VETKAMAI IRUKKUDHADI - PAAR MAGALE PAAR

Song starts @30.12

http://youtu.be/MTWgmWEox4g?t=30m12s

DEVA SABHA THALAM - HIS HIGHNESS ABDULLAH

HINDOLAM, TODI, PANTHUVARALI, ABHOGI, MOHANAM, SHANMUKA PRIYA, KALYANI, CHAKRAVAHAM,  REVATHI.

SIVARANJANI , AVAL ORU MENAGAI - NATCHATIRAM

Aval Oru Menagai En Abhimana by justinraj

SIVARANJANI, BILAHARI, SARASWATHI, KALYANI. avaL oru menagai yen abhimaana thaaragai (2) kalaiyenum vaanidai minnum dhevadhai kaaviya vadivodu nadamaadum ponmagaL ranjani...sivaranjani...sivaranjani.. karumbugaL thenmozhi, arumbugaL punnagai - en kanavilum aadidum avaLin kalai manam ninaikindradhu sugam pirakkindradhu avaL pol inge evarum illai aadiya paadham aayiram vedham avaLadhu naadham thamizh sanga geetham paarvaiyil kuLirum maargazhimaadham adhikaalayil varum bhoopaaLa raagam avaL singaara poonguzhal aavaNi megam thenulaavidum kalyani raagam avaL sangeetha gaanam gangayin vegam thaamarai poovin sooriya dhaagam kaalame avaL vizhigaL sonnapadi aadume thaaLame avaL kaalgaL kettapadi thaavume mozhiyo aalaya sangoli idaiyo asaindhidum kinkiNi yenna solli yenna paada kamban illai kavidhai paada aaa.....aaa..... avaL thanjai tharaNitil konjum azhagiya kovilandro naan avaL bakthananro

AADUM ARUL JOTHI - MEENDA SORGAM - MLV

EN ARUMAI KADHALIKKU VENNILAVE - ELLORUM INNATTU MANNAR

T. Govindarajulu Lingappa (died 2005) was a noted music director who had scored music for Tamil, Kannada and Telugu movies. He is the son of T. Govindarajulu Naidu who is also a famous film music director who had a very old beginning in the Tamil film industry.

T.G. Lingappa is the second son had learned music from his father T. Govindarajulu Naidu. His family stayed in Thiruchi. This is where M. K. Thyagaraja Bhagavathar (MKT) used to sing in their house and T. Govindarajulu Naidu introduced MKT to his children. T. Govindarajulu is a harmonium player in special dramas, but was also known as the one who taught music for K. B. Sundarambal. He also sold musical instruments and gramaphone in Thiruchi, but the businees was not doing very well. T.G. Lingappa had learned to play several musical instruments. In 1940, T. Govindarajulu Naidu took his family to Madras to look for greener pasture there.

At the age of 14, Lingappa tried to act in the film Kamathenu which was produced by Visvanathan. Instead Visvanathan had asked Lingappa to sing and to remain with him for sometime to given chance. He stayed a few months and when it is not fruitful and then moved on. Since he is able to play musical instuuments, he then joined the Mayoora Film Orchestra and played harmonium, mandoline and guitar. This orchestra used to play music for films and gramaphone. It sis to be noted that Lingappa played instruments for Ashok Kumar in 1941 and he was earning salary of Rs30 monthly .

In the same year Lingappa approached Gemini Studios to try his luck. C. Ramchandra was working there with other older artistes. But Lingappa was rejected due to his young age. Not giving up, Lingappa proceeded to Salem to try his chance in Modern Theatres when music director T. A. Kalyanam invited him. There Lingappa met T. R. Papa and K. V. Mahadevan. It was the time during the 1940s where everyone was circumambulating all available studios for opportunities.

In 1945, Lingappa returned to Madras and worked under R. Sudarsanam in the Pragathy Studios and he played instruments in the film Sri Valli (1945). Lingappa went to Karakkudi to play musical instruments when AVM Productions made Naam Iruvar (1947). In 1948, he returned to Madras and worked under C. R. Subburaman. All these experience under different renowned music directors had sparked an idea to be a freelance musician. He went on to purchase modern instruments from abraoad, especially London where he bought the electric guitar. Lingappa is well capable of playing the guitar. Music directors G. Ramanathan, S. V. Venkatraman and K. V. Mahadevan had used Lingappa for several of their songs. From then on Lingappa was playing many instruments under all the leading music directors.

