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RAAGA BRINDAVANI SARANGA AND ACHARYA MSV

 
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ravilsr
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PostPosted: Sat Aug 09, 2008 9:00 pm    Post subject: RAAGA BRINDAVANI SARANGA AND ACHARYA MSV Reply with quote

One of the most celebrated ragas of Indian Classical Music is Brindavani Saranga .One interesting feature about this Raga is that it is known by the same name, both in Carnatic and Hindustani systems. And in both systems it is not only extremely popular but also adored because of its juicy melody content.

The Trinity of Carnatic Music has contributed immensely to its present day standing through their great works. By certain extraordinary krithis, the Trinity has lifted this Raga to a very high level.

Brindavani Sarang is an Audhava—Audhava Raga, meaning five swaras, both in arohana and avarohana.

Swara Ga and Da are dropped both in arohana and avarohana.Tiwra Ri and Shudha Ma are used. In arohana,Tiwra Ni is used, while in avarohana, Komal Ni is used.

So much for the technical details of this raga.


Acharya MSV, seems to have been totally absorbed in to this raga ,because of its inimitable melody content, its mood towards devotion, an element of melancholy and a propensity to gravitate towards the heart and sole of the listener.

Acharya MSV has fully realized the uniqueness of this raga and had utilized this raga in certain highly selective songs, probably, compelled by the situation requirement and sequences in those movies. It is important to note here that he was not very generous in making songs in this great raga. He used this raga very sparingly, that to only when the situation was highly demanding.

Song ‘Thagachi chinnaponnu thalai enna saayudu’ --- Sung by Sirkhazi Govindarajan and Female chorous, in the movie ‘ Karuppupanam’.(RAGA Brindavani Sarnga )

This song can be rated as the best amongst hundreds of film songs made by so many music directors in all languages put together. Acharya MSV has demonstrated to all and sundry, without any shadow of doubt, that he is a master craftsman when it comes to creating a tune, allocating appropriate musical pieces to the appropriate instruments, choosing the singer.

The very beginning of this song, a prelude bgm, will leave the listener spellbound. This prelude manifests the entire characteristics of this raga and the entire swaroopa is brought into prominence much before the prelude portion is over.

To establish the complete swaroopa of a very difficult raga like Brindavani Saranga within 20 seconds of its rendition, that to in the prelude, that too , much before the prelude portion is over, is a mammoth task, that can be attempted only by a person whose every nerve is soaked in music, whose every thought is focused on the divine lotus feet of Saraswathi Matha, and probably by a person who does not know anything else at all as his mind is always filled with vastness of music and therefore no space is left for any thing else .

After establishing the raga’s swaroopa in its totality in the prelude itself, Acharya MSV proceeds to unleash the song. The beginning of the song, rendered by a female voice and aided by female chorus, is so majestic that it brings in to the atmosphere a overwhelming feeling of joy.

Immediately after the pallavi, an unforgettable, inimitable, aalap followed by a ‘thogaiarah’by Sirgazi Govindarajan would take the greatness of this song to dizzy heights. The impact that it would leave on the listners is a kind of experience, worth a fortune.

By enabling the listeners to go through this kind of ecstasy is enough to receive the showers of blessing of Almighty God.

The charanam of this song was rendered by both sirgazhi and the female voice coupled by the female chorus. The torrential flow of the divine nectar of Brindavani Saranga is unstoppable through out the charanam.

The charanam was very very effectively supported by the bgm that employ choicest instruments.Throught the song the raga pattern was not altered. Acharya MSV
had chosen to retain the originality of the raga, without being tempted to employ a note that is not there in the raga.

The prelude, the voices,the bgms, the interlude that connects the pallavi and the charanam ,the overall tempo of the song ,the employment of Brindavani Saranga make this song one of the finest created by divine ambidextrous hands of Acharya MSV.

Any discerning listener will readily agree that this song is the ultimate musical piece ever created in Raga Brindavani Saranga.This song will remain the quintessence of Brindavani Saranga for ever.

The creator of this song cannot be an ordinary human. This sole must certainly have cosmic connection of the divine type.

