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MSVLS ROLE IN THE DUOS COMPOSITIONS
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vaidymsv
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PostPosted: Mon Mar 17, 2014 12:04 pm    Post subject: TKR SPILT THE BEANS... Reply with quote

Dear All,

While there have been very furious moments in this thread, never had anyone intentionally hurt the sentiments of the pro TKR group. While many have argued for TKR and against MSV for various reasons, many of us were also in the same dilemma as to who had actually contributed for the MSV-TKR creations, whether it was the former or the later and this question I am sure haunted all of us for a long time...

It was ultimately TKR himself who spilt the beans during our Vaarthaigal Sollum Vaathiyangal concert. TKR's observations were so open & blatant that day, he cleared all the doubts in the minds of people that it was MSV all the way who guided him in all their creations. As I have written earlier, TKR is one of the greatest, knowledgeable musicians India has ever produced and he deserved all respects. But, when it comes to the creative part of it, only those with vested interests launch a scathing attack on MSV which is not fair by any standards.

As a person who has interacted not only with MSV too closely but with many musicians who have played for him, the area of upset & strained relationships of many with MSV were only towards the hardwork many had to put in beyond their capabilities and was demanded by MSV is a fact known to the whole world. This was done only with the thought of briging out a superior product and not with the intention of harassing anyone. Many have misrepresented this fact and hence all these ghost stories...

As many have opined, where did TKR's creativity go after the split? Why couldn't he perform when MSV started hitting the skies with his all time melodies? Let's accept the fact that TKR's abilities could have been limited to certain areas. But when it came to creativity, who could stand in between MSV & Kalaivani?????

CHEERS

MSV IS MELODY!!!

VAIDYMSV


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N Y MURALI
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PostPosted: Mon Mar 17, 2014 4:58 pm    Post subject: Reply with quote

After having received many posts which are thought provoking. I feel I should write my perception as to what was the reason for the VR duo split. And I wish to make the point again that I am looking at the facts as facts and never intends to add a point more or less which are hearsays. I would only use the quotes that appeared in various books, magazines and famous quotes which all of us know.

Before one tries to understand why the successful duo split, one needs to know why they that is Shri T K Ramamoorthy and M S Viswanathan have teamed up. If one understands that point, he will be in a better position to understand the reason for the split. But in order to understand the above one needs to rewind their time machine back by 60 years and understand that period by removing the name and fame which MSV and TKR got later. Only then one can easily judge the reason for their teaming up.

We all know that MSV was working with S M Subbiah Naidu some time in late 40s. And the story that he composed a song ‘pudhu vasanthamaame’ for the movie ‘Veera Abhimanyu’ is also very much known to us. That MSV had the imaginative capacity to churn out tunes and that his guru Shri SMS himself sometimes struggling to get made him feel comfortable in composing but did that really helped him in his career? Yes indeed that was the reason SMS referred MSV as the original composer for some the songs that were hit at that time and asked the Jupiter Pictures partners to leave MSV in the safe hands of some good Music director helped him to land at C R Subbararama’s orchestra sometime in 1948-49.
The above fact is there in MSV’S Biography and but why did CRS decide to take MSV as his assistant? We are not privy to any information but may be here TKR would have influenced CRS to decide so. Remember MSV always say about TKR “ennai adayaalam kattiyavar’. TKR himself fondly quotes an incident that on the day MSV joined he gave a tough violin piece to TKR(I think this is for the song ‘or idam thanile ’) and when TKR was telling about the toughness of the musical score, MSV said that he would also play along him. So it is a fact told by TKR himself that MSV used to make some musical scores even when CRS was alive as a Music Director. But all of a sudden it so happened that CRS died at a very early age of 30 amidst many movies for which there were partially some recording have taken place and balance have to be completed. Now the question arises as to who will complete them.

At this moment we should also understand that CRS never officially had any Assistant. Though MSV himself joined him 2 years back and had some opportunities to make some musical scores, TKR was also one of the senior member of the orchestra as a Violinist. Now we need to ask this question. Can MSV who had 2 years experience with CRS orchestra, whose salary was a meager Rs. 25 a month, can compose and asks the senior players like TKR, Nanjappa Reddiar etc who were getting more than Rs. 400/ a month ?. The power equation was simply not there in MSV’s favour then.