T. R. Mahalingam had produced his first fim Macha Regai (1950) where the music was done by C. R. Subburaman. His manager was B. Ramakrishnaiah Panthulu (B. R. Panthulu). Since C. R. Subburaman died suddenly, T. R. Mahalingam who had known Lingappa from earlier and became closer in the film Naam Iruvar, gave Lingappa chance to compose music for his second production Mohanasundaram (1951). There are more than ten songs in Mohanasundaram. It was also that J. P. Chandrababu sang first Hello My dear Darling, Hello My rose charming. The success of the songs are due to T. R. Mahalingam and Lingappa both knew carnatic music, cooperated and discussed the tunes together. After that T.R. Mahalingam used Lingappa in his other movies like Chinnadurai and Vilayaattu Bommai.

B. R. Pantulu separated from T. R. Mahalingam and started Padmini Pictures for which banner Lingappa composed most number of films in Tamil. The first film of B. R. Bantulu was Kalyanam Panniyum Brahmachaari (1954), a Sivaji Ganesan starrer directed by P. Neelakantan. There are excellent songs in the film. The Bharathidasan song Vennilaavum Vaanum Pol was first sung by M. M. Dandapani Desikar in the stages. Lingappa obtained his permission to use the same song in Kalyanam Panniyum Brahmachaari with some modifications and after the approval of the tune by Baradidasan, Radha Jayalakshmi sang the song. V. N. Sundaram sang the comedy song Kaviyin Kanavil Vaazhum Oviyame in which he combines light music with carnatic tune. J. P. Chandrababu sang for Sivaji Jolly Life Jolly Life. This film and songs became hit. B. R. Bantulu again booked Lingappa for Sivaji Ganesan starrer Mudhal Thethi (1955).

Vaazhviley Oru Naal (1956) produced by Vengatasamy who is the husband of U. R. Jeevarathnam. In this movie Lingappa there is a duet Thendrale Varaayo Inba Sugam Tharayo by T. M. Soundararajan and U. R. Jeevarathnam.

Thangamalai Ragasiyam (1958) is another film that lifted P. Suseela to great heights. The song is Amuthai Pozhiyum Nilave. The same film was taken in Hindi and this song was retained with Hindi words. Again it became a success in the Hindi circles.

It is said by Lingappa himself that there are at least two songs that he composed, but came to be used by other music directors. One is Kunguma Poove which J.P. Chandrababu learnt under Lingappa and sang for S. M. Subbaiah Naidu in Maragatham (1959). The other is the song Putham Puthu Meni by Balamurali Krishna and P. Suseela in Subathinam.

He then went on to compose in Kannada movies. After a break he came back to compose in Muradan Muthu of Padmini Pictures. That was the last film where B. R. Pantulu used Sivaji Ganesan.

courtesy:
http://www.imoviehall.com/T.G.-Lingappa.html

MAANILA VAAZHVU PERUM ANANDAM - ASHOK KUMAR - MKT

Movie: Ashok Kumar
MD: Papanasam Sivan
Lyrics: Papanasam Sivan
Cast: MKT

Ragam: Kalyani - TALAM: ADI

Pallavi

Maanila-vaazhvu perum Aanandham, Vaanulahoar arhiyaar en Kanhnhae ...(Maanila)

Anu-pallavi

Vaan-amudham ezhil Maan-vizhi Maadhae, Vaan-amudham ezhil Maan-vizhi Maadhae,
Abhimaanamum Anbum kalandhirundhaal indha ... ... ... ... ... ... (Maanila)

Charanham

En-mana Unhmai-nilai Nee arhiya, eduththuraikkum Mownam padaiththanai Anbae
Un-mana Sammadham undoa illaiyoa, Un-mana Sammadham undoa illaiyoa
Naan unharndhu mahizha velhi-kaattalaahaadhoa ... ... ... ... ....... (Maanila)

SWAPNANGAL SWAPNANGALE - KAVYAMELA

SAHANA, SHANMUKA PRIYA, KALYANI.

