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Lullabies of Mellisai mannar-Pre1970 era

 
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N Y MURALI
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PostPosted: Sun Apr 01, 2012 9:13 pm    Post subject: Reply with quote

Dear SRS,
Add another great song in your list bt TMS in Parthaal Pasi Theerum 'Pllaikku Thanthai oruvan".

N Y Murali
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parthavi
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PostPosted: Mon Apr 02, 2012 12:42 am    Post subject: Reply with quote

Dear SRS,
A few more songs that came to my mind are:
'Neerodum vaigaiyile' from Paar Magale Par, which could have earned the distinction of a song composed using the whistle for the voice but for the intransigence of Kavignar.

'Pacchai maram ondru' from Ramu. I was touched by the song when I heard it for the very first time while watching the movie in the theater. This has a happy version and a poignant version, each excelling in its emotional impact with the magic touch of the master.

I think 'muththaana muththallavo' and 'chinnach chinnak kannanukku' are not lullaby songs since they are not intended to put a child to sleep. But if you meant to include songs addressed to children in general, then we will have to include 'valarndha kalai marandhu vittal,' (from Kaaththiruntha kangal), a brilliant demo by Kavignar and MSV on creating excellence through simplicity. The hero conveys his concerns about his wife through the child and the heroine seeks to put the record straight using the same medium. While the quarreling parents will sometimes communicate through their child, here was a loving couple doing it!

We also have 'Maharaajaa oru Maharaani' from iru malargal, in which ventriloquism was used perhaps for the first time through the voice of Sadhan.

In 'Pillaikkuth thanthai oruvan' from Paarththaal Pasi Theerum, already mentioned by N Y Murali, Kavignar injects profound philosophic thoughts in simple language and the Master faithfully translates the message into music using a soft in Tone in TMS' stentorian voice.

We also have 'Thookamun kangalai' from Aalayamani, a rare lullaby sung for a grown up person!

MSV has also given us a couple of humorous lullaby songs. 'Appappaa naan appanalladaa' from Galaatta Kalyanam and 'Naan petra magane nataraajaa' from Aththiyaa Maamiyaa.'

There have been other great numbers post-70. Apart from 'indhap pachchikkilikku' (Neethikkuth thalai vanangu), already mentioned by you, a few more I recall are:
'ippadiyor thalaattu' from Avargal.

'naan ketten, avan thandhaan' from Kannaa nalamm.

'Rajaaththi ptreduththaalal Rajakumari' from Manikkathth thottil. The expectant version has 'petreduppal rajakumaan' in the pallavi anticipating
a male child and 'petreduththal Rajakumari' in the reconciled version after the couple begetting (yet another) female child. Who else but MSV could have portrayed the pining for a male child and the disappointment of not getting a male child in the two different versions?

'Aagaayam Kaanaadha Suryodhayam.' from Sridhar's Aalayadeepam. It is a pity that after getting such a beautiful song from MSV for this flop movie, Sridhar chose to go for IR, who has not provided him with great songs in any of his films, anyway.

What a great variety of Lullaby songs!. What a range of emotions have been covered! A student of music can write a research paper on these songs alone for Ph.d. Perhaps N Y Murali will consider presenting lullaby songs in one of our future programs with appropriate commentaries on each.

But there is something more. I am yet to come to the best lullaby of MSV.

A few years back Vaali's book of poems on Kannadasan under the title 'Krishna Bhakthan' was released in the annual function of Kannadasan Viswanathan trust. Vaali had written a Thlaattu that could have been appropriately sung by Kannadasan's mother. MSV has composed music for this song. This song was performed by MSV's orchestra in the same function, with Kalpana singing the song adorning the role of Kannadasan's mother and enacting this on the stage. Each of MSV's pallavis excel in their own way and 'Malarnthum malaraatha' will always remain on top. But I consider MSV's composing a lullaby for his alter ego Kannadasan, with the lyric written by another great poet who had worked with him to be the best from the point of view of its commemorative value. I would request the senior members who have access to the trust to get a recording of this lullaby and upload it on the site.

It is late night. I am writing about lullabies but ironically I am not getting any sleep. I am overwhelmed by an amazing feeling whether any other composer in any language would have even attempted something that will be comparable with the range, reach and extent of MSV's musical creation on this small segment of lullaby songs alone. Now I feel very confident that no amount of digitization or overwriting can do any damage to MSV's creations, if only we can keep a record of the originals.

During the golden jubilee of Paarththaal Pasi Theerum, when the film was screened and the name Viswanathan-Ramamurthy appeared in the title, one ardent fan of Sivaji (who was making continuous comments at a loud voice throughout, eulogizing Sivaji) said, "Onga ppaattaik kettuttuth thaan neraya per thoongarranga ayyaa!" (many people go to sleep only after listening to your songs.)