So it is not a rocket science for us understand that it would be MSV who would approach and take the help of senior musician like TKR to fill the power vacuum. MSV had in him the power to create tunes and even orchestrate. But he simply did not have power to execute because of the unfavorable power equation. Remember MSV told at times that his orchestra would refuse to play his tunes by keeping mum until he comes out with a tune that is acceptable to them. Such was the power, the men of those team wielded during that time. One should also remember as what happened during the making of the movie ‘Jenovah’ when MGR never approved MSV as composer and it was MSV’s sheer luck that he had Mr. Eachppan, the producer of that movie who was on his side that day.

So when MSV approached TKR when they came out after watching a movie from Midland Theatre, that they can also team up like Shankar Jaikishen of the North, it was that power that MSV required from TKR. MSV never would have wanted TKR’s ability as a composer(if that there it is fine), But what MSV wanted was a vehicle of power through which he can execute his imagination. And TKR had that power in that circle. Remember MSV himself at that moment had individually composed the songs for ‘Jenovah’ . So if effect one could easily gauge that MSV at least did not approach TKR for composing and orchestrating which any way he himself possessed that skill of having completed 'Jenovah'.

But why did TKR initially refuse to budge to MSV and insisted that he play only his Violin rather than teaming as a co-composer. It is because he was never a willing composer like MSV which he himself had quoted in many interviews and this detail is there in MSV’S biography as told by TKR. And by the way are the duo really like the duo of the North Shankar-Jaikishen.? In the case of SJ they use to compose and orchestrate one song each for a movie and nobody other than them know as to which tunes composed by whom. The pundits would break their head and always used to making of many stories. But has any such thing happened in the case VR? How did they share their work load? Well. TKR himself told in a recent interview in the Hindu which I am quoting
“Walking down Mount Road, Chennai, after a show at Midland theatre, MSV suddenly turned towards his colleague and asked, “Why don’t we work like Shanker and Jaikishen, as a duo?” TKR was sceptical. “I’m happy with my violin. I’ll play for your songs just as I do for other composers,” he said. But Viswanathan refused to give up. That they went on to create timeless tunes for decades to come is too well known to dwell upon. But how did they actually function as a twosome? “We worked in tandem. I’d add nuances to his compositions wherever I could, introduce notes, play the violin and conduct or sit in the chamber. Even a minor error couldn’t escape my ears. I’d immediately identify the doer and the deed,””

So this was how the duo shared their work. And when they started from ‘Panam’ success did not come immediately. Though the duo were much talked about for their work in ‘Mahadevi’ in 1954 yet they were not very successful. I am just giving you a statistics and you will know for yourselves.

From 1952 ‘Panam’ to 1961 ‘Paava Mannippu’ the duo had composed only for 28 movies in a span of 9 years which comes to about 3 movies a year. Is this success? And I do not have the data but I am sure that KVM, GR would have individually had given more than this. Plus there were other prominent players. Yes. One can talk about ‘Pudhayal’ or ‘Padi Bakthi’. And we cannot forget to quote ‘Maalayitta Mangai’ Yet all these never turned the table on the duos side. It was the success of ‘Paava Manippu’ followed by ‘Paasa Malar’ and Paalum Pazhamum’ all in the same year turned the table upside down in favour of the duo. Then there was never looking back. I am again giving a statistics that the same duo had done 50 movies from ‘Paava Mannippu’ in 1961 to ‘ayirathil Oruvan’ in 1965, a rate of 10 movies per year which is a growth of 300%

There is another important think that had happened during the making of ‘Maalayitta Mangai’. It was from that movie a new team of people joined their orchestra which included stalwarts like Philips, Mangalamoorthy, Shyam Joseph, Hendri Daniel etc. Now as the team grew larger one can imagine the centre of gravity of the power equations also considerably changes.

So one can imagine that once the duo changed their style and orchestration in the 60’s that they were welcomed whole heartedly and that is how the ‘Golden period of Tamil Cinema’s Music’ started.