VEENAI KODIYUDAYA - SAMPOORNA RAMAYANAM

MOHANAM, ATAANA, BHOOPALAM, SARANGA, VASANTHA, NEELAMBHARI, DHANYASI, GAMBHIRA NAATAI, SHANKARABHARANAM, TODI, KALYANI, KAMBODHI.

http://ragasinfilmmusic.blogspot.com/2010/01/inru-poi-nalai-vaaraai-sampurna.html

Blast from the past: Sampoorna Ramayanam 1956

RANDOR GUY

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Sampoorna Ramayanam

N. T. Rama Rao, Sivaji Ganesan, Padmini, Chittoor V. Nagaiah, S. D. Subbulakshmi, G. Varalakshmi, T. K. Bhagavathi, N. R. Sandhya, P. V. Narasimha Bharathi, V. K. Ramasami, C. T. Rajakantham, Pushpavalli, ‘Jayakodi’ Natarajan and M. G. Chakrapani

The Ramayana, the story of the Rama avatar of Vishnu, is one of the immortal classics of India. A rich granary of story material, the epic not surprisingly excited and attracted the attention of filmmakers in the country from the Silent Film era. The first silent version came out in 1922 along with another version the same year, which was released as a serial in cinemas. The first talkie version came out in Hindi in 1933, in Telugu in 1936 and in Tamil (this version) in 1956. There were other language versions too.

Sampoorna Ramayanam, running over 22,000 feet, was produced by M. A. Venu. It had Sivaji Ganesan in the role of Bharatha, while N. T. Rama Rao and Padmini played Rama and Sita. The underrated stage and screen actor K. V. Srinivasan lent his voice to NTR. T. K. Bhagavathi with his excellent screen presence was the right choice to play Ravana. Varalakshmi as Kaikeyi was equally impressive, and so was Nagaiah as Dasaratha. Noted comedienne Rajakantham played the mischief-maker Mandhara. Also in the cast were Nagaiah, M. N. Rajam, P. V. Narasimha Bharathi, Lakshmiprabha, S. D. Subbulakshmi and T. P. Muthulakshmi.

The film had excellent music (K. V. Mahadevan) with lyrics by Marudhakasi. One song rendered by C. S. Jayaraman, filmed on Bhagavathi playing Ravana, ‘Indru poi naalai vaa,’ became an immortal melody. This song was composed in raga Thilang, which was an import from Sufi music and successfully adapted by Guru Nanak and his disciples who composed several hymns in this raga. It has been extremely popular with musical geniuses such as Ravishankar, Bhimsen Joshi, violin maestro Lalgudi Jayaraman and musicologist G. S. Mani. The great Carnatic musician D. K. Pattammal recorded a song, ‘Shanthi nilava vendum,’ in this raga on the occasion of the shocking death of Mahatma Gandhi in 1948.

Written by the successful Tamil film personality A. P. Nagarajan, Sampoorna Ramayanam was directed by K. Somu who was associated with Nagarajan on many films. Not many are aware that Somu worked with the celebrated American Tamil filmmaker Ellis R. Dungan, learning the art and craft from the great master. The film was made at Ratna Studio in Salem.

Sampoorna Ramayanam had the distinction of winning the appreciation of the eminent son of India, Rajaji, who did not think much of films. In the 1930s, he watched Ellis R. Dungan’s Sathi Leelavathi and in honour of his visit a day’s collection was handed over to him towards the Indian National Congress Party fund. After watching the movie, he sarcastically remarked that the main artiste in a charka-spinning sequence did not know how to handle it!

Remembered for the impressive performances of N. T. Rama Rao, Padmini and Varalakshmi, the melodious music of Mahadevan and the song ‘Indru Poi.’