Well, in a way, all of MSV's compositions are lullabies since a lot of people (including me) listen to them and then only go to sleep with peace and satisfaction!
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madhuraman
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PostPosted: Mon Apr 02, 2012 6:31 pm    Post subject: Songs composed by MSV Reply with quote

Dear Shankar and Parthavi,
If soporific charm is the true value of Lullaby, well most songs of MSV do carry the listener to the state of ecstasy irrespective of the genre. Beside the emotive tune, it is the orchestration that catapults the mood as if 'straight away' from heavens. Listen to any number where multi-decor Violins weave a borderless delight that diffuses into the lyric spirit and manages to fade off leaving the listener in suspended state leaving nothing more to desire. I can quote umpteen cases to highlight the contention. Also, MSV strikes a unique blend of strings and flute [rarely the reverse too] to a percussion that has tell-tale punches. How often he has brought to play his 'proverbial bongo' in tandem or in pair with something else; on occasions he chooses with draw all percussion though every other support is in place, only to add percussion at a spot to majestically declare his command. Ponder over these.
Warm regards K.Raman Madurai.
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Sai Saravanan
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PostPosted: Mon Apr 09, 2012 10:23 pm    Post subject: Reply with quote

Dear friends,
The mere mention of the listed songs by both of you made me waft into a dream!! Their lyrical quality apart, what transports one and all, is the feel of every song, the life it infuses in all of us, the mood that they build,...all are evergreen testimonies to our mellisai mannar. Is there anything called perfection? These are personifying perfection. How Professor has summarised glows like a jewel on the crown!
Thanks for such a lovely thread.
Sai Saravanan
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Vatsan
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PostPosted: Sat Apr 14, 2012 12:17 am    Post subject: Lullaby Reply with quote

Shankar, though I am more than familiar with all the songs you have listed, going through the list was an exercise in re-living my relationship with those very songs. There is this overwhelming response my heart comes up with, all on its own, out of its own volition. Even the most fastidious of MSV's critics will have to concede defeat with respect to the emotional accuracy of those songs, at the very least. The interesting aspect is that the contextual backdrop against which the songs have been created are different and complex, a lethal, tight rope walk indeed !!!

Now, as I write this, "nAn pAdum pAttilE" by PS from "Bhavani" springs to mind immediately. As a part of my minds hums the pallvi, another retraces the flute piece that curves down and fades out, an instance of "reverse crescendo" as a response to "athu En kaNNE" phrase. Piercing taps on the wood block add to the intriguing mood of the song. Is it sung in the night ? Truly wonderous pieces.

As I close down on this post, "azhagAna malarE" from "thenral veesum" by "subtle" Sreenivos vies for special attention.

If it is alright, let us take up the gauntlet to cover songs where a child is one of the chief protagonists, not just lullabies in the true sense. If not, we can start a new thread and leave this uncontaminated.
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Vatsan
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PostPosted: Sat Apr 14, 2012 12:58 am    Post subject: Lullabies Reply with quote

As an aside, I recall a conversation with an iconic playback singer who made a mention of the "neerodum vaigayilE" number and the intertwined melancholy that has been given as much importance as the song's sleep inducing features. When he had mustered up enough guts to ask MSV the reason for creating a lullaby with such seemingly irreconcilable sentiments, MSV without batting an eyelid, explained the need for each of the songs in a movie to harbour the essence of the theme of the movie. The song in question had been imparted this nuanced coloration for it to truly "belong" to the movie, as a tuneful cog in the movie wheel. MSV went into the details and explained to the then young singer that both children eventually abandon their parents and hence that overtone of heaviness. Yet to me, it is an instance of MSV placing his foot on the melancholy part, keeping it in check, as it squirmed and threatened to take control.
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parthavi
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PostPosted: Sun Apr 15, 2012 8:48 am    Post subject: Reply with quote

That MSV makes his compositions fit the themes of both he film and song is too well known to need a mention by me. Additionally, he pays attention to the words in the songs and ascribes meanings beyond what even the Kavignars might have conceived. A couple of instances on these aspects:

1) Yugi Sethu asked MSV, in his Naiyandi Dharbar program in Vijay TV several years ago why there was an undertone of pathos in all songs of Pudhiya Partavai, a feature a music illeterate like me had not discerned till then.Sethu himself answered the question by suggesting that it was due to the tragic ending of the story allowing MSV to dwell on only the generalities of his compositions having been linked to story, situation etc. (Yugi Sethu mentioned that he had posed the same question to TKR but didn't say what answer he gave. I didn't watch his interview of TKR either.)