But then why did the duo partway when Success came to them after much effort. It is always said that Success and failures are like a two edge sword. They sometime bind the unity but at times break the unity also.
I am also one among you who do not have the ready answer. This is always a mystery and it may remain a mystery.

But who proposed the split? Now it was TKR who suggested that it better they part away. And MSV? Well he had not objected but never insisted TKR to stay on. Well one may argue that MSV should not have agreed to the partition. But who knows the exact situation and the emotion that ran high at the point of time. So in effect I feel there is no point in blaming MSV for this.

So in nut shell in 1952, it was MSV who proposed their teaming up. And unwilling TKR came.

And in 1965 it was TKR who proposed that they part away. And MSV never objected. Now imagine the power equation MSV had within his orchestra in 1952 viz a viz his power equation in 1965. The tables have definitely turned upside down towards MSV.

But one should also appreciate the fact that again it was MSV who proposed to TKR in 1996 for the movie ‘Engirundho Vandhan’ for teaming up one last time so that they both remove the blemishes and remain as friends for ever.

So these are the points which I feel, why MSV chose to team up with TKR.

In my next post, I shall try to get in to the detail as to why such a successful duo got split which many of us did not want it to be.

N Y Murali
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madhuraman
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PostPosted: Tue Mar 18, 2014 5:50 am    Post subject: Articles and writings Reply with quote

Dear Friends and Mr NY M,
While, I am also eager to find out what you have to say on the subject, I earnestly feel that we can never ignore the series of happenings in recording sessions, criss-cross arguments, unwilling to budge on certain proposals on tune or orchestration, frustrating time spent on convincing one another [I mean not only between V and R , even members of orchestra would have taken positions much to the chagrin of V or R or both].

There were unconfirmed suggestions that there were increasing 'stay off' by R at crucial moments along the months before the actual segregation. The conspicuous absence of R and LR E in the film sequence of AvaLukkenna song is more deep in message than what meets the eye.

Logic tells us that like bondage, bitterness also can grow especially when time and money are at stakes. Possibly, with passage of time when the dust had settled down it should have been an invitation to recall nostalgia for both V and R.

After all when emotion over rules ego, mind finds it consoling to reestablish friendship even when materially it may look unproductive. So, in all such instances of separation and reunion, the binding power comes from nostalgia while separation is a product of unrelenting Ego on either side.

The irony has been that both have uncontaminated respect for the skills of each other. Nature is the best leveller and none can hope to understand it for all its ramifications.

Anyway let me wait for your perceptions on the matter.
Thanks for the opportunity

Warm regards K.Raman Madurai
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S.Balaji
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PostPosted: Tue Mar 18, 2014 10:47 am    Post subject: Reply with quote

The fact is that both are adorable characters .....

Both never threw any public abuse against each other

Never staked claim ( that its their contribution only etc ) for the success of their compositions

What I found really touching and true reflection of their friendship is that both joined together forgetting their sad past and appeared in public in the last many years showering praise for each

The warmth and togetherness was quite apparent and sincere....

NYM Sir,

I am looking forward to how the concept of duo got conceived and how it took shape.... Pls write...

Also I wish to know more on the subtle differences in the orchestration between the TKR era and the subsequent solo of MSV and TKR.... Pls explain us...
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Vatsan
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PostPosted: Tue Mar 18, 2014 2:31 pm    Post subject: Resp. Reply with quote

NYM and others....one unfortunate turn around of events was that TKR owing to his wayward ways and consistent absence in the recording studios became the butt of instrumentalists' jokes. They often poked fun at him, indirectly in his presence and behind his back, more overtly. This was not left unnoticed by TKR and the bitter idea that he was being sidelined in the larger scheme of things was become more and more obvious to him. Better sense would have prevented him from understanding that he himself was responsible for the (self) pitiable situation he found himself in. After all, all directors communicated the movie situations for song insertion only to MSV and attended those "real time" composing sessions too with literally and figuratively the active partner. TKR, I am told was not even aware that a shooting for the movie Server Sundaram with MSV and TMS had indeed taken place. Needless to say, the already brittle relationship turned tempestuous once TKR did come to know about the shooting. This culminated in TKR screaming at MSV during the recording of the songs for 1000-il oruvan, throwing a tantrum and stalking out of the studio, never to return. MSV approached MGR to sort things out but MGR was unwilling and encouraged MSV to go on alone, stating that it was MSV who was the driving force behind those eternal creations. MGR being true to the unspoken but implied word, flooded MSV with offers which made those lucky Producers walk their way to their respective banks, laughing merrily all the way. This is my bit and I too am waiting with bated breath on what is going to be revealed further here.
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N Y MURALI
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PostPosted: Tue Mar 18, 2014 2:34 pm    Post subject: Reply with quote

