"MSV CLUB" - The Discussion Forum of MSVTimes.com

[N Y MURALI]

Dear All MSV airs,
After having participated in this forum for the past 3 months, I thought I should bring back this subject again. I had written about my observations about the composing style and method of MSV in 4 parts and posted my concluding part 5 in the posting ‘malligai enn mannan mayangum’.

But a good number of replies, opinions of others made me think deeper in to this subject. I thought I should share this with you. That is why this is ‘Revisiting MSV’s Composition Style’

Any good MSV songs listeners would broadly agree that his songs are melodious, harmonious, unique and appeal to all sections. Like all trend setters MSV set a trend. Again all trend setters do not immediately impose their new ideas. They first prepare them mentally. Then slowly they impose their new style one after another. The trend setters also learns newer things as they go. This is a never ending journey. Even now MSV would be having something new to offer. But are the current generation is prepared? If we are unprepared or under prepared then the creator loses the interest. He may not tell in public. For MSV kind of creator money does not matter. Awards do not matter. What matters is only the quality of the people who values his creativity.

So when MSV came to the field in the year 1952 we do not know what frame of mind he had then. But he did maintain the tradition that was prevailing then but at the same time having his unique identity. But that does not mean he had not looked ahead of times. I realized this when Mr. Vatsan told and made me hear the song ‘yezhai nin kovilai naadinen’ sung by MLV and G K Venkatesh. It was his first movie. I have never imagined that MLV could have sung such kind a western style song. But he did maintain the existing trend in composing and in the orchestration keeping his own identity. It went on for some years. Once he had become settled, we could see the 'Visvaroopam' which was already bubling to grow from from the movie ‘pudhayal’. Then sky was not the limit for him from the ‘pa’ series movies and then on he was unstoppable. The composition style that came from the ‘pa’ series movies and the earlier ones were very different. The orchestration was even more different compared to the earlier period. He was having total control of the pulse of the people to whom he is expected to appeal. And now he started dictating terms. That is when we have been exposed to various intricacies of music composition. We were able to see the whole music (almost what ever that is available in this earth) in his composition. That is why a carnatic musician, a Hindustani musician, or a western musician, or a person who even does not know ABCD of music has soul touching attachment to his music.

His composition is so unique that one could say that his composition of a particular song is in a particular Carnatic raga. The same song a person could claim to be from a Hindustani raga also. Take for instance his song ‘kadal kadal yendru pesa kannan vandhaano’. There is an opinion that this is in the Carnatic raga ‘dharmavathi’. There is also another opinion that this is in the Hindustani raga ‘madhuvanthi’. But if you ask him what raga is this song then his answer may disappoint us. I have seen many such disappointed persons. It happened once to an interviewer with MSV. He asked him what raga is the song ‘oru naal iravu pagal pol nilavu’ for which he replied that this is cinema raga!!!
The same raga ‘dharmavathi’ or ‘madhuvanthi’ he used for the song ‘hello my dear wrong number’. shows how much difference we can sense between these two songs?
Take the case of ‘naalaam naalaam’. People could identify a Carnatic or Hindustani raga for this song. I mentioned a totally different perspective about this song which I called as MUSIC (means Msv’s Unique Style In Composition)

The fundamental point is that in some way we all are correct. In some way we all are wrong.
I can explain it with an example. See we have many dishes like idly, dosa, pongal etc. Each one is different. But all of them have the raw material as rice fundamentally. So the swarams in his songs are the rice. Each one could have got mix of certain things which can make the difference. The different style may show it differently to us. So, for some people if his songs are looking like idly, it is their perception. But irrespective of all the different perspective of dishes there is one important aspect in all these 3 different dishes. That is apart from the raw material rice, the rice has the content called ‘carbo hydrate’ which is the fundamental thing for giving the energy to us. In the same way his soul touching melody, his foot tapping fast beats or the divine feeling music are the ‘carbo hydrate’. That is what is common in all his songs irrespective of whether we call it as carnatic, or Hindustani or western.

He carried this aspect all through his TFM career. That is why even if we are able to see different perspective, we all agree on the fundamental aspect.
In a way this is also a very unique thing like MSV composition. While other MD’s go length and breadth for explaining how they composed a song with 3 swarams, or 2 swarams. Or 1 swaram, or sometime with no swaram, here the rasikas are explaining various aspects about his composition whereas the creator says nothing. Once a person explains about his creation then he is adding a label or a brand to his product. It becomes a marketable commodity. But here MSV does not attach any brand or tag. That does not mean it has no value but means it cannot be evaluated. Unfortunately today’s world believes in brand value, forgetting that creative art cannot be evaluated.

Today the TFM industry, the rasikas and the general public are in the midst of a jungle, wondering where to go. So they are looking to him for consolation.

That is why this site is becoming popular. That is why he is now appearing in all TV programme. If this can bring sanity and sanctity for the TFM, then what ever we rasikas are doing in this site would be worth.

Let us hope that this ‘Sangeetha Sarasawati’s efforts for over 6 six decades does not become waste. Let us pray and seek his blessings.


