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What makes MSV pleasantly different?-V

 
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madhuraman
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Joined: 11 Jun 2007
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PostPosted: Fri Aug 22, 2014 3:39 pm    Post subject: What makes MSV pleasantly different?-V Reply with quote

Dear friends

MSV’s Range in repertoire
I know that it is nearly impossible to identify the whole range of items in his repertoire without having to make explanatory note every now and then. This is so because he is a natural and spontaneous composer, who obeys the dictates of the scene instead of imposing his notion on the scene. This is precisely where he scores over any other composer. He does not have to frame any limit, as he knows the trade of ‘fence crossing’ without anyone noticing it. Only by repeated hearing that we can feel the ‘trespassing’; it is so lovable that none feels like ‘questioning’ the elegance.

It is also the same intricate ‘limitation’ which makes composers hit a dead end even as they make an effort of awful extrication, as they have committed far deep into the trap of sticking to some other grammar which does not suit the task of ‘light music’.

MSV strongly believes in beautifying a peace rather than making it savageously noisy. Even his full throated high decibel pieces stand decorated in elegance [Take ‘sambO siva sambo for instance]. He has his own brand of decorating a number. In any case he uses the opening of the song to indicate what is coming forth. So, he adopts strategies essential, valid and relevant to a song:

The opening could be anything as under:

Either a few or a volley of instruments in prelude
1000 KarangaL neetti [karNan] , poo mudippAL indha poonguzhali [nenjirukkum varai], mella varum kAtru [galAttA kalyANam],Silai eduthAn oru, AvaLukkenna [Server Sundaram],
Unnai ondru kEtpEn [pudhiya paravai], AagAyapandhalilE [ponnoonjal],
muLLil rOja [kalaikoil],
and orchestral muthukkaLO kaNgaL [nenjirukkum varai]

Aalap + orchestral opening
Iravum nilavum [karNan], rOjA malarE rAja kumari [veerathirumagan],
poomAlaiyil Ore malligai , thEdinEn vandhadhu [ootyvarai uravu]
vanakkom palamurai sonnEn [avan oru charithram ]

Almost a plunge with very little orchestral back-up
engEneeyO nAnum angE unnOdu [nenjirukkum varai],
Aandavan thodangi aandigaL varaiyil [kAsEdhAn kadavuLadA]
china china kaNNanukku [vAzhkai padagu] ennadi rAkkamma [pattikkAdA pattaNamA]
PourNami nilavil [kannippeN].

It is just the beginning; more to come

Regards K.Raman Madurai
_________________
Prof. K. Raman
Mumbai
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N Y MURALI
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Joined: 16 Nov 2008
Posts: 920
Location: CHENNAI

PostPosted: Sat Aug 23, 2014 11:48 am    Post subject: Reply with quote

Dear Professor,
Your observation is spot on. What MSV emphasizes is the emotive expression for each song based on the situation that is determined by the story line. He approves the most suitable words from which he could get inspiration for the emotive expression. Looking at this perspective is unique indeed.

So without any hassles he could break any grammar that the situation demands.

A classic example is the song 'paalootti valartha kili'. Though grammatically explained this could be in the Raga 'Tilang' yet when he dips deep in to the expression 'kannamma' during the repetition when he breaks the grammar but that suits the emotion perfectly.
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