Dear Mr. Balaji,
Thanks for your post. Yes. I do agree with you that at the end of the day both of them have shown maturity and it is good that they ended up in a happy note.

And I am reiterating my point that at no point of time I wish to demean KTR's ability as a composer. He could have got talent. But we do not have substantial evidence in terms of movies or songs unfortunately. I feel TKR would have made a great Violinist if he ventured in to classical music after the split. Talent is always measured in terms of performance and not on potential. History is very blunt in that aspect and it does not take the case of circumstances.

And I was the one who also paid the last respects for TKR when he passed on behalf of msvtimes.

With respect to the Orchestral nuances, I wish to say I am no good at it. I hope people like Vatsan, Ram can write better. But still I shall try to do what I know. But I think we can start a new thread and keep this thread separately.

As I have mentioned I need to write that post as to what could have been the reason for the split.

once that is done We shall start a new thread and discuss this important topic of the Orchestral nuances.

N Y Murali
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vaidymsv
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PostPosted: Tue Mar 18, 2014 3:13 pm    Post subject: A FIELD LIMITED FOR TKR, FOR MSV UNLIMITED IN EVERY SENSE... Reply with quote

Dear All,

As all of us have largely agreed upon on one point - that is not to demean TKR in anyway as Murali put it very well. But unfortunately history & the statistics available with us make a very clear distinction between who was more prolific, more successful, more creative amongst the duo and I am sure there is no element of doubt in the minds of listeners that it is MSV who has been the most consistent in every aspect of film music...

For reasons best known to the duo themselves, the most inevitable split took place and I am sure this rocked the very foundation of South Indian film music. What next after the split? The show ought to go on isn't it? MSV or TKR I am sure would have thoroughly pondered over and decided to continue their task anyways. Now came reality - the post split saw some emergence of new wave compositions, orchestrational patterns and what not!!! TKR, simply was no match for the juggernaut called MSV who started firing from all cylinders and many were reduced to their near non-existance in this process. The ripples created by MSV in the melody arena still remains unchallenged making way for a music that will live forever in the hearts of a true listener. For MSV who absolutely relied on his Brammasthra called "creativity & God's anugraham" than anything else in this world, the post split never affected him in an alarming way. Certainly to loose a close friend indeed is painful for anyone but MSV was all the more composed, confidant, focussed and thus came some immortal melodies...

TKR had to be content with whatever he got as success eluded him in many ways primarily because of his irreplaceable loss - that of MSV, and especially after the split he knew he was the weakest in terms of creativity. It is no surprise that even the numbers & opportunities dwindled as days went by while on the other side MSV saw himself positioned as a formidable one man army for whom sucess after success went in search of him and the rest is history!!!

CHEERS

MSV IS MELODY!!!

VAIDYMSV

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N Y MURALI
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PostPosted: Tue Mar 18, 2014 8:30 pm    Post subject: Reply with quote

Myself wrote

Quote:
TKR himself fondly quotes an incident that on the day MSV joined he gave a tough violin piece to TKR(I think this is for the song ‘or idam thanile ’) and when TKR was telling about the toughness of the musical score, MSV said that he would also play along him. So it is a fact told by TKR himself that MSV used to make some musical scores even when CRS was alive as a Music Director.


