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Pen Paartha Mappillaikku - Kaaviya Thalaivi

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The Ardent

Joined: 15 Dec 2006
Posts: 175

PostPosted: Mon Jul 19, 2010 10:04 am    Post subject: Pen Paartha Mappillaikku - Kaaviya Thalaivi Reply with quote

Dear all
I have always admired the movie Kaaviya Thalaivi for its music, direction, lyrics , the story line which delineates the extent a mother sacrifices herself for her offspring's upliftment and the chief protagonists excellent portrayal of the characters. But surprisingly, the song "Penn Paartha Maappillaiku..." never caught attention for so long, for reasons unknown.

Another great number with a strong lyrical content and subtle picturisation and emotions, beautifully rendered by PS,

The lady love, out of compulsion gets into a forceful marriage tangle. Though she embraces her fate completely to lead an honest life, her consort wants to gain monetarily by pushing her into the flesh trade. She manages to escape from his wicked clutch and gets saved by a saviour during a bid to end her life. She gives birth to a girl child. She sings, dances, enthralls the audience in order to make a living. Her mellisonant and honeyed voice earns her rave reputation and at this juncture was invited to an affluent person's home for a performance. To her shock, it was her own lover whom she had to deceive fatefully and who is prejudiced about her fidelity and ofcourse chastity, as well. She has lost almost everything in her life, her love, marriage, peace. She is destined , rather determined to live for her daughter's sake, yet she does not have a shoulder to lean over for solace. This song is sung in this situation and perhaps, rationalize her condition to him. What a strong story line and a perfect situation for a song !!! The "King of Poems" and the "King of Melody" don't need anything more than this to show case their prowess and they have perfectly accomplished their task.

This is a ghazal type song based on the raag Thilang and is richly embellished with all my favourite instruments like Sarangi, Shehanai, Santoor, Sitar, tabla Smile .

I seriously wonder if TFM would ever get to hear such rich and appropriate usage of Hindustani instruments Sad unless our Master composes again for a movie like this. I told him once during a recording that I wish to be reborn as a SHEHANAI player and play for him Smile.

Sowcar Janaki enters Gemini's bungalow, not knowing that she was invited to his home for the performance. He is at the top floor when she sees the portrait of his mother and understands where she is. She also gets to overhear the conversation between Gemini and his friend and understands that he has misunderstood her chastity.

The song can be enjoyed here,

PS starts the song with a thogayara with Sarangi supporting her beautifully...

Thogayara :

"nalam Ketka vanthaayo,
Illai sugam kaana vanthayo,
Mugam Paarkha vanthayo..
Illai Yen Kathai Ketka vanthayo,
Yen Kathai Ketka vanthayo !!"

An amazing Shehanai elevates the mood and fills the air with sitar and sarangi.

Pallavi :

"Penn Paartha Mappillaikku Kanneerum Theriyavillai,
Kanneeril Kathai Yezhuthi Sonnalum Puriyavillai !!! "

She repents on the fact that the person whom she loved the most does not believe and is not ready to listen to her anymore.

Our master never failed to utilize any opportunity when he got the right situation, lyrics and of course the apt team of the instrumentalists and singers. He has meticulously proved this in every movie.

The shehanai and the sangadhi in the ending syllable of "Sonnalum Puriyavillai..." clearly explains the genius and his mastery of this genre of music. Though it is light music, he brings in the right nuance and the intricacy which suits the song situation and emotes well.

Again, our Master stresses, punctuates and brings out the pathos in the word "Maappillaikku.." as the lady love is complaining in agony. She finds it more painful as the guy whom she loved the most has already misunderstood her and is angry over her betrayal. She does not want to wait anymore to prove her situation to him.

How so thoughtful and brilliant !!!

Charanam :

" Maalaiyitta paaviyidam
ManjaLukku makimaiyillai
MaanamuLLa paavaiyena
vaazha oru vaazkkaiyillai
kattilukku kadan koduththaaL
thottilukku vilai koduththaaL
kattaLaiyil piRantha piLLai
kaaval kaaNa vaazukinRaaL "

" kungkumaththil vaazhnthirunthaaL
MaNdapaththil vElai illai
KOvilukkuL dheyvamillai
vaasalukku veLiyil vanthaaL
pottu vaiththu alangkariththaaL
punnakaiyil poy vaLarththaaL
pattavarai pOthumenRu
paattu paada sabai pukunthaaL
paattu paada sabai pukunthaaL "

The sarangi is to the Hindustani music as what violin is to the carnatic. In a typical Hindustani concert, it supports the singer well and gels well through out.

The word sarangi is derived from two Hindi words: sau (meaning "hundred") and rang (meaning "colour"). This is because the sound of the sarangi is said to be as expressive and evocative as a hundred colours. Its origins are unknown, however most people believe that it became a mainstream instrument in the mid 18th Century. Notoriously difficult to play and tune, the sarangi has traditionally been used primarily for accompanying singers (shadowing the vocalist's improvisations).Of all the Indian instruments, it is said to most resemble the sound of the human voice able to imitate vocal ornaments such as gamakas (shakes) and meend (sliding movements) - from Wikipedia

Our master brilliantly brings out the best out of the Sarangi in the ludes and uses the instrument for what it is meant for, the Gamakas and the meend.

Every MD might use all the instruments available on earth. But I can promise and say that our Master always scores high when it comes to the appropriate, right and rich usage of them that showcases his creativity and virtuoso. Whether it is the traditional , conventional instruments or western, he always stands apart. He also scores high in aptly using the unconventional instruments like the scrub used in painting, the coconut shell, saw and the violin bow (the eerie effect produced in "Paatukku Patteduthu.." from Padagotti) and the different voices and mimicry skills of Sadan, Shyam Joesph, Saibaba and "Mandolin" Raju.

Similarly, in this song, he uses the instruments in the way that they are used in a typical Hindustani concert and in the quest to achieve perfection, he does not fail and balances very well to give equal importance to the expression, the lyrical punctuations and the orchestration perse. What a complete MUSICIAN he is !!!

I don't find any other MD in TFM who has used the Hindustani instruments in the way our Master has used. I dont say this in prejudice. If anyone can prove and counter my point, I would like to know. This is not a challenge, but just out of curiosity and need to be construed in the right spirit.

The other song based on the raag Thilang is "Azhagan Muruganidam.." from Panchavarna Kili which also starts similarly with a thogayara.

MSV Rules !!!
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Joined: 08 Nov 2006
Posts: 715
Location: Madras, India

PostPosted: Thu Jul 22, 2010 5:19 pm    Post subject: THANKS FOR THE PRASADAM!!! Reply with quote

Dear Venkat,

Thanks for those 2 master pieces from our Master. Pongum Kadalosai though, has been on my hunt list for a long time and I managed to get the Meenava Nanban DVD only a couple of days back but the audio turned out to be pathetic. And the Kaviya Thalaivi song was a rare gem indeed as I don't remember this movie which I saw when I was in my 6th Std in Sriperumbudur (Sardar Talkies). Thanks for taking me on a nostalgic trip.

Do we need anything more to say as to why the Late Shri. Satyam was most revered by Shri. Shri. MSV!!! That too more than the Shehnai Maestro Bismilla Khan himself!!!

MSV Moments - Life's finest moments in every sense.



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