Our scriptures and Puranas state categorically that divine music originate from Gandarva loga and those who are there are called Gandharvas.

This song alone is enough to convince any one that Acharya MSV is a Gandharva Maha Purusha on a visit planet earth. Let us all seek his blessings.
ADDITIONAL INFORMATION


This particular song is featured in a movie Karuppupanam, made by Kannadasan, released in 1965.The entire song sequence was shot in Brindavan Gardens, Mysore.
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madhuraman
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PostPosted: Sun Aug 10, 2008 6:37 am    Post subject: Songs composed by MSV - TKR Reply with quote

Dear Mr.Ravi,
A superb piece of comprehension befitting the raga Brindavani Saranga and the composer par excellence- Shri. MSV. Your write-up has elevated my respect for Bhoolokha Gandharva on a mission of soul-stirring cleansing through the genuine play of his wizardy in music.
Thank you.
Warm regards Prof.K.Raman Madurai.
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S.Balaji
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PostPosted: Sun Aug 10, 2008 8:16 am    Post subject: Reply with quote

A beautiful note Mr.Ravi . Indepth writing about nuances of the raga. Indeed Brindavana Saranga is an interesting raga ! I think POOVARAYUM POONGODIYE is another BS . I remember our Ram having written a post on the raga earlier. The respect for MSV grows more as we hear from people like Mr.Ravi. Pls contribute more frequently. We need more such analysis to compile the book on MSV, our top priority agenda now. Pls give your valuable thoughts taking up a particular theme and do indepth analysis. Smile
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PostPosted: Sun Aug 10, 2008 12:21 pm    Post subject: Reply with quote

Dear Mr Ravi,
Your write up and judgment that MSV is not an ordinary human being cannot be brought out better. I have no knowledge of carnatic music to discuss it in detail. I do play a lot of guitar within my capacity and during the practice for the college cultural I was told that" Pon Ondru Kandaen "was based on that raga and I instantly fell in love with its capacity in the areas you have mentioned and noted down the modes of the raga.
I was having some problem in understanding and playing the Intro and interludes of the song "Nalam Nalam Thirunalam " till I decided to identify the areas of difficulty and overcame it by assuming it to be BS raga. I would be thankful if you could through some light on this.
All the songs in Karuppu panam are great innovations featuring even a "blues" [Varavendum...]", the only Tamil song retaining the nuances of blues although some have tried. I do not know how I missed the song you have mentioned. My next hunting trip is for this song. Waiting to hear more from you. Chakravarthy
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Ram
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PostPosted: Mon Aug 11, 2008 5:29 pm    Post subject: Brindana Saranga Reply with quote

Dear Ravi...

Wonderful write-up on Brindavana Saranga!!

MSV-Brindavani is an "Awesome" combination, to say the least. This was something I always cherished ever since I started identifying Ragas from my boy-hood. Very Happy

Here is a short article I had written on the same lines. Thanks Balaji, for remembering !! Very Happy

"Brindava Saranga"

Some idea about the Raga (from Internet):

This is a desya raga derived from the 22nd mela Kharaharapriya. The notes taken by this raga are Sa^ Chatusruti Ri^ Sadharana Ga^ Sudha Ma^ Pa and Kaishiki Ni. A dhaivata varjya raga belonging to the audava vakra shadava group. Ga is varjya in the arohana. Ri^ Ma^ and Ni figure both as jiva svara and nyasa svaras. A minor raga having a tranquilising effect. Even though a sarvakaklika raga. It is sung in post pallavi part in the concerts. A bhakthi rasa pradhana raga having sacharas in all three octaves. In Hindusthani music it is known as Brindavani a desya raga. This raga is referred in works like Brihaddharma purana^ Ragatarangini^ Chaturdandi prakashika^ etc. In all these works this raga is referred to as Brindavani. Most suitable raga for singing bhajans^ slokas etc.

