During the making of "Bahut Din Huye"(a Hindi remake of the early Telugu Gemini box-office bonanza, "Balanagamma''), a huge expensive set had been erected and scenes between the villain, a lustful magician and the chaste heroine were being filmed. A boy working on the set pointed out an error, which he told his pal and was overheard by Vasan! A vital point that went against the character of the heroine! Vasan felt that the lowly boy was right and without batting an eyelid he packed up the shooting and ordered the entire footage to be scrapped. That was not all. He told his creative men to re-do the script in the light of the boy's remark and shot it all once again. That was Vasan!
He was making a Tamil film built around capital-labour relations. The film had no title yet and was being referred as `Gemini Production Number So-and-So.' The crowded Gemini creative team could not think of a title acceptable to the `Boss'. Finally Vasan invited his employees to suggest a title for the under-production movie. An avalanche of entries poured! One office-boy sent in as many as 2,500 titles written down in a notebook! Vasan read them all and one suggestion, ``Irumbu Thirai" (Iron Curtain, 1960) met with his nod in the listed 2,500 entries! The boy was handsomely rewarded by the `Boss,' who also hosted a reception in his honour! That was Vasan.

His films — ``Chandralekha" (1948, Tamil and Hindi, director, Vasan), ``Mangamma Sabatham" (1943, Tamil, director, Acharya), ``Apoorva Sahotharargal" (1949, Tamil, Acharya), "Miss Malini" (1947, Tamil, Kothamangalam Subbu), "Avvaiyar" (1953, Subbu), "Vanjikottai Valiban," (1958, Tamil, Vasan), ``Paigham" (1959, Hindi, Vasan), ``Gunghat" (1960, Ramanand Sagar), ``Gharana" (1958, Vasan), ``Grihasthi" (1964, Kishore Sahu) and others, — have left behind indelible footprints on the sands of Indian Cinema.
"Chandralekha," Vasan's first directorial venture after being producer for seven successful years is considered to be his finest work. Though many have contributed to the exuding excellence of the picture, it was Vasan who gave it the shine, sheen, shape and final form. With this film he created history at many levels and many ways. The most important of them all was his trail-blazing success in taking Hindi films made in South India to the rest of the sprawling nation. Vasan was the first South Indian filmmaker to break the fort walls of Hindi cinema and this is one of the most significant achievements of his life. Indeed he was the man who put Madras on the movie map of India.
Thiruthuraipoondi Subramania Srinivasan (alias S. S. Vasan) was born on March 10, 1903, and hailed from the culture-rich Thanjavur district and was born into a Brahmin family of very modest means. And to add to the misery of poverty his father died when Vasan was merely two years old. The lot of a Brahmin widow in the early years of the century in a small-town steeped in old-world orthodoxy, autocratic Brahminism, with its cruel rituals, was nothing short of hell on earth. But Balambal, Vasan's mother, was no ordinary woman. She was highly literate though she had undergone no schooling in accordance with the customs and social mores of the times. She was well versed in Sanskrit and Tamil classics, epics and religious lore. She instilled in her growing son a lasting love for literature, learning, and ancient Indian culture. Dreaming of a secure future, she and her son migrated to Madras. Like Dick Whittington's London the roads of Madras were not exactly paved with gold. Indeed life in the city was hard, harsh, often harrowing and the worried mother suffered misery to educate her only offspring.
(While the official records, magazines and others mention the date of Vasan's birth as March 10,1903, according to the family he was actually born on January 4, 1904! During that period many families had `advanced' the data of birth to help in school admission it was entered in the `SSLC' (Secondary School Leaving Certificate) book. So for all practical purposes it remained the official date of birth! Obviously it had happened for Vasan too!)
Vasan's mother wished her son should get a B.A. degree, the hallmark of the intellectual Brahmin community in those days. It was also a passport to land a safe and secure 10 a.m.-5 p.m. desk job in any British Indian Government department, or an equally dependable European firm. However lack of resources prevented Vasan from graduating.
He realised the difficulties his mother had to undergo to educate him and he decided to enter the turbulent ocean of life and find a way to make a living. Innovative, enterprising and daring he chose a new activity — selling space. He secured advertisements for Madras-based publications and earned commission on the ad revenue he could generate. Indeed a precarious way of making one's living especially when publications were not many. However Vasan became a one-man ad agency. With his flair for writing he offered his copy to the few Tamil publications then in existence for which he also canvassed for ads. To get business he travelled widely.
Meanwhile, a relative who was working in the Madras and Southern Maratta Railway, offered to get Vasan a job. But a cash-security deposit had to be given which the family did not possess! Vasan had written a novel, which a kind publisher offered to take and give him the necessary cash. But the publisher failed to keep his promise, and out went the opportunity of Vasan working in the railways as a pen-pushing clerk!
Later in his life, in the silent hours of still nights, Vasan wondered how his life would have unfolded if he had got that job! Besides his ad business, Vasan carried another line of activity, equally novel for the day, Mail Order business.
He did fairly well and wished he could have a publication of his own. Soon he purchased a shaky humour-based monthly for Rs. 200 (Rs. 25 for each alphabet of its name!).

Working hard he built it up into a weekly and soon the weekly scaled to the top and the best selling Tamil magazine Ananda Vikatan is still running successfully after nearly eighty years.
That was not all. Vasan, with his penchant for taking risks, developed an interest in horse racing and soon he was a successful punter. Ere long he was flushed with funds and entered the world of movies as distributor-financier promoting his successful company `Gemini Pictures Circuit.' From distribution to production it was but a short leap ahead and in 1941 he bought a studio in the heart of the city on Mount Road, Madras, in `court auction' and he re-named it Gemini Studio. Thus it began, and rest, as the saying goes, is history...!
Since 1941 until September 1969 when he passed away, Vasan enjoyed a uniquely successful innings in Indian Cinema earning a permanent seat in its Hall of Fame.
His phenomenal success in Hindi Cinema is almost unparalleled to this day even though more than three decades have rolled over the horizon since his exit for the yonder blue...