Keywords: Sampoorna Ramayanam, Sivaji Ganesan, Padmini, N T Rama Rao, K. V. Mahadevan, Indru Poi song

NIRPADHUVE NADAPPADHUVE - BHARATHI

SINDHANAI SEI MANAME - AMBIKAPATHI

AAYA KALAIGAL - NAATAI
SINDHANAI SEI - KALYANI
VADIVELUM MAYILUM THUNAI - MANIRANGU

VEENAIYADI NEE ENAKKU - EZHAVADHU MANIDHAN

NIDHI CHAALA SUKHAMA - THYAGAYYA

NENJIL KUDIYIRUKKUM - IRUMBU THIRAI

Karpagavalli Nin PorpathangaL Pidithen - TMS

karpaga valli nin 
raagam: raagamaalika 

taaLam: aadi
Composer: Yazhpaanam N. Veeramani Iyer
Language: Tamil

pallavi aananda bhairavi

20 naTabhairavi janya

Aa: S G2 R2 G2 M1 P D2 P N2 S
Av: S N2 D2 P M1 G2 R2 S

karpagavalli nin porpadhangal pidiththaen
nargadhi arulvaayammaa dhaevi
(karpagavalli)

parppalarum poatrum padhi mayilaapuriyil
sirpam niraindha uyar singaarak koayil konda
(karpagavalli)

1

neeyindha vaelaithanil saeyan enai marandhaal
naanindha naanilaththil naadudhal yaaridamoa?
aenindha mounam ammaa aezhai enakkarula?
aanandha bhairaviyae aadhariththaalum ammaa
(karpagavalli)

2 kalyaaNi

65 mEcakalyaaNi mEla
Aa: S R2 G3 M2 P D2 N3 S
Av: S N3 D2 P M2 G3 R2 S

elloarkkum inbangal ezhilaay irainji enrum
nallaatchi seydhidum naayagiyae nithya
kalyaaniyae kabaali kaadhal puriyum andha
ullaasiyae umaa unai nambinaenammaa
(karpagavalli)

3 bhaagEshri

22 karaharapriya janya
Aa: S G2 M1 D2 N2 S
Av: S N2 D2 M1 P D2 G2 M1 R2 S

naagaesvari neeyae nambidum enaikkaappaai
vaageesvari maayae vaaraai idhu tharunam
baagaesree thaayae paarvathiyae indha
loagaesvari neeyae ulaginil thunaiyammaa
(karpagavalli)

4 ranjani

59 dharmaavati janya
Aa: S R2 G2 M2 D2 S
Av: S N3 D2 M2 G2 S R2 G2 S

anjana maiyidum ambikae embiraan
konjikkulaavidum vanjiyae ninnidam
thanjamena adaindhaen thaayae un saey naan
ranjaniyae rakshippaai kenjugiraenammaa
(karpagavalli)

http://www.karnatik.com/c2629.shtml

கற்பகவல்லி நின் பொற்பதங்கள் பிடித்தேன்
இயற்றியவர் : யாழ்ப்பாணம் இணுவில் வீரமணி ஐயர்
பாடியவர் : டி. எம். சௌந்தரராஜன்
ராகம் : ஆனந்த பைரவி கல்யாணி பாகேஸ்ரீ ரஞ்சனி

(ஆனந்த பைரவி)

கற்பகவல்லி நின் பொற்பதங்கள் பிடித்தேன்
நற்கதி அருள்வாயம்மா தேவி

பற்பலரும் போற்றும் பதி மயிலாபுரியில்
சிற்பம் நிறைந்த உயர் சிங்காரக் கோயில் கொண்ட
கற்பகவல்லி நின் பொற்பதங்கள் பிடித்தேன்
நற்கதி அருள்வாயம்மா


நீயிந்த வேளைதனில் சேயன் எனை மறந்தால்
நானிந்த நானிலத்தில் நாடுதல் யாரிடமோ?
ஏனிந்த மௌனம் அம்மா ஏழை எனக்கருள?
ஆனந்த பைரவியே ஆதரித்தாளும் அம்மா

கற்பகவல்லி நின் பொற்பதங்கள் பிடித்தேன்
நற்கதி அருள்வாயம்மா

(கல்யாணி)
எல்லோர்க்கும் இன்பங்கள் எழிலாய் இறைஞ்சி என்றும்
எல்லோர்க்கும் இன்பங்கள் எழிலாய் இறைஞ்சி என்றும்
நல்லாட்சி வைத்திடும்  நாயகியே
நித்ய கல்யாணியே...
கல்யாணியே கபாலி காதல் புரியும்
கல்யாணியே கபாலி காதல் புரியும் அந்த
உல்லாசியே உமா உனை நம்பினேனம்மா


