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Lodes of Ludes -- II

 
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madhuraman



Joined: 11 Jun 2007
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PostPosted: Thu Dec 17, 2009 2:13 pm    Post subject: Lodes of Ludes -- II Reply with quote

Dear Friends,
I bring out the next set of songs for our appreciation of the topic. The complexity of justifying a perception requires an understanding of the 'texture' of the lyric as a means of appreciating the composer's brilliance in articulating the mood of the number.Therefore, I intend recalling a set of critical phrases in the lyric to connect the idea of relevance perfection and the robust imagination in orchestration.


6. 'alangAram kalaiyAdha silai onru kandEn' TMS PS [MSV]
Some of the lyric phrases
'alangAram kalaiyAdha silai onru ....... [TMS]
'aAnandha mEgangaL poochooda kandEn' ......[ PS]

The setting reminds us of some divine situations with terms 'silai' , 'poochooda ' etc in the pallavi segment. MSV straight dips us into the mood by wacy sweep of violoins, terminally punctuated by flute pieces all in a mildly echoing form to descend the lude into the mood or vice-versa.
'neerodu viLaiyAdi pOgindra thendral [PS] ondicates the earthly mode of the mood backed up here by waves of violin flute ensemble with little on echo feeling.
'undAyin undenru maNam kolluvOm[ 'illAyin illendru vAv selluvom' is an assertive declaration and the following violin flute ensembles reflect the effect by a steady and affirmative concurrence in one following the other.
'thAn soodi malar thandha AandALidam'
'thEnAtchi thAn seyyum meenAtchi satchi'
'thiru veedhi vaam vandhu ondraguvOm' try to fit human emotion situations to those of divine beings ; at all these places again violins and flute form the lude clusters but with subtle cahge in notes such that the singing and the back-up ludes merge asif a whole train places itself on another track even as it moves ahead.

7. 'andharangam nAnarivEn' PBS SJ [MSV]

The song is more earthly but seems to portray the emotions of a prince and his fiancee. Song opens on flute percussion.
'andharangam nAnarivEn' ' mandhiraththil nAn iruppEn' are short phrases suggestive of intimacy and typically the orchestration embrases the lyric lines much closer.
'thAmaraiyil kudiirukkum thanga malar devi'
................... mannan ivan aavi' are afain items of intimacy and MSV has resorted to strengthening the mood by hefty 'aalap' and dexterous tabla percussion. Undoubtedly verbal attempts fall short of the required.

8. 'aval mella siriththAL' PS [MSV- TKR]

The song is a forage for friends making fun of the girl in the grip of love. Kavi Arasu has chosen terms - 'pollAdha kaNNan, RAdhai, kOdhai for characters and terms 'thanga thattu, peN mayil, aanandha gangaiyil'
'pAradi pAradi' Oradi eeradi' as depictions of behaviour.
A kannan-type of romance revolves round flute and MSV doesn't ned any briefing.
Flute opens its endless journey in short bursts as if kaNNan is peeping around and it is readily joined by string -percussion whereafter the flute rapidly mesmerises us in perhaps the most intricate changes of note in rapid succession.The string run and percussion that follow are treats beyond words. Later, occasionally through CharaNam lines the strings back-up in a steady 'dringitattum tattu dringitatttun tattu' with short fute pieces giving that superb feel of flutter in the mind. The song is an instance of a total musical package that does not desrve being split into interlude prelude etc.
Kindly consider the items for adding your inputs.


warm regards Prof.K.Raman Madurai.
_________________
Prof. K. Raman
Mumbai
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