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What makes MSV pleasantly different?-VI

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Joined: 11 Jun 2007
Posts: 1226
Location: navimumbai

PostPosted: Tue Sep 02, 2014 5:23 am    Post subject: What makes MSV pleasantly different?-VI Reply with quote

Dear Friends,

MSV’s Patent = skills
With no shadow of hesitation, true lovers of quality compositions would endorse the view that MM is a composer of unparalleled sophistication. There are innumerable instances to cite the single component ‘sophistication’. Sophistication should not be misconstrued as a reference to using ‘seemingly’ modern instruments. Per se it is a mental game of organizing the different elements of a song, as to convey the spirit of the lyric [mood of the characters in question]. To me, it cannot be addressed by the mere addition of some bizarre notes [which unfailingly reveal the quality of bazaar notes –a euphemism in academic circles to indicate inadequacy in depth and disjoint sequence betraying the purpose]. The need to elaborate the above is gaining momentum as we witness eulogy of items which seem to merit no cognizance. Too often technology has been confused with creativity. In my humble perception, creativity is a technology that can outwit hollow claims. For the moment let us focus on
Non- Instrumental embellishment
Voice[s] as powerful indicator of mood
MSV, over the years has infused ‘adequate pep’ to a number by a chivalrous exploitation of non-lyrical exposition either of the singers themselves or of some specially drafted voices to elevate the mood. While many composers resort to humming mostly in romance-filled songs, MSV chooses to infuse mood to any number. Look at
‘rOjA malarE rAjakumAri ‘ of “veerathirumagan” 1961-62 . The song opens for singers with humming that embraces the tune haha haa ha haa backed up by dexterous caressing beats on Bongo, straight putting the listener to a plane from where [s]he cannot have a digression. Needless to recall the deft mesmerism in flute which leaves us floating in ecstasy. Long before the lyric is listened to, we are riveted to the mood of this number. The song keeps reverberating with youthful vigour defying its age.
‘poo mAlaiyil Ore malligai 1967
Though began on orchestral support, both the singers render long winding aA aa Aa Aa, aa beautifully telescoping into ‘ppoo mAlaiyil’ with rapid tabla beats and melody-soaked rendition taking all curves and pleasant negotiations in a seamless package rich by tune and orchestration . The noteworthy point is establishing a mood by sheer exploits of voice .
‘vaNakkom pala murai sonnEn
Another number whose ‘repertoire –to be’ is showcased in PS’s alap Aa aa aa . Interestingly the song does not take off after the aalap; it has a brief stop-over for ‘vaNakkom, vaNakkom’ , before augmenting its pace with vaNakkom palamurai sonnEn –all rendered in grand style by the sheer pacing of the opening lyric phrases. Also, the mood of the song is crystallized right at the opening. Any day I would rate the composer’s skill far more superior to any other gadget-dependent technology.
More to come Warm regards K .Raman Madurai
Prof. K. Raman
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Sai Saravanan

Joined: 10 Jun 2008
Posts: 631
Location: Hyderabad

PostPosted: Thu Sep 04, 2014 4:42 am    Post subject: Reply with quote

Dear Professor,
Yes, "non-instrumental embellishment", very powerfully stated, and so beautifully narrated....and the immediate examples speak of our MM's creations eloquently. The description "..technology has been confused with creativity" hits straight at the claims of vanity that prevail everywhere!
Sai Saravanan
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