I wish to clarify a point here. I watched TKR speaking about the above mentioned incident in MSV's "TIRUMBI PAARKKIREN'. He mentioned that he was introduced to MSV by one of his friend P S Diwakar, Pianist. At that time P S Diwakar said that MSV was learning Piano from him. TKR says it was some time in 1949 and MSV was at that time working with SMS.
And TKR further said after that introduction he never met MSV again until one day he went to Salem for a Jupiter Pictures movie 'Velaikaari' for which C R Subbaraman was the Music Director. And during that time SMS was doing music for a movie called 'Vijayakumari'. In that movie there was one dance sequence. TKR said it was completely composed by MSV and that was when he was asked to play the Violin which he found out to be very tough and MSV agreed to play along with him and that was how the dance music was recorded.


So that incident did not happen when MSV came to CRS but before that when MSV was working with SMS.

So I stand corrected.

N Y Murali
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N Y MURALI
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PostPosted: Wed Mar 19, 2014 12:30 pm    Post subject: Reply with quote

Now let us look in to the reasons for the duo’s split. While we do not have the information from the duo who only said that it was fate that they have parted away, had led to many conspiracy theory. Many said it could be the money or something else. I am sure that these are not the reasons. While I was a witness to TKR’s speech a few years back in the Musician’s union Hall, when the duo were honoured for the union’s 50th year celebration. In that speech TKR told that there were times when he did not participate in the composition or recording but MSV would ensure that his duo share would be sent to him. Of course as usual MSV was urging TKR not to talk about the past, TKR silenced MSV by saying that ‘summayirunga thambi, edhellam solli than aaganum’.

So it is a fact acknowledged by TKR himself that it was not money and other petty issues that were the reasons for their souring relations at that point of time. Then what could be the reason. Without any authenticate information we have to only surmise the reasons by looking at various information and facts that happened during that time.

I wish to quote MRK Raju who claims to be an assistant with C R Subburaman and later for TKR.

Quote:
Splilt came because of MSV's greedy/Kannadasan&CVSridhar"s enemity with TKR and not because of TKR's Alcholisim as mentioned by your Mr. Manisekaran.
TKR , after 1960, started giving 1or2 tunes for selection to director because he is better judge of tunes and he will not give tunes for badly written lyrics(eg. Atamanathan's lyrics in film "Marakka MUdiyuma" which was latter written by "MK" ).TKR refused to change his tunes for film "Kadalikka Neramillai" as demanded by Sridhar.So Sridhar was unhappy with him .TKR refused to Finance for Kannadasan for his film "Karruppanam" and so he instigated MSV to
spilit with TKR and promising to help him.


Is there an underlying truth in the above statement? Yes. Even though I do not take his entire writing as authenticated yet he himself knowingly or unknowingly has given some correct facts.

Once I met PBS along with Vatsan in Woodlands Hotel. PBS said that the song ‘anubhavam pudumai’ in the movie ‘Kaadalikka Neramillai’ was not the original score. This was the last minute tune composed by MSV and the original that should have been was the song ‘idhuvarai neengal paartha paarvai’ which is in the movie ‘Panakkara Kudumbam’. PBS told that the song was even recorded but was abandoned after the recording. But he never talked about CRS, TKR, or MSV.

So correlating this information from PBS with the above statement one could understand that the friction could have started from then. Now a point is to be considered. After all why should TKR had objected to the song being kept there and not replaced by another is the professional ego. But as we all know how MSV operates for a song composition. He is of the opinion that a song has to be acceptable to both the Director and the Music director. Until then MSV would never get tired ob giving more and more tunes. In fact it was MSV who said that the song ‘Naalam Naalam’ in the same movie was the 3rd tune and not the first.

So having worked in that style why then TKR should object to that? The reason is why then CRS allowed it to go for recording and asked for the change during the composition itself and not after the recording of a song. It was the sheer professional ego. Remember CRS used to have the habit of changing a song at the 11th hour is proved by more evidence from the song ‘Neeradum kangal inge’ which was replaced by ‘kannan ennum mannan perai’ from the movie ‘Venniradai’ and the song ‘Thedinen vandhadhu’ from ‘ooty varai uravu’. So this style of CRS would have rubbed TKR in the wrong way. But what about MSV? Well. As we all know very well MSV used to go beyond the limits to accommodate aspirations of Director’s and Actors’ wishes which backfired him. But we will be mistaken to conclude that MSV would accommodate even without his conscience. Because there are instances where he insisted that his tune be kept as it is and confronted leading directors and actors. The classic examples are the song ‘Varavendum oru pozhudhu’ for which he stood his ground against the same CRS. For the song ‘Azhagya Thamizh magal ival’ he stood his ground against MGR. For the song ‘Pon magal vandhaal’ he stood his ground against Sivaji. And finally he stood his ground for the song ‘Kanchi Pattuduthi’ .

