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Malaysian Deepavali Show - RAJANNA RAJA THAAN - From Annakkili to Azhagi

Topic started by Manisekaran (@ 202.156.2.8) on Sun Nov 7 05:23:27 EST 2004.
All times in EST +10:30 for IST.

Last year I did a show on Ilayaraja for Deepavali. IT was so great a hit that the ASTRO Private TV Station is repeating on 9 NOvember at 4.00 pm Malaysian time. This is called RAJANNA RAJATHAAN- covering 25 years of Raja's music contribution. From Annakkili to Azhagi. A great hit. If you can, pls do catch it. You can post your comments on the show here, and I'll respond to them.
Thanks.

Archive of the older songs: http://forumhub.lunarpages.com/hub/f13.html .

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Responses:

• Old responses
  
• From: Madhu (@ 202.54.137.87) on: Thu Nov 25 01:30:03 EST 2004
  
  Mani Sir, it's true that this movie took TN by storm. I remember the song "Senthoora poovae" brought the national award for S.Janaki. The orchestration was simply superb for that song. I came to know that a 12-string guitar was used for the song.
  
  
• From: thumburu (@ 156.153.255.126) on: Thu Nov 25 05:39:31 EST 2004
  
  Ayiramkodi is also a nice song which went unnoticed in the "chinna kannan" and "kuyile kavikuyile" wave. RR , Iam able to make out only the "chakravaham" part in the stanza "naadhamum neeye geethamum neeye " . Iam not able to make out the other ragas.
  Is the starting "ayiram kodi" in MMG?
  or Saveri?
  
  
• From: thumburu (@ 156.153.255.126) on: Thu Nov 25 05:41:54 EST 2004
  
  Sorry, Mani sir, the kavikuyil hang over is a bit too strong for me to overcome so soon. Please consider my prev posting as a digression :)
  
  
• From: Nevis (@ 62.215.3.51) on: Thu Nov 25 06:47:50 EST 2004
  
  The first gold and platinum disc in tamil film industry...
  It created waves during a time period when ABBA, BoneyM and RD Burman were invading Tamilnadu..
  
  Surprising to note that a 12 string guitar was used in Senthoorapoove song. Do they normally play this type of guitar in orchestras or is it a rare commodity ?
  
  
• From: Madhu (@ 202.54.137.87) on: Thu Nov 25 07:46:31 EST 2004
  
  I think 12-string guitar is a rare commodity as it needs special skills to play. It is used when a heavy arpeggios are written by the composer.
  
  
• From: RR (@ 202.156.2.8) on: Thu Nov 25 08:30:47 EST 2004
  
  thumburu: my guesses are MMgowla, chkravagam,mohanam.
  
  
• From: RR (@ 202.156.2.8) on: Thu Nov 25 08:44:44 EST 2004
  
  Friends: I have linked audios of the songs. Go back via 'old responses' to listen to them.
  
  
• From: Bala (@ 68.38.80.142) on: Thu Nov 25 10:40:40 EST 2004
  
  Mani Sir
  
  Thanks (I wanted to correct myslef on number 6. I realized I forgot Senthoora poove, what a majestic number! But it was too late yesterday)
  
  Anyway, wonderful write-up. DId Alangodu Somu write 'Manja Kulichu..' another peppy number in the movie. So did the movie have 3 lyricists (KD - Sevvandhi & aatu kutti, GA - Senthoora Poove and Solam Vidhai and Alangud Somy)?
  
  Thanks once again. I am now uanble to guess your 7th? Is it
  a. Kizhakke Pogum Rail?
  b. Mullum Malarum? (who can forget Senthazam, Nitham Nitham, Adi Penne and Ramen Andallum)
  c. Darling.. Darling (PRiya for its first stereo recoding...)?
  d. Ennadi Meenatchi (Elamai Oonjal Adukiradhu..)
  e. Still hope "En Kanami" from Chittukuruvi and 'Chithra Sevvanam' from KVG makes the 7th ...
  
  Year 1978 was a sad year. No Tamil film qualified for National Award (I thought Mullum Malarum easily qaulified, however the National Award committee thinks otherwise!.)
  
