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MELLISAI MANNARIN HINDUSTANI

 
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N Y MURALI



Joined: 16 Nov 2008
Posts: 920
Location: CHENNAI

PostPosted: Thu Apr 09, 2009 9:20 pm    Post subject: MELLISAI MANNARIN HINDUSTANI Reply with quote

Dear Friends,
We have heard songs composed by many MDs before and after MM. various styles of music have been expressed by many right from the days 1940s to till date.

While appreciating the efforts of many great MDs somehow our MM stands very different from many of them. There are many reasons for that like style of composing; using appropriate instruments, showing individuality in the rhythms and orchestration etc. but there is one more aspect which I want to highlight about MM’s individuality.

That is his interest and knowledge about the Hindustani style. The MDs of the early periods have used many Carnatic ragas for the light music version. The classic example is the great GR’s ‘Mullai Malar Mele’ which is the light music version of the raga ‘Kaanada’. In the same way the MDs have used many Hindustani ragas and rendered in the light music version. The song ‘Krishna Mugunda Murare’ is the best example. But even though they have used the north Indian ragas the style remained the same.

But still we could find some songs composed by other MDs in the Hindustani style. One of the song comes to my mind is ‘Kangalum Kavi Paadudhe’ from ‘Adutha Veetu Pen’. There is another song composed by KVM in the movie ‘Idaya Kamalam’ which is ‘Enna than Ragasiyamo Idayathile’ very brilliantly composed in the raga ‘Kaapi’.

But the Hindustani styles brought out by MM are always special. The reason is the way they have been phrased and the emotion they express.

A classic case is the song ‘Sonnadhu Nee Thanaa’. Just see how the sitar which is one of the north Indian instrument being used. The sitar piece which comes immediately comes after PS sings the word ‘Sammadham Thanaa’ is the classic case of how a Hindustani style phrasing can be given for a sitar. But the best Hindustani phrasing is during the sitar piece which goes very fast like typical Hindustani version comes before second charanam. Clearly we can identify MM’S knowledge and love for the Hindustani style.

Take the case of the song ‘Nilave Ennidam Nerungadhe’ in which he has used the Shenoy which is another north Indian instrument. That Shenoy piece will never go away from our memory.

Take the case of the song ‘Annan Oru Koil Endraal’ the PS version. The sitar piece in the entire song is a master piece in the Hindustani style. I have doubt even a north Indian composer could have come up with that kind of idea.

Of course his original Hindustani style came out in the song ‘Ulagin Mudal Isai Thamizh Isaiye’ in the movie ‘Thava Pudalvan’ in the form of a Jugal Bandhi of Carnatic and Hindustani version. Though for the movie situation the Carnatic singer was shown as the winner if I were the judge I would have given to the Hindustani singer for whom PBS rendered his voice. MM had been blessed with singers like PBS, SBP and PS who sung most if his Hindustani style composition. I could hardly imagine any song composed by him in the Hindustani style sung by TMS.
But these are all individual song in a movie. How about the entire Tamil movie itself is composed in Hindustani style? I am refereeing to the moive ‘Karnan’. In that sense the movie is a land mark in the composition of cine song in the Tamil Film industry. When G R Bandulu approached MM for the movie many people felt that MSV/TKR combination was strong in the light music style (They have been awarded the Title ‘Mellisai Mannargal ‘by that time). So at best they would have expected that the duo would come up in the traditional Carnatic style which was the case for earlier GRB puranic subject and which were composed by the Great GR. They would have been in shock when they listened to the song of the movie. Tell me is the title ‘Mellisai Mannar’ conveys the entire facet of MM’s talents. If that be the case then there is a need to redefine the term ‘Mellisai’.

I remember one instance during the programme ‘Endrum MSV’ in the Mega TV. Mr. Aadavan wanted the humming of the song ‘Yennuyir Thozhi’ to be repeated. That song is a brilliant composition in the Hindustani style.

In that movie he also introduced a novel concept of rendering twin Shenoy in the song ‘Iravum Nilavum’. The Sarangi piece in the song ‘Ullathil Nalla Ullam’ is unbelievable.

I want to add one of my personal experiences. But for the song of ‘Karnan’ I would never have got attracted to the Hindustani music. Such was the impact that the songs of the movie made in me. I am sure many of us would have felt the same. In my opinion MM should be given the credit of making the Hindustani style accepted by the common folk in Tamilnadu.

Apart from the song of that movie the rerecording was also had many Hindustani styles. Take the case of a Shenoy piece he gives during the marriage of Karnan and Subangi.

Bu the best in that movie was the Sarangi piece that comes before the song ‘Enna Koduppan’ by PBS.

Moving reluctantly away from that movie there had been many movies in which he has used the interludes in the Hindustani style for the songs.

Take the case of the song ‘Madura Nagaril Thamizh Sangam’ which he composed in the Hindustani raga. He would hide the actual raga flavor when the song starts and so brilliantly get in to the raga in the prelude. In the same way the Shenoy piece in the interlude is enchanting.