So why then MSV agreed to retune the song ‘anubhavam pudumai’. The reason is MSV himself would have thought that the new more modern tune is more suited for the character ( Rajashri being a wealthy zamindar’s daughter and undergoing English educations and seeing only English Movies). Remember in that song Rajashri was shown in be in the nighty which sort of the scene were rare in those days. Even Ravichandran was shown to wear the night coat. So as MSV would have thought the song ‘idhu varai neengal paartha paarvai’ be better replaced even though it was recorded with PBS/PS. Remember we get to know that it was MSV alone who retuned and recorded this songs for which there are many proofs. And TKR would not relished as he already stood his ground against CRS.
We all know that MSV was shown by CRS a Mexicon song ‘Besame Moche’ and wanted the song ‘Anubhavam pudumai’ to be tuned something like that. Now MSV having the reason behind CRS’ arguments would have agreed. But that was sufficient enough for TKR to feel he was led down by MSV and the starting point of sour relation has begun. Of course this is what I believe.

The reason why I believe the above to be true is correlated to events followed by that. Just find the recording of the songs of the movies that followed after that. ‘Kaadalikka neramillai’ was released during Feb 1964, and hence the recording of the songs could have taken place sometime at the end of 1963. During that time ‘Karnan’ songs also were recorded. We find TKR conspicuously absent for the composing of the songs of ‘Karnan’ when he did not go to Bangalore. And he was absent for the movie ‘Kalai Kovil’ which is CRS’ next project. These two movies songs are classical based and as such one woud expect TKR to be present in the composition. But we get to know from Shyam that TKR did even participate for the recording of the classical style ‘Thanga radham vandhadhu’ as a Violinist, and Shyam who did not even know the Classical style to play was asked to accompany the singer Dr. Balamurali as a solo Violinist. We do not know about the making of another CRS’ film ‘Venniradai’. We even find TKR absent when MSV along with his orchestra went to the war front in Jalandhar during the 1965 Indo-Pak war.

And we find TKR not present for the rehearsal of the song ‘Kan pona paokkile’ but appearing
But I think TKR somehow could be instrumental in bringing the song ‘idhuvarai neengal paartha paarvai’ for the movie ‘Panakkara Kudumbam’ which is T R Ramanna’s making as we see TRR gave some movies to TKR after the split. Remember we find TKR not present for the rehearsal of the song ‘Kan pona paokkile’ but appearing at the last minute for the recording in which he played the solo Violin. This movie again is T R Ramanna’s. So it could be TRR would have tried to make patch up efforts.
For a moment, just go through the list of movies and the importance of the songs that came in 1964 from the time the relations started to sour and finally culminated in 1965.

In the year 1964
Andavan Kattalai, EN kadamai, Kai Kodutha Deivam, Padagotti,Vaazhkkai Vaazhvadharke,Pachai Vilakku,Deivathai,Kaadalikka Neramillai, Karnan,Pudhiya Paravai,Kalai Kovil, Server Sundaram, Karuppu Panam.Panakkara Kudumbam

In the year 1965
Enga veettu pillai, Santhi, Pazhani,Panam Padaithavan, Venniradai,Pancha Varna Kili, Vaazhkkai Padagu,Hello Mr. Jamindaar, Poojaikku vandha malar, Aayirathil oruvan.

All of us know that the duo were at the pinnacle during this period and as such there are elements in the industry wanting to strike at the opportune moment and as such once the relation got soured each group would have sharpened their horns.

But it is also interesting that amidst souring relations the duo have signed the project with Gemini’s S S Vasan movie ‘Vaazhkkai Padagu’ There is an authenticate information about both of them meeting SSV together and received the advance. But in that movie also we find a song was changed by SSV after composing. The song is ‘netru varai nee yaaro naan yaroo’. So in nutshell we do not know how the duo moved with each other during those times.