Regards,

N Y MURALI

[Sai Saravanan]

Dear Mr.Murali,
You have addressed the burning issue that has afflicted the present day's music directors as well as the self-styled geniuses appreciating their trends. In fact, as one sees the so-called celebrities claiming their appreciation for IR or asserting their approval of his style of music or his knowledge, one gets a confirmation of their vanity. Unfortunately, only "the truth" prevails, as we all know "Satyameva jayate". The honesty in MM's compositions, his childlike simplicity, his appreciation of every kind of composition and the music director, only reminds us of his divinity. "Revisiting" him is a way to revisit the truth. Ultimately.

You have again kindled the fire: How MM has exploited the raagas, in his own style!! I have fallen for his Madhuvanti. Only God can use this raaga for such diverse instances in the films- right from "Kaadal kaadal endru pesa", to its strains in "Illakkanam maarudo" and shockingly employ this for "Hello, my dear wrong number!"!!!!!!!! The kind of instruments he uses for this KJJ/LRE number during the interludes...trumpet, flute, violins, sitar, accordion alongwith the bass from KJJ's throat... The seductive LRE's voice combines with the mysterious notes of Madhuvanti to add to the chill passing through my spine. Hear these songs in the late afternoon all alone or late night, you feel that you roam through a forest with longing- a real jungle of mystery, or a wilderness of desires.

Any amount of discussion of his style will not suffice!

Thanks,
Sai Saravanan

[madhuraman]

Grar Mr.Murali and Dr Sai Saravanan,
Both of you have earnestly attempted to consolidate your view points about MM's style as a composer and his prowess in exploiting a raga for a situation in the most unorthodox pattern and unquestionably in the finest possible interpretation of the mood. No doubt Mr.Murali has drawn a parallel to coocking varied rice-based dishes. But MSV is not a tradition- bound person on matters of music. He is a thorough experimenter with one and only mission of creating a totally elegant product. So to say A CREATOR UNPARALLELED UNIQUELY ORIGINAL. This is precisely the strength of this composer in churning out any number of products that stay eternally fresh. Unlike in cooked food MSV's dishes stay fresh and fragrant for all our life to come.In fact as one keeps on listening to all his creations would rather get overwhelmed by his magic instead of being able to identify his technique of appeoaching a composition. After carefully reading our experts' perception on MSV's works from varied writers it stands to my logic that MSV should not be analysed for a mission of trying to interpret him / his work. For, he is a creator and does not conform to any earthly mental dimensions. So it is nearly impossible to unravel his magic to any tangible description until perhaps any analyst manages to personally reach the mega dimension of MSV his mental horizon himself/ herself. As of now we have to stay contended that WE ARE ABLE TO SEE ORIGINALITY IN HIM CONTRARY TO CLAIMS AND EULOGY OF OTHERS. Finally a small reference to the analogy of cooking. It is said that the ultimate value in a product lies in how well the ingredients get blended to 'provide' the taste. Cooks say the technique lies in adding an ingredient at the appropriate moment during the 'process'. This is what MSV does through his embellishments by voice or orvhestration. How he chooses to do it is absolutely a matter of Divine origin. Only those who can perceive the scale of DIVINITY in his works can come to their senses.
Warm regards Prof.K.Raman Madurai.
_________________
Prof. K. Raman
Mumbai

[Baskar CS]

time and again alll the writers express their views with great knowledge on music based matters .

unfortunately i am to able to enjoy and feel for it but could not employ any words or discuss the nuances of raagas of carnatic

may be my level of enjoyment could be better but god has given me only upto this

[N Y MURALI]

Dear Prof,
Thanks for your view. But I humbly feel that we should continue to analyse his composition and that is how we have come acroos various view points in this site. Let MSV continue in the way that is natural to him.

I recall ones Shri Visweswaran quoted that once the song recording is over the instruments players, the singers etc would be discussing about the various aspects of MSV's composition of that song. But MSV who was until very active(azura vegam was the word uttered by him) and involved upto the completion of the recording would sit quitely in a corner as if nothing has happened.

He also quoted one more instance. Once MSV was to sing a devotional song for Visveswaran's composing in the raga 'Parameshwari'. During the practice MSV showered brilliant phrases with unbelivable sangadhis. But after this MSV asked him to give the 'aarohanam' and 'avarohanam' of that raga and he said it was the saddest day in his life as he was to tell his inspirer about a raga in which he was already giving breath taking phrases.

So it is not only we, but also the people associated with him in his career have the same experiance. But they are never tired of taking about the veraciity of his composition.

I feel that we in this site with various view points can create an opinion to the music world. Then only the people concerned would feel that they have done a gross injustice to him for not recognising him.


Regards,

N Y MURALI

[Sai Saravanan]

Dear Professor and friends,
We all get energized by the encouragements shown in the postings. We sincerely agree that MM is verily the creator himself. Only that we are understanding the splendours and marvels of his creations and appreciating them, to the level possible and imaginable to our human intellect. To delve deep into this ocean again and again is to only discover hitherto unknown pearls, pure and sacred. Let us carry on ahead the mission!
Dr.G.Sai Saravanan