கற்பகவல்லி நின் பொற்பதங்கள் பிடித்தேன்
நற்கதி அருள்வாயம்மா

(பாகேஸ்ரீ)
நாகேஸ்வரி நீயே நம்பிடும் எனைக்காப்பாய்
வாகீஸ்வரி மாயே வாராய் இது தருணம்

பாகேஸ்ரீ தாயே
பாகேஸ்ரீ தாயே பார்வதியே
பாகேஸ்ரீ தாயே பார்வதியே இந்த
லோகேஸ்வரி நீயே உலகினில் துணையம்மா

கற்பகவல்லி நின் பொற்பதங்கள் பிடித்தேன்
நற்கதி அருள்வாயம்மா

(ரஞ்சனி)
அஞ்சன மையிடும் அம்பிகே எம்பிரான்
கொஞ்சிக்குலாவிடும் வஞ்சியே நின்னிடம்
தஞ்சமென அடைந்தேன்...
தஞ்சமென அடைந்தேன் தாயே உன் சேய் நான்
ரஞ்சனியே ரக்ஷிப்பாய் கெஞ்சுகிறேனம்மா

கற்பகவல்லி நின் பொற்பதங்கள் பிடித்தேன்
நற்கதி அருள்வாயம்மா

JANANI JANANI - THAI MOOKAMBIGAI

DORAKUNA - SHANKARABHARANAM

NADHIYIL AADUM - KADHAL OVIYAM

AMMA ENRAZHAIKAADHA - MANNAN

KALAIVANIYE - SINDHU BHAIRAVI

VANDHAL MAHALAKSHMIYE - UYARNDHA ULLAM

vandhaal magalakshmiye 

endrum aval atchiye 

vandhaal magalakshmiye yen veettil 

endrum aval atchiye 

adiyenin kudi vaazha nalam vaazha kudithanam pugha... 

Bhakthanin veettOdu thangivittal 

Pandikai naal paarthu pongalittaal 

Kaamaakshiyooo meenaakshiyoo 

Abiraamiyoo Sivagaamiyooo 

Ambighai ingoru kannigai endroru 

uruvam eduthu ulavi nadanthu... 

Nanbaa pen paavai kann vannam 

Kallam illadha poo vannam 

Kandaen singaara kai vannam 

Thottaal ellamey pon vannam 

Bandham Sondham illaamal vandhadhu ingoru vanna mayil 

Veedu vaasal ellamey minnudhu minnudhu punnagaiyil 

Mayanginen Sabaash 

srgrns grnsgrn sgg grr rnn ndd dpmp 

mpndmp ndmpndm pnn ndd dpp pmm mggr 

sssss SSSSS srsn srsn srsn srsn 

rrrrr RRRRR rgrs rgrs rgrs rgrs 

pppp mmmm dddd nnnn 

sss nsd nsn grs 

nnn dnp mdn snd 

Aha.. 

pppppp dddddd nnnnn s 

pppppp dddddd nnnnn s 

En vazhi neraaga aakki vaithaal 

Ennaiyum seeraaga maatri vaithaal 

Deiveeghamey Pennaanadho 

Naan kaanavey ther vandhadho 

Mangalam pongidum mandhira punnagai idhazhil vazhiya ilamai vilaiya

CLASSICAL ILAIYARAAJA - 4

Kunnakudi Vaidyanathan is a very popular carnatic violinist. He is one of the successful rebels in the field. His katcheris are a mixture of classical and commercial blend. In his classical concert he will play 'kallum mullum kaaluku methai' (Iyyappa song) and in the end say 'samiyae saranam Iyyappa' in his violin. If you go to his house he will say 'vaanga saar vaanga, enna sappida- ringa? Kaapiya, teaya?' in madhyama sthayi in his violin. If you say tea then he will turn inside and signal his wife in the kitchen 'adiyae... saarukku oru cup tea konda' in thara sthayi, ofcourse, in his violin! He doesn't talk much, you know.... Only his violin....!