But the conspicuous absence of TKR in filming of the song ‘Avalukkenna’ is unexplainable. Why did TKR not present for that shooting is a mystery even now. If TKR himself did not turn for the shooting even after he is informed is fine. Did TKR was informed? If he was not then it is unpardonable.

Anyway that was sufficient for the groups to further instigate the soured relations further. Se the relations comes a boiling point.
Finally what happened in ‘aayirathil oruvan’ is all gossip and there is no authenticating information. But something happened during that movie recording and that was the breaking point.

Once the split happened unfortunately TKR did not make a solid impact even though he was supported by people like Bhim Singh, T R Ramanna. But MSV was going far beyond with Kalangarai Vilakkam, Anba Vaa, Sivantha Mann and followed by as the list is very large I am unable to write.

But down the lane after 30 years the duo found sanity in uniting one last time as a token of clearing the sad episode. It was only to patch up the strained relations and not reestablishing their lost glory. The reasons is that the time has completely changed.

N Y Murali
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vaidymsv
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PostPosted: Wed Mar 19, 2014 2:59 pm    Post subject: WITNESS TO REAL CREATIVITY Reply with quote

Dear All,

I don't know how many of our forum members were present during various composing / recording sessions of Shri. MSV in the recent past. Since 2006, Sabesan, myself, RVS Mani, Sundarrajan, Vatsan, Sampath, Murali, SRS (Bala), TCS Jayram, Mandaveli Jayraman, Ramki and many more have literally seen almost all the recordings and on many occassions we have been astonished at the sheer spontaneity & creativity of this little genius.

I may also add here that I was blessed on more than one occassion to be present for the composing sessions itself. Which means, I have seen it all being created from abstract literally. Though many have endorsed the view (including MSV himself) that if there is one person who never did any homework and all that were done only at the studios, then it ought to be MSV.

I just wish to reiterate one point here. No matter how many composers come & go, how many create controversies as to who did what, some of us were really fortunate to be right next to that "Melody Generator" (MSV's harmonium) that rolled out melodies after melodies like an uncontrollable avalanche. The improvisations of this man (Vatsan, please throw more insight into this as you have been an important witness) were spontaneous, on many occassions the instrumentalists were literally clueless as to how these changes come just like that!!! But it all came at the right time....

MSV's music is all about this spontaneity dotted all over every tune he created and nothing can ever come near it. We may find people with vast knowledge in music , but to be born as a person who could directly interact with Godess Kalaivaani, you need to be Blessed at the highest level of sorts.

Here, nothing else is relevant than the music for which we all live for and for the creations that he lives for!!!

CHEERS

MSV IS MELODY!!!

VAIDYMSV





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N Y MURALI
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PostPosted: Fri Mar 21, 2014 6:16 pm    Post subject: Reply with quote

Dear Forum Members,
In this thread I had mentioned about TKR not appearing in 'Avalukkenna azhagiya mugam' song shoot.

It is also a fact that that there are other musicians plus the female singer LRE were also not present. I think the reason could be the space constraint to accommodate all the musicians for the shoot. So what they have done is selecting only those musicians who played that part of the song that was shot. For example LRE not appearing is due to the fact that she appears from the second charanam. Also if you notice the the violins also appear in the interlude before the second charanam. So those musicians whose music appear from the beginning of the song up to part of the 1st interlude were accomodated, I believe.

I am now interested to know the names of the musicians who appear in the shot

I am giving below the link of the song. Just keep adding the names if you know.

http://www.youtube.com/watch?v=KiYCD6Nldqg

Accordion - Mangalamurthy
Guitar - Philips
Mandolin - Raju
Lyrics writer - Vaali
Drums - Noel Grant.
Congo - Gopalakrishnan
Bongos - Ganesh


Please name the other musicians like Brass Section. i have notices somebody behind Philips and Mangalamurthy playing the Hormonica. Plus Double Bass and other instrumentalists are appearing. Who are they?


