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[madhuraman]

Dear Friends,
The chosen song is a bundle of innovations standing vivid testimony to MSV's repeated assertion that "I compose songs for characters and not for specific persons acting on screen". The honesty of his utterance can be realized in word and syllable of his handling this song for actor Anandhan and actress Sachu in their early career in TF. Though the persons then were literally 'non-descript', the song carries all the elements that would be assembled for mega stars by conscious composers. MSV being a natural composer , has imbued tremendous life into this song by his benevolent innovation spree. Before touching those lovely spots, to me this song in "veeraththirumagan" defines a new order for duet songs and in fact revolutionized the very structuring of duets in Tamil films. No wonder, Pandit Vishweswaran used to eulogize this number as 'chiranjeevi' of TF Duets.

The very opening of the piece unleashes innovative treatment with singers
PBS and PS coming out with a breezy humming

aah ha hahha ha aahha hahha ha [ no MD dares to open on non-lyrical humming at this spot in a song]

Of course already the prelude orchestration has set the romantic field for listeners, as much for singers.

PBS exudes romance in 'RojA malarE rAja kumAri and through the rest of the pallavi.
PS does not begin on the same phrases but has a different set of phrases
'vAroi arugE mannavan neeyE kAdhal samam andrO'
------------ ------- -------- -- uNmai idhuvandrO - hoi

using 'hoi' as an expression of intimacy has been patented by MSV

In the interlude before the orchestral pieces, MSV adds pep with a chorus

'hohho ho hohha ho hoi ya hohha ho hohhaho ha ha
again after lyrical exchanges PBS [ NERVOUS OF THE HIGH PROFILE GIRL]
PS [ making assertive declarations of equality between lovers] the charaNams continue.

Between charaNams all songs have interlude but in this case
there is a pre interlude with voice embellishment in chorus that runs
hohha hohha ho hoi ya hohhaho hohha ho hoy yaa after which a very brisk play of strings [guitar-mandolin bonanza!] keeps the song flowing to wards closing charaNams.

Again at the end of it all, the song is brought to a gentle closure with voices

PBS , PS hum in unison

aaha ha ha aaah ha ha ha ha ha aah ah ha hha ha haa
hahha hahha hahha.

Percussion beats in this song are exemplary; especially there is a caressing play of BONGO in true reflection of MSV's articulate assembling of songs. A marvellous song in short.

The sad part of it is -the song ends.

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

[N Y MURALI]

Dear Professor,
Thanks for reminding a great song which is more than half century old but yet remains fresh every time we hear.

The mandolin piece in the interlude always makes me feel astonished from the time I started hearing and keeps doing every time.


N Y Murali