Kunnakudi produced one family movie. It was a true family movie in the sense that he produced that movie, his son-in-law Mr. Ramakrishnan directed that movie (hope it is correct), and maybe, a couple of his other relatives were employed as the light-boys in the production of that movie. Unfortunately,the movie became an example of a perfect family movie in another sense too, that is, only Kunnakudi's family saw that movie! I was one poor soul who got to see that movie 'thodi ragam' by the quirk of wicked fate!

The hero was T.N.Seshagopalan. His lovely heroine was Nalini! Kunnakudi had tried to make some typical cinema story like, Seshagopalan, a famed musician pledging thodi ragam to the villain, and finally redeeming it in the last scene. I forgot if there was any heroic stunt sequences in the last scene, when Seshagopalan redeems his thodi back by befelling a dozen villains in a single punch with his fist! In this materialistic world who can escape 'sabalam'? Seshagopalan probably thought that the movie would be a big hit like 'shakunthala' starring G.N.Balasubramaniam and M.Subulakshmi, and that he could become super hero like Rajini and make lot of money!

 Anyway, coming to the point, there was a good song in that movie in the ragam kalyani. It was 'vaa vaa thalaiva vaa'. As I vaguely remember, it was a good kalyani. But, because of the dismal fate of that movie, that song did not become a hit. Even if the film had been a success, I doubt whether the song would have been received favourably by the common rasika. Because, the song is like a mini-katcheri! It is unlikely that a duet in which the hero and heroine exchange their love in a katcheri format will be liked by the common audience of the present day cinema world. So, you have no other go other than cinematizing a raga so that it is appealing. You may have to compromise in loosing some purity of the ragam.

 Considering this tight situation that music directors face in handling a ragam in cinema, I really wonder how Illayaraja could give the same kalyani as in Kunnakudi's 'vaa vaa thalaiva' without even an iota of compromise in the purity, and yet be very appealing to the common rasika. Oh God! How many kalyanis he has to his credit! The single most common melakartha ragam that he used was kalyani. He should have scored atleast 25 songs in kalyani. This 65th melakartha ragam, is neither too much gamaka oriented nor very light. It is this quality of kalyani that made him use it left and right! You don't have to employ violent shakes of the swaras to show the colour of kalyani! Simple swara phrases would suffice, to establish the raga identity. Since not much of gamaka is needed, you wouldn't be violating the so called cinema melody. 

Probably his first kalyani came in 'uthiri pookal'. It was a fantastic movie, directed by the avant garde director Mahendran. Aswini and Vijayan are husband and wife. Vijayan is hero cum villain. Aswini's younger sister (I forgot who it was) is a jolly type teen female. She is the one who sings that kalyani song 'naan paada varuvaayo'in that movie. She sits in a small sand crest in the middle of a river and sings that song. S.Janaki had done a real good job making all sorts of 'konashtai' in that song! This female is later raped by Vijayan, and that becomes the key knot in that movie. Uthiri pookal was a much talked about movie. After that, how many kalyanis followed like train of programmed events from the recording theatre of Illayaraja!

 Janani Janani in the movie 'thai mookaambigai' was a terrific hit song. It was an excellant classical piece sung by Illayaraja, Deepan Chakravarthy & Co. (He had the arrogance to push better singers to the back row, you know!). That song was rich in lyrics too. He has taken extra care to pronounce sanskrit words in that song like 'shakthi peetamum nee, sarva mokshamum nee' as sanskrit sounding. Good job! Look at the 'dhamathoondu' version of Adi sankarachariyar's advaitha philosophy in that song. 'Janani janani, Jagam nee agam nee'. He said the same thing, right? Then came his superb kalyani in director Maniratnam's first movie 'pagal nilavu'. That is 'vaidegi raman kai serum neram'. S.Janaki again. Radhika dances for this song. The rhythm in this song is wonderful. A blend of guitar and mridangam.