N Y Murali
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vaidymsv
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PostPosted: Mon Mar 24, 2014 2:29 pm    Post subject: WHAT A SIGHT!!! Reply with quote

Dear All,

What a glorious sight!!!! MSV leading the orchestra with his mischievous grin on his face, smartly clad in a suit followed by the members neatly attired in formal clothing, I don't think we could have asked for anything better in this world...

As Murali mentioned all of us know only some of the faces while the rest are still unknown to us. One of our forum members Mandaveli Jayaraman who's a veteran and has attended so many live recordings of MSV may be the right person to throw more light on this.

I always dreamt of organising a mega event of our Master Creator under the same backdrop (as a matter of fact Vaarthaigal Sollum Vathiangal was worked out on a similar concept but midway took a different path unfortunately) and one must also see how one of the greatest conductors I have seen in my life - the French Legend (he is also as short as our Master!!!) Paul Mauriatt conducting on stage. Each & every note played by his orchestra members will come out of Paul Mauriatt's mouth and it is a treat to watch this great man who carved a niche for himself in the instrumental arena. All these are available on youtube and time is still not too late to organise an event like this...

Sarvar Sundaram is one great example of how MSV's team cast a magical spell on all of us. Truely an absolute treat for both the eyes & ears indeed...

CHEERS

MSV IS MELODY!!!

VAIDYMSV

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N Y MURALI
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PostPosted: Mon Mar 24, 2014 5:00 pm    Post subject: Reply with quote

I think out of 6 musicians in the brass section the Trombone is by Eugene, out of 2 trumpet one is played by Frank Dubeier. There was a comment that one of the the trumpet was by Louis.

There was another comment that Double bass was by Adam and the person commented said that he is his guru. So it could be authentic.

There is also a mention that P S Diwakar played Piano, but he is not in the shot.

Also you can notice some body conducting near the Brass section. Is it Joseph Krishna?

N Y Murali
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vaidymsv
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PostPosted: Mon Mar 24, 2014 5:33 pm    Post subject: TEAM WORK THY NAME.... Reply with quote

Dear All,

I have given below a link in youtube in which the orchestra members of one of the greatest Music Directors of India Late Shri. R.D. Burman pay tribute to this legend by their immpeccable rendering. I was really ashamed that neither do we have players of this calibre nor committment nowadays. Look at the way how they go about bringing the entire song on instrumental with quality that we may not be able to match. This is one of the main reasons for most of our shows flopping. I wish to remind all that ours is a very knowledgeable crowd and any miss during concerts will not go unnoticed and thus draws criticisms most of the times...

Has anyone played like this in any of our programmes? It's a big no. When do we have a programme like this? If only the songs of our Master Creator are played to this perfection, I am sure all such events will be a virtual sell out!!! The question is who could do it??? I hope the so called orchestra groups see this and try to emulate them.... Watch this and poder over...

https://www.youtube.com/watch?v=_1zbDxBbcc4


CHEERS

MSV IS MUSIC!!!

VAIDYMSV

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PostPosted: Wed Mar 26, 2014 11:34 am    Post subject: PERFORM OR PERISH Reply with quote

Dear All,

Another very important aspect I left out in this thread - many of the orchestras whom we have used in the last 7 years claim that they are in the field for more than 20, 30 or 40 years, but when it comes to performing their experience never comes out and play like a novice in the industry. I am also not discounting the fact that it is indeed difficult to play the musical intricacies of our Master. But, can anyone take refuge under that and give a go by - truely who cares ???. What is the use of being on stage for decades when you can't perform even to roll out a 75% perfection? After watching the RD Burman's tribute, my blood is boiling.

It is indeed appalling that none of the troupes here are worth engaging as the very basics of music is totally lacking - sincereity, committment and the will to excel. It's always money upfront and nothing else. In my opinion, why should we encourage this practice of using the services of orchestras who have invariably turned our otherwise pleasant evenings to a mere damn squib? On the contrary, shall we remodel our approach and pay the orchestra based on the quality? The issue is will anyone qualify for this even by the most lenient of standards we can think of???

The next time when we rope in anyone, we must pay and also tell them in no less words...Perform or Perish....

CHEERS

MSV IS MELODY!!!

VAIDYMSV

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