  Bala
  
  
• From: Anand (@ 83.216.154.253) on: Thu Nov 25 17:16:03 EST 2004
  
  "Sevanthi Poo Mudicha Chinakka.." Isn't it amazing how the dialogues slowly blend into the flute bit and then flowing into laughter, joy and culminating into the claps and then the chorus.... A simple yet brilliant flow of moods....And despite the folk tune, the violin orchestration flows in the background through the first interlude.... Really brings a feeling of joy when you listen to these songs.. Wonderful choice, Mr.Mani !
  
  
• From: Manisekaran (@ 61.6.39.139) on: Thu Nov 25 19:30:21 EST 2004
  
  Thumburu,
  NO digression on your part. We are still in the same grouping.
  
  Bala, you are coming close. I have differentiated between popular songs and landmark or milestone songs of Raja.That is the only catch in this discussion thread.
  
  All songs are by Gangai Amaran, except Aattukkutty Muttai Ittu.
  
  
  
• From: G.Ragavan (@ 61.16.168.141) on: Fri Nov 26 07:56:12 EST 2004
  
  Hi Manisekharan, nice write up. Sorry for the late entry. I am a great fan of IR's early songs, and a discussion about those songs here. Keep it up. Will come regularly.
  
  I just want to make two points.
  
  1. "Chevandhi Poo Mudicha" wonderful song it is. It is one of my all time favourites. While listening it brings out the happiness instantly, making us to feel elated. Nice songs. Due credits to the singers are missing in your writeup, when the credit to the singers are elaborated for other songs. Please ensure the samething will not repeat again for any other song.
  
  2. While bringing out the greatness of IR's music endowements, we shouldnt bring down the due respect and opinion on any of IR's music companions. It is better to conseal the facts in a decent way. Otherwise, there are high possibliities of digression in degraded way by fanatics. Such things are equivalent to showing disrespect to IR.
  
  Manisekharan, You are doing a great job. I am awaiting more eagerly.
  
  Regards,
  Ragavan
  
  
• From: senthilv.com (@ 69.148.86.79) on: Fri Nov 26 14:31:35 EST 2004
  
  I just discovered the thread. Great read Manisekeran and everyone!
  
  I had to rewind a bit. sorry!
  
  A trivia: I think the violin piece in the second interlude in CHINNA KANNAN AZHAIKIRAAN of Janaki's has a very striking resemblance to the famous starting prelude of "Adi Raakamma Kaaiya Thattu" violin piece.
  (SJ version 2:50 to 3:00)
  http://musicindiaonline.com/l/26/s/movie_name.4357/
  Any1 agree :)
  
  
• From: senthilv.com (@ 69.148.86.79) on: Fri Nov 26 14:48:56 EST 2004
  
  I know Manisekaran is hosting the show but I think it is a great opportunity to explore Raaja’s unique capability as a film composer and how his compositions scaled new heights in film music.
  
  I very much differentiate between a music composer and a film music composer. After all most of his music is film music :) Although Raaja’s background score is wildly discussed, his talent in deriving full inspiration from the situation, its elements, the mood, it musical motifs, and the conflict itself is very rarely discussed.
  
  I believe Raaja has reached Himalayan heights as a film music composer which is very less explored even by musicians. So I want to throw my 2 cents in that aspect/angle to the songs that will be posted by Manisekaran. I’m bound to make some wild speculation, mistakes and assumptions. Please correct me when I go wrong :)
  
  I’ll stop my analysis if you someone has serious objections (especially Manisekaran :)
  
  
• From: senthilv.com (@ 69.148.87.254) on: Fri Nov 26 18:02:07 EST 2004
  
  SENTHOORA POOVE
  
  Situation: A *tender* teenage girl is *searching* for her unknown lover all over the village, *looking* for him, *longing* for him and *asking* for him. She converses with flowers, birds, breeze etc… asking them about her unknown lover’s whereabouts and requesting them to help her to get him on her way.
  
  Conflict: She bitten by love-bug and is in a hopeless case. Her hidden *vulnerability*.
  Irony: She has the lover she’s searching (chappani) right under her fold. She’s yet to realize it.
  