He gave some of his kalyanis in lighter form like those in the songs 'thevan thandha veenai' (unnai naan sandhithen) and 'vellai pura onru aengudhu' (some Rajni movie) etc. 'Thevan thandha veenai' has one speciality to it. It was a song written by kaviarasu Kannadasan and it was posthumously used in the cinema. Look at Kannadasan's opening lines in that song: thevan thandha veenai, adhil devi seidha ganam, thedum kaigal thedinal adhil ragam inri pogumo? Yes, anybody could have a veenai, but to get a ragam out of it only some fingers can do it! In the movie 'sindubhairavi' he tried to do some technical innovation in kalyani ragam. That is, in the song 'kalaivaaniyae', it was widely publicised by K.Balachandar & Co, (who were literally at the mercy of Illayaraja for the success of the movie), that that song was composed in aarohanam alone. Okay, what if a song is set in aarohanam alone, does the rasika get a special kind of melody? It was just an ordinary song. But a good piece of kalyani.

The song in 'uyarnda ullam', vandaal mahalakshmiyae was a fantastic kalyani. The situa- tion for that song was funny. Kamalhasan, a derilict, who looses all his money sings that song in praise of Ambika's entry into his house (ofcourse, she sets him right and stands a great support to him). S.P.Balu had made all sorts of 'konashtai' in that song. This is one good example for how to popularize classical music. It is pure 24 carat kalyani. In 'soorasamharam' he has given another form of 24 carat kalyani (naan enbadhu nee allavo). He introduced his troup's flautist Arunmozhi as singer in that song. In the charanam, when they sing 'paadinaen pann padinaen', it is beatiful combination of swaras Ni Ri Ga Ma Pa. It is simply superb. A similar song is 'malayoram mayilae' in the movie oruvar vazhum aalayam.

Almost each of the lines in this song, he renders in two sangathis, like for example 'vilayatai solli thandhadharu' first in Pa Pa Pa Pa Ma Ga Ri Sa Sa Ga Ri GA Sa. Then later, the same line is given in Pa Pa Pa Pa Ma Ga Ri Sa Sa Ri Ga Ma Pa Ma Ga Ri SA. Great kalyani! I think his latest kalyani is 'ammavendrazhaikkatha uyirilayae' (Rajni's mannan). In 'thalapadhi' also there is one good kalyani: yamunai aatrilae...Some north indian singer (Mithali) sang that song. Aamir kalyani is a janyam of kalyani. Though it is amir kalyani, it is 'garib' in its scope. Not much, you see...! The key phrase in it is Ma2 Pa Da Ma1 using both the madhyamams. Viswanathan/Ramamurthy made an indelible mark in this in their 'ennuyir thozhi' in karnan. Then, V.S.Narasimhan established his classical heritage (I heard his father is some carnatic big shot) in the song manasukkul ukkaandhu maniyadithai in kalyana agadhigal. Atlast came Illayaraja's amir kalyani, in 'veenai aendhum vaaniyae' (vietnam colony). I heard that Bombay Jayashree has sung this song. It is a good amir kalyani. Let us see if Bombay Jayashree attains eminance like Unnikrishnan in cinema music. More 'dabbu' in cinema, man!

 Saranga is another kalyani janyam. A beautiful, vakra ragam, again with double madhyamam. (Why kalyani has many double madhyama janyams?) MSV has scored an excellant saranga in 'konjum neram ennai maranthen'. TMS voice is honey in this song. Illayaraja gave one pure saranga in 'kanniyar parvai thanai' in the movie 'parvathi ennai paradi'. It is the title song. When the title song was in such pure saranga, I was lead to beleive that the subsequent songs might be in classical ragas too. But, alas, a big disappointment! You can never try to speculate what you will get from Illayaraja at all.

He has composed a fantastic song in one of Vijayakanth's latest movie with Kasthuri. That song is 'kukumamum manjalukku indru than nalla naal'. In that song he has used all the swaras in kalyani other than daivatam. I don't know whether any such ragam exists with Sa Ri2 Ga3 Ma2 Pa Ni3 Sa aarohanam and avarohanam. If so what is its nomenclature?

 -Lakshminarayanan Srirangam Ramakrishnan. Department of Vision Science, University of Houston College of Optometry, Houston, Tx 77204.