I recently watched for the first time the movie ‘Kai Kotutha Theivam’. He uses a Shenoy piece for the marriage of SSR/KRV in the typical Hindustani style. The reason for that is the marriage happens in Amritsar.

The Sitar piece in the movie ‘Theiva Magan’ is another example. That sitar piece is so famous that it was used a questionnaire in the programme ‘Rasigan ‘in the Kalaingar TV.

He also used the base flute which is very common in the Hindustani music. We can remember the famous Hari Prasad Chaurasia playing with the long flute.

In the song ‘Nalai Indha Velai Parthu Odi Vaa Nilaa’ he used the base flute to the best effect. The reason could be that the song happens in the night situation.

There is good case of MM used the normal Flute in the Hindustani style. The flute interlude in the song ‘Kaadal Kaadal Endru Pesa’ is a Hindustani style phrase.

I recently heard the song ‘Kannan Piranthan Engal Kannan Prianthan’. Please hear the Shenoy prelude. You can sense the typical Hindustani flavor in that. I would have heard that Shenoy piece alone again again in my computer at least 150 times continuously.

Of course we cannot miss his usage of another north Indian instrument ‘Santoor’. The moment the word Santoor is heard we remember the prelude of the song ‘Amaithiyaana Nadhiyinile’.

But for me his best ‘Santoor’ came in the song ‘Yaar Andha Nilavu’. We all know that the song is composed in the Latin style which is something a mix of western and South American folk music. But many would not have noticed that actually the song is a fusion of Latin style and the Hindustani style. The prelude itself will reveal that when we hear the Sarangi piece. Again the Sarangi piece in the first interlude and the Santoor in the second interlude give confirmation about his prowess in the Hindustani style. I am still coming to terms about this aspect. It is ok for a music composer to compose fusion music with the western style and Carnatic style (which he learnt properly) like he did in the song ‘I will sing for you’. But for a music composer from the south to compose fusion music with the north Indian style and the western style is unimaginable.

Apart from the classical Hindustani, MM has also composed song in the Kaavali style. Immediate remembrance comes from the song ‘Aayir penmai Malarattrume’ from ‘Vazhkai Padagu’. Of course the other north Indian Punjabi style ‘Aaadaludan Padalikettu’ is much known.

I came to know from MM himself that he composed the song ‘Vidiya Vidiaya Solli Tharuven’ in the Gazal Style. Until such time I was not aware Gazal. But luckily I happened to hear some Gazals of Punkaj Udas and Anub Jolotta when I was in north for five years.

It was unfortunate that MM never had many opportunities to exploit further his quest for the taste and love he developed for the Gazal style since from that time he had not got many opportunities to compose for films. Otherwise he would have given the best of Gazal styles in his own way to us. I think it is because of that reason he performed an individual album ‘Sangeetham Santhosham’ which is a Tamil Gazal. MM himself felt very sad that it did not got the recognition it deserves. I myself heard the songs only when MM sung a couple of songs during the programme ‘Endrum MSV’. The tunes are so catchy that even my daughter remembers the tune.

There could be many more song, re recording which I have not mentioned. There are also many more north Indian instruments he has used in his composition which I have not mentioned. Please add your information if have any.

Coming to the conclusion I think MM is the one and only MD from south who excelled in Carnatic, Hindustani and the Western styles. The others were some how lacking in any one of the subject. I must say that he is the only one in India. Because I never heard or learnt any north Indian MD who excelled in the Carnatic style. So in that sense MM should be the only one in the entire India to have got substantial knowledge and performance of all these 3 subjects.

Regards,


N Y MURALI
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Sai Saravanan



Joined: 10 Jun 2008
Posts: 630
Location: Hyderabad

PostPosted: Fri Apr 10, 2009 1:04 am    Post subject: Reply with quote

Dear Mr.Murali,
A detailed analysis of the hindustani flavour from the stable of MM. Once, in an interview in DD long back, SPB mentioned some incidents during the recording sessions of the film Ninaithaale Inikkum. He said that MM had allowed SPB to be on his own for the song "Ninaithaale inikkum" with SJ. MM had taken a particular stanza quietly into a hindustani stream and steered SPB along! We can notice this when in a sudden change of mood, the song takes off with a change of gear. This was what being referred to by SPB. He was so happy mentioning the composing style of MM in hindustani, so uniquely for this song, only one of its kind. Remember that this song does not really have lyrics, but just words.

Yes, the instruments 'singing' in hindustani...He has had masters to play sitar in the traditional style, as we all know, for instance. Incidentally, in all the songs analysed by you above, did you notice another 'Hindustani' following stealthily?? The tabla, of course! True to the hindustani style of playing, the tabla accompanies so effortlessly and carries you away into another world. Which other MD in the south could use tabla in this way? I doubt even many Bombay MDs also poorly handled tabla many times.

There is no one for comparison!
Sai Saravanan
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