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'oru nAL iravil kaN uRakkom pidikkavillai'

 
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madhuraman



Joined: 11 Jun 2007
Posts: 1226
Location: navimumbai

PostPosted: Sun Oct 26, 2014 12:40 pm    Post subject: 'oru nAL iravil kaN uRakkom pidikkavillai' Reply with quote

‘oru nAL iravil kaN uRakkom pidikkavillai’

Dear Friends,

This particular song from ‘paNathOttam’ is another jewel of

MSV rendered by PS. Of course, MSV is visible through the piece of 1963.

A song of any genre has to be captivating and undoubtedly, MSV is a

colossus in this art; after a clear half a century+ the piece looks fresh and

keeps haunting the listener after every listening. There is an undercurrent

of ‘emotional stream’ on which the lyric and tune float elegantly.

In this endeavour, KD and MSV have carefully woven a magic. But, what

have admirably helped the ‘elevation’ of this piece are the ‘words and

tune’ that are simple but robust enough to carry the emotion to the

intended impact.

As for KD, he has availed of ‘denial of statement’ in every preceding

segment along the ‘charanam’ stretches. For instances, look at these ‘end
phrases’

‘varu vAn kaNNan ena ninaithEn’ ------- ‘nadakkavillai’

‘thOzhiyar koodi thirunAL thEdi senRAr’ --------- ‘thirumbavillai’

‘iravil ulavum thirudan nAn enRAn’, ‘en iraivan thirudavillai’

In justifying the character of the person, the lady submits

‘thirudAdhu oru nALum kAdhal illai enREn’

If Kannadasan chose to employ counter arguments to reveal the ‘mind’ of

the lady, MSV has played the dramatic art of emphasis [in the first

place] and effective denial as observation and rebuttal. Though the lyric

phrases suggest the mind of the lady, it is the tune that grabs the mind of

the listeners

How MSV does it?

For emphasis, he plays the words to stretch just to stress the idea.

In all places of expectancy the words are sung cool and drawn out in


undulations which are pleasant ; ‘varu -- vaaaaaaan kannan ena

ninaithEn’ [well drawn out] while ‘nadakkavillai’ [ ends quick]

‘thOzhiyar koodi [slow] ‘thirunAL thEdi’ [slightly drawn] senRAAAr [long

pull] where as

‘thirumbavillai’ [abrupt in speed] indicating desperation in mood!

‘ira vil ulavum thirudan nAn enRaaan [ sung slow to convey the

involvement in speaking about the man of her choice] while ‘en iraivan’

[ stated slow] ‘thiruda villai’ [runs fast being a denial]. ‘thirudAdhu oru

nALum kAdhal illai enREn’ is a statement of defence cum support to her

man. The message stands enriched by melody, by the way in which each

word is handled by the tune both by the time-component and by the gentle

undulations ; in the statement some words are handled as individuals.

For instance, ‘thirudAdhu’, oru nAlum’ are dealt separately while ‘kAdhal

illai enREn’ comes as a single piece. As for their timing ‘kAdhal illai enREN’

[runs quick to close the debate], where as the defensive part ‘thirudAdhu

oru nALum’ is drawn out to stretches ‘thiru – dAaa – dhu’ , ‘oru nAaaa-

Lum’ even as ‘gamakams’ are employed at ‘dAaa’ and ‘nAaa’ in the

course of the stretch.

If lyricists choose words, MSV chooses ‘timing’ as a strategy of

expressing emotions.
A brilliant strategist is this MSV.

Warm regards K.Raman Madurai.
_________________
Prof. K. Raman
Mumbai
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msvramki



Joined: 18 Dec 2006
Posts: 418
Location: Chennai

PostPosted: Thu Nov 06, 2014 2:33 pm    Post subject: Reply with quote

Dear Professor,

You have given a wonderful analysis of the song, which is close to my heart from my college days. As natural as breathing, I hum this song atleast once a day .. just it happens. You know, in all our MSVTIMES get togethers, I don't miss to sing this beautiful song.

There is no words in the world, in any language, to express the beauty of this song.

It is impossible for any other composer to even imagine giving such a number, with such wonderful sangathis.

I heard from MSV that in the recording, PS could not cope up with the sangathi intensity which MSV kept raising and she had started crying.
MSV asked her go home and to come back next day to continue the
marathon. Finally He made her sing exactly the way he had taught. Now again she cried, but this time, out of joy, for being able to render such a wonderful piece !!

The beauty of the song,

- the Sangathis which are unique and possible only by MSV
- The bhaavam it conveys. Each line end with a denial.. I noticed it only after seeing your post.
- THe different presentations of Charanam I and Charanam II.
- The sangathi modulations :
eg. Thirunaal thedi .. when it is rendered second time.
'Thinaiyum panaiyaay valarndheyeyeye.. during second rendering.
'Thirudaathu oru naAaAaAaAlum..' again during the second time. Oh god. !! Out of the world. !!

When I listen to this line, tears roll out. I dont know why.. But it does !!

Amazing creation of the CREATOR .. MSV.

Thanks for recalling my emotions.

When we meet, I will sing it for you !!

The power of the tune was felt so well when Dr. Anand Chellapa played it on his Accordian, during the meet we had at Sampat's place a couple of years back after msvtimes.com anniversary !. Especially in the last line of Charanam II, " En iraivan thirudavalli !!!

Ramki
_________________
isaiyin innoru peyar thaan emmessvee.
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Vatsan



Joined: 20 Jan 2007
Posts: 352

PostPosted: Thu Nov 06, 2014 6:04 pm    Post subject: Resp. Reply with quote

Ramki, good recollection of the timeless number !!!! Professor Saab a good heart's outpouring, thoroughly enjoyed reading it !!!! Ramki, MSV's recollections are not as accurate as our's, the song that evoked tears from PS was the other "oru nAL" number in "kAviyathhalaivi" for she related that to her ailing song !!! And this was the song she used to sing to that child during its short sojourn and this was narrated to us by Mr and Mrs MSV.
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Sai Saravanan



Joined: 10 Jun 2008
Posts: 630
Location: Hyderabad

PostPosted: Fri Nov 07, 2014 8:44 pm    Post subject: Reply with quote

Dear Professor,
So much within this emotional song! You have so beautifully summed up saying "..MSV chooses ‘timing’ as a strategy of expressing emotions," is there anything more than listen again and again...!
Sai
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