MSV and Brindavani

The following are unbelievable compositions of MSV, having Brindavani (or) Brindavana Saranga as its basis. Ancient days, this Raga is "supposedly" used only as a "Bhakthi" Raga. But MSV went beyond just application of this Raga and composed songs based on the "Bhavam" of this Raga - The Tranquilising Effect. All the situations of the following songs definitely has a tranquil feeling and MSV's serene usage of this Raga in the songs, is simply out-of-the-world !!!

When I started identifying Ragas in my boy-hood, I used to note down the song and its Raga in my diary. It is amazing now, even for myself, to see that I had given separate topic called "MSV's Brindavani" and for no other raga I had given this. Such is the power of MSV's songs in this raag. The capability to attract the listener, even without his knowledge, is the greatness of the legendary composer called M.S.V.

Here we go...

1. Chinna Kanne Chithira Kanne Kelamma (Film: Polladhavan)
2. Muthukkalo Kangal (Film: Nenjirukkum Varai)
3. En Aasayum Unnodu (Film: Thirudan)
4. Santhanathil Nalla Vaasam Eduthu (Film: Praaptham) (Prelude - where TMS teaches PS in the song, will be soaked in Brindavani)
5. Poovaraiyum Poongodiye (Film: Idhayathil Nee)
6. Pon Ondru KandEn (Film: Padiththaal Mattum Pothuma) - What an application?!!!

The following are clean Qawali (or) Ghazal based Songs (Amazing MSV!)
7. Thanga Magal Vayitril (Film: Vaazhkai Padagu)
8. Thangachi Chinna Ponnu (Film: Karuppu Panam)

"Ragas wait to be touched by the Midas, in the name of M.S.V!!!"
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msvramki
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PostPosted: Wed Aug 13, 2008 12:50 pm    Post subject: Reply with quote

Dear Ravi,

A great write-up in your own unique way conveying the message point blank on how the Master Craftsman Acharya MSV handles a raga like Bridhavana Saranga ( or any raga) to show the Ragam's viswaroopam.

By reading your text it is becoming very evident to the reader that Acharya MSV is not an ordinary human being but a Gandharva Purusha because, as you have rightly said, it is not possible for a human to handle a raga so beautifully !

Another song that comes to my mind (apart from what Ram has written)
is

Muthu nagaye unnai naan ariven ( from En Thambi).

My humble request is YOU SHOULD WRITE WITHOUT ANY BREAK !
That is what the pleasure we all MSVyans need here.

All the best
Ramki
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VaidyMSV & Sriram Lax
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PostPosted: Fri Aug 15, 2008 8:03 pm    Post subject: Reply with quote

dear ram

muthukallo kanga - was 't that dharbarikanada

i heard my wife telling so - the same as ARR s katrey un vasam from rhythm
pls clarify
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Ram
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PostPosted: Fri Aug 15, 2008 9:11 pm    Post subject: Reply with quote

I hear Dharbhari Kaanada also...

I defer this to other experts in the forum and will be happy to stand corrected.
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parthavi
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PostPosted: Tue Dec 30, 2008 10:11 pm    Post subject: Reply with quote

I don't have much knowledge about Carnatic music. I learnt that 'sivaranjani '(Jagathalaprathaabhan) and 'chinnanchiriya vannapparavai' ( a KVM masterpiece from Kungumam) are based on Dharbari Kaanada. Based on some similarities of tunes, I have identified 'pon enben ' (Policekaaran magal), 'Ettadukku maaligaiyil' (Paada Kaanikkai - Kavignar's whiplashing lines 'kaiyalavu ullam vaiththu, kadal pol aasai vaithu,vilaiyada chonnaanadi, avane vilaiyaadi vittaanadi' are particularly moving) as Dharbaari Kaanada. I have also found shades of this raagaa in 'muththkkalo kangal' (nenjirukkum varai) and 'vasanthaththil or naal' (moondru dhivangal) But I am not sure. Some of our riends well versed in Carnatic Music may clarify.
Incidentally, Vidhyasagar has composed quite a few good numbers on this raagaa. 'Malare Maunamaa' and 'nee kaatru naan maram' are particularly enchanting.

P R Swami (parthavi)
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