2) In 'paar magale paar' there is a line 'Aval enakkaa maganaal?' This is followed by the line 'naan avalukku magannaanen,' leaving the listener in no doubt about the meaning of line. The father only means that his daughter took more care of him than he did of her. But MSV mentioned in Endrum MSV program that whenever he heard the song, the connotation , 'en magalaa aval?' 'Is she my daughter' made him feel very sad. I had never thought the line could mean this. Kavignar might have mentioned this meaning to MSV. Yet, I was stunned by MSV's perspicacity.

3) In 'Server Sundaram,' the hero Muthuraman who is scheduled to meet his prospective bride KR Vijaya skips the appointment after knowing that his friend Nagesh loves the heroine. He later meets the heroine, explains his position and suggests that their marriage be deferred till the time Nagesh understands and accepts the reality. After this scene, the song 'pogap pogath theriyum' comes. MSV mentiond in Endrum MSV that this song meant that the story had reached a stage at which how events would develop remained uncertain. That's why Kavignar had written 'pogap pogath theriyum!' This explanation was also a new understanding of the song to me.

4) MSV said about the song 'Kaatru vanthaal thalai saayum naanal' that since Naanal had a quality of bending, he had structured some bends and turns in the song. (naanal maathiri, indhap paattum valaindhu valaindhu pogum!) Though the word Naanal has no significance in this song's theme, MSV has used the characteristic of naanal to embellish this song. He also said about the song, 'Oh, oh, oh.. mambazhaththu vandu,' that the hum 'oh, oh was introduced to represent the humming of the bee. (vandin reengaaram.)

Talking of lullabies, in addition to turning out enchanting full-fledged lullabies, MSV had introduced a taste of lullabies in many songs in which the word thalattu appeared. In the song 'Kannaana Kannanukku avasaramaa?' from Aalayamani, after the line, 'pillayainai pole unnaith thaalaattavaa,' there will be an 'aareeraaro..' You can find such lullaby notes in many other songs like 'Aagaayam Kaanaadha Suryodhayam.' from Aalayadeepam.
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madhuraman
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PostPosted: Sun Apr 15, 2012 4:27 pm    Post subject: Songs composed by MSV Reply with quote

Dear Friends,
The postings -preceding hover around the pivot that MSV ties the song to its mood in the movie situation. It is not too simplistic an idea for us to comfortably exemplify. What I mean is, if the screenplay does not help the viewer to grasp the ethos intended, MSV more than justifies the mood by pegging it to a thin fabric of 'emotional freedom' which permits the song to wobble between these limits without any feel of 'violation' of the song's chastity.

Look at 'MuhukkaLO kaNgaL' - legendary duet that has a cryptic soul stirring touch of deprivation even as one listens the song. The lyric phrases do not suggest the mood so well as does the tune.

Perhaps the movie ''anbE vA'' is another case in point where songs of all genre in terms of mood are laid on a platter and embellished by immaculate pieces of orchestration. It is just the songs that keep the movie houses packed whenever the movie is screened, even if for the nth time. It is inappropriate to jeopardize MSV's calibre by suggesting that he squeezes his head to drive the 'spirit' into a song. It is just that things fall to place as MSV's is a musical mind by conception and never by compulsion. All I need to reiterate is to tell that he has been the lone MD to have crafted musical mesmerism unabated, song after song , year after year for decades with his foundation of imagination left untapped now. I do not find adequate diction to convey all that I feel.
Warm regards K.Raman Madurai.
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madhuraman
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PostPosted: Sun Apr 15, 2012 4:27 pm    Post subject: Songs composed by MSV Reply with quote

Dear Friends,
The postings -preceding hover around the pivot that MSV ties the song to its mood in the movie situation. It is not too simplistic an idea for us to comfortably exemplify. What I mean is, if the screenplay does not help the viewer to grasp the ethos intended, MSV more than justifies the mood by pegging it to a thin fabric of 'emotional freedom' which permits the song to wobble between these limits without any feel of 'violation' of the song's chastity.

Look at 'MuhukkaLO kaNgaL' - legendary duet that has a cryptic soul stirring touch of deprivation even as one listens the song. The lyric phrases do not suggest the mood so well as does the tune.

Perhaps the movie ''anbE vA'' is another case in point where songs of all genre in terms of mood are laid on a platter and embellished by immaculate pieces of orchestration. It is just the songs that keep the movie houses packed whenever the movie is screened, even if for the nth time. It is inappropriate to jeopardize MSV's calibre by suggesting that he squeezes his head to drive the 'spirit' into a song. It is just that things fall to place as MSV's is a musical mind by conception and never by compulsion. All I need to reiterate is to tell that he has been the lone MD to have crafted musical mesmerism unabated, song after song , year after year for decades with his foundation of imagination left untapped now. I do not find adequate diction to convey all that I feel.
Warm regards K.Raman Madurai.
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