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Loads of ludes -III pEsuvadhu kiLiyA

 
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madhuraman



Joined: 11 Jun 2007
Posts: 1226
Location: navimumbai

PostPosted: Sat Jun 12, 2010 7:15 pm    Post subject: Loads of ludes -III pEsuvadhu kiLiyA Reply with quote

Dear vk 1959 et al.,
After a gap I revisit the topic with the song 'pEsuvadhu kiLiyA' TMS PS under MMs' grandeur as composers of this immortal number. I just confine myself to the ludes with just a peripheral reference to singers.
The song opens on a vague play of strumming only to let in the brisk tell-tale beat of Bongo that swiftly cascades setting the tone for TMS to open the pallavi , soon to be joined by PS with her silken float 'pAduvadhu kaviyA illai pAri vaLLal maganA' A rapid interlude of brisk strings, flute and sweep of violins mesmerise the listener into a melt with bongo at its destructive best.
VR have played percussion strategies with aplomb bongo for pallavi lines and Tabla for charaNam lines, where at critical spots Tabla hops to land keeping with high rise and drop in the singing - a beauty of sorts way back in 1962 0r so.
The mesmeric value of the song resides in the multitude of instrumental play brilliantly blended.Interludes are quite rich and sophisticated by the articulate play of strings, short brass pieces, omnipresent flute and racy percussion be it Bongo or Tabla. Bongo and Tabla have their domains clear in take over or hand over with midas touch of MSV never letting in a moment of friction.
The song is a torrent of orchestration punctuated by briskness and clarity through the thick of the ludes. As ever, the brilliant union of orchestra and voice and vice-versa are a delight to hear.
This is one of those rare songs whose tonal value is set by the dexterity of Bongo play and a second-to-none display of vibrant Tabla making us wonder 'pEsuvadhu - Bongo vA, Tabla vA, TMS A? PS A? Certainly it is MSV undoubtedly.

Tail piece:
The song made history in Cine circles in 1962-63 as per the song reacordist Mr. Sampath's information. The racy tune with its rapid notes and even more swift arrangements of all the ludes was recorded in A SINGLE TAKE exactly in the same time that the song sequence is played on screen. A marvellous feat by any standards as there was only human labour and no special technology.
Thank you Mr vk for inviting attention to this number.
Warm regards Prof.K.Raman Madurai.
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Prof. K. Raman
Mumbai
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Baskar CS



Joined: 19 May 2007
Posts: 203

PostPosted: Sun Jun 13, 2010 5:16 am    Post subject: Reply with quote

in a forest like the song had been shot if i am right and from the start of mgr tapping the head of Saroja devi the flow starts

one thing apart from the wonderful compostition we alll talk there is one nativity touch . that is the instruments all used were apt to the shot situations and jsut imagine in the oonjal scene of the song if i am right the instruments he had used is not alien and it suits the atmosphere .


he has take the best out of singers ,choose them first ,compose the tune ,prepare the orchestra , go for rehearsal , set for actual take , record it and give it to us in a hot plate and we all eat for years together

what a man he is
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parthavi



Joined: 15 Jan 2007
Posts: 705
Location: Chennai

PostPosted: Sun Jun 13, 2010 8:34 am    Post subject: Reply with quote

I remember NR Kittu, Film editor mentioning about this song in his 'malarum Ninaivugal' in Doordharshsn several years ago. Though I don't remember his entire message, I recall that he said that this song had the record of having used the largest number of orchestral instruments at that time. (How I wish there is some facility like the google search engine that will bring in all references ever made by anyone at any time about MSV, at the click of a mouse! That will reveal a great treasure house. Poor memory has its limitations!) Considering the fact that a large number of instruments have been used and given the daunting task of playing several intricate MSV touches, recording the song in one take is an incredible feat. I bow my head in respect, admiration and awe before MSV and his dedicated team for making this happen.

Incidentally, I was always a bit intrigued by the lyrics 'pesuvadhu kiliyaa, pennarasi mozhiya?' It does not seem appropriate to compare Kili and mozhi. Kili pesum, mozhi pesumaa? This looks like an inappropriate parallelism. But Kavignar might have had his own logic for using this apparently inappropriate parallelism. For a long time, I was under the impression that this song was penned by Vaali, who does not bother much about niceties. I was surprised to learn that this was penned by Kavignar. Anyway, who am I to question Kavignar's poetry?

Recently, a fan of Kannadasan mentioned during the Then Kannam program of Jaya TV that the lines

'Cheranukku uravaa?
Senthamizhar nilava?

is a reference to MGR, who is a Cheran (Keralite) but has become a darling of the Tamils. I think the reference could be more appropriately applied to MSV, who is a Cheran by birth but has been adorning the firmament of Tamils as a moon and has been delighting us with the cool light of his pleasing compositions. The moon may sometimes be eclipsed, may even be totally hidden on the new moon days but will keep shining as a full moon eternally.

Senthamizhar nilavukku endrum sindhu paaduvoem maam!
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P Rengaswami (9381409380)
MSV, Un isai kettaal puvi asainthaadum, idhu iraivan arul aagum.
http://msv-music.blogspot.in/
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N Y MURALI



Joined: 16 Nov 2008
Posts: 920
Location: CHENNAI

PostPosted: Sun Jun 13, 2010 12:57 pm    Post subject: Reply with quote

Dear Mr. Renagaswamy,
Whether right or wrong you have kindled an interesting topic about the nonparallel combination of words used in the song.

But it is true that he has kept MGR in mind while he mentioned the line 'Cheranukku uravaa?'. Keeping this point in mind it is clear that he has also kept Sarojadevi in mind while he penned the first two lines, because she was called as 'Kannadauthu painkili' due her accent in tamil.

This nonparallel combination of words used in the song reflects a feeling that Cheran and Tamizh are different whereas we always call the three kings as chera, chozha, paandiya by giving the first preference to chera.

Whereas if we look from the angle of inclusiveness then we should say that the 'Kili' (parrot) which can speak little words like humans so kilis are included in the sect of speaking ability creatures. Then the same logic applies to the other lines where chera is inclusive in one of the three tamil land. And apply this logic to the male character in the song and it shows that he belongs to one of the land out of three, but is the darling of all the three lands. Kerala was a part of earlier Tamil nadu.

Then it cannot be applied to MGR as he has never been a darling of kerala film fans. But it perfectly applies to MSV.

N Y MURALI
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