  Raaja’s dramatic choices in the song:
  
  1) Theme -- *Search* is the theme of the song and it dominates every musical aspect of the song --from the tune to orchestration, to rhythm, to beat, to ornamentations etc. But the tune also makes sure the *longing-ness* and *vulnerability* of the character is also exposed. Some musical elements in second interlude express strong vulnerability.
  
  Musical elements:
  
  2) Violin -- From orchestration standpoint, Western classical sounding violin orchestration is chief participant in the *search* theme. It is effectively introduced, repeated, played up, played down, heightened and finally nailed.
  
  3) Guitar -- The guitar piece is direct musical manifestation of lyricist word Senthoora Poove (Flower). In general, it stands for all flowers. The piece also sets the *mood* of the song so quickly. It also ornaments and embellishes the teenage girl with *flowers* throughout the song. Perhaps, Raaja liked the idea of flower setting with flowering (budding?) emotions of the girl or perhaps, a direct inspiration from Bharathiraja’s situation description. What amazes me is where does the *flowering* stop and *searching* start in this simple piece? The answer is they co-exist! This is magic!
  
  4) Flute – A direct inspiration from the lyricist line *neelak karunguyilae* but symbolizes most birds described in the song and for the topper—for the character herself (Character name is Mayil -- meaning Peacock). How apt? Since this flute piece also brings out her vulnerability. A mild masterstroke! (Same technique used in the song “Kuyil Paatu” from En Raasavin Manasulae)
  
  5) Beat – All rhythmic beats symbolizes, augments and intensifies the *search* theme.
  
  Introduction: WOW! All the musical elements used in the rest of the song are introduced completely in the prelude (intro) itself. It is the gist of the song and almost all of them symbolizes and dramatizes the *search* theme. Either, they play the same notes or play the same idea with some musical variations and variety.
  
  
  Transitions: A special mention to transitions. Although all the musical elements stand for *searching*, the is done with pin point precision bringing out the intended feeling throughout the song. Incredibly, there is no monotony, even if the same idea is played with variations. The supreme sign of mastery over the medium by Raaja.
  
  The transition also keeps the girl character in motion throughout the song giving a flowing energy. Like a visual transition showing a legs running fast, spooked wheels of motor bike rotating fast, to a rubber tyre rolling at high speed and showing the tyre belonging to a plane taking-off in sky with a bird in forefront and the topper-- the bird flies. Just an example, I felt but it is not an analogy to the song.
  
  Raaja’s musical transition in the song flows like a stream from the flowers, to the girl, back to the flowers, to her physical movement, her running legs, the narrow alley, rough but beautiful terrain, plants, birds, breeze, and obviously to her emotions running inside her. This makes the song so unique and wonderful to listen and watch in the film.
  
  In the end, the song not only manages to express the *search* and *longing* feeling of the character but also brings across her tenderness and vulnerability. Raaja as a composer not only celebrates the character’s feelings but also makes his tune and musical instruments participate in the *search*.
  
  So, it is no wonder Raaja felt satisfied or utilized! I’ve listened to his old songs before this and I can argue that this song is first situational song to fully use the situation, its elements, the mood, its musical motifs, and the conflict to a mind boggling level.
  
  Please listen to the song again and give me your feedback and criticism.
  
  Trivia: I love the musical imitation (echo) of * thennanjoalaik kuruvigalae kuruvigalae* (music which follows the line) in the second interlude. Even this piece (idea) is introduced in the prelude (intro)
  
  
• From: Manisekaran (@ 61.6.39.139) on: Fri Nov 26 19:28:27 EST 2004
  
  Ragavan,
  
  Thank you for your inputs. I have taken note of your points. In some cases I deleberately give more credits to Raja, where I feel he is the supremo in the success of songs. In some other cases I may emphasise on the vocal strength of the singers. In cases where you are tend to disagree or feel singers should be credited, please post your thoughts. Afterall it depends on which angle of the prism we are looking at. Different angles give different reflections. That is the very purpose of the discussion. Even in my introductory notes I had said fans can agreee, disagree or ignore my points.
  
  Once again, thank you for the rich inputs.
  
  
  Senthilv.com.
  I have not objection to your postings. This is a discussion forum. Everone has his/ her role to play. It is up to the acceptability of other readers.
  
  

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