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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: Manisekaran (@ 61.6.39.139) on: Tue Nov 23 02:10:35 EST 2004
  
  Dear Friends,
  
  Thank you for the inputs. I see variations. In the course of trying to satisfy everyone I may end up satisfying no one. Let me enjoy the exclusive right of maintaining my own style.
  
  
• From: Manisekaran (@ 61.6.39.139) on: Tue Nov 23 02:21:18 EST 2004
  
  Eden,
  Your guess is right! I dedicate the song for you. here it goes!
  
  
  
  5. CHINNA KANNAN AZHAIKIRAAN
  
  When Ilayaraja came into the cine field he concentrated mainly on composing folk tunes or tunes set for village settings. Therefore Raja was soon nicknamed “GRAAMATHU RAJA.” This title, unofficially conferred upon him was not to last long. There was a popularly held view that Raja would not be able to compose carnatic bases songs. There were also whisperings that reached Ilayaraja’s ears, amounting to claim that Raja would not excel even if he were to compose Carnatic raga based songs. This became a challenge, not only thrown upon Ilayaraja, but also upon Panchu Arunasalam who was Raja’s shield and shelter in the early days. They teamed up and took Tamilnadu and the Tamils across the globe by a surprising storm, that is yet to subside till this day.
  
  Raja went to prove his critics wrong by taking a two-angled approach- firstly using the Reethigowla raga that was never attempted before by any MD. It is said that it is a sweet raga, but MDs dare not use this raga, as it was also difficult to dilute it for cinema. Perhaps those well conversant in Carnatic raga could comment on this. Poet Vaali confirms that Raja was the first to use this Raga, and he did a marvellous job on that.
  
  Secondly Raja made sure the singer himself was one who had created a fame and name in Carnatic Music. That great person was none other than one who would for posterity be remembered as one of the greatest talents of South India- Padmavibhushan Sangeetha Kalanidhi Dr. M. Balamurali Krishna. We are all aware that Balamurali Krishna was a Kacheri singer who initially provided heavy carnatic songs. It was following the presentation of Jeyadevar’s Astapathi in Sanskrit that the audience was convinced that Dr. Balamarurali could also be a versatile singer. Following the Ashtapathi performance, many MDs in the cine field wanted to capitalise on the golden voice of Dr. Balamurali Krishna to enrich the cine songs.
  
  When MSV and Sridhar tamed up and conceptualised an art movie for Bhagayalakshmi Productions KALAIKOYIL (1964) they persuaded Balamurali to make his debut through the all time immortal song of “Thangaratham vandhadhu veedhiyile, oru thalir meni vanthathu therinile ’ with P. Suseela. MSV and TKR did their very best to bring out their best brain for composing this lovely song. Then KVM too made his mark by persuading Balamurali to sing “oru naaL pothumaa” in the Sri Vijayalakshmi Pictures THIRUVILAYAADAL (1965). In 1966, following the split with MSV in Pathini Pictures AAYIRATHIL ORUVAN, TK Ramamurthy made Balamurali sing ‘Arulvaaye nee arulvaaye’in Sri Venkateswara Cinetone’s SAADHU MIRANDAAL. In the year 1967, S. Rajeswara Rao too used Balamurali in Veerapan & Co’s BAKTHA PRAHALADA where he sang “Aadhi Anaadhaiyum neeye” and “Chinna Chinna kanne” with S.Janaki. In 1969. TG Lingappa used him in SUBATHINAM with the song “Putham Puthu Meni.” In 1977 Shanker Ganesh made Balamurali sing the song “Raamanum Neeye Krishnanum Neeye” in UYARNTHAVARKAL. In 1977 Kunnakkudi Vaithiyanathan too used him in APN’s last movie NAVARATHINAM.
  
  
  So various MDs composed songs for Balamurali, and all these songs had some distinctive trademarks in terms of carnatic base. In all these songs, the MDs and the lyricists consulted with Balamurali during the making of the songs, not only out of respect for Dr. Balamurali, but also to ensure that the song turns out to be of his type.
  
  CONTINUES.........
  
  
• From: Manisekaran (@ 61.6.39.139) on: Tue Nov 23 02:22:16 EST 2004
  
  Now coming to Ilayaraja, he too needed an authority and a rich voice to match his carnatic composition. He had to use Balamurali in order to drive home the point that he too had knowledge of carnatic music. Raja and Panchu Arunasalem sat and consulted with Balamurali in composing Chinna Kannan Azhaikkiraan. The film may have been a disappointment, but the song was an instant hit. One version is by Dr. Balamurali and the other is by S. Janaki. While both are melodious, Balamurali’s version stole the thunder! That song brought name recognition for Raja. The other song of Balamurali in Kavikkuyil is “Aayiram kodi kaalangalaaga.”
  
  Chinna Kannan Azhaikkiraan was the first Reethigowla raga song in the Tamil Film industry. Raja attempted again in a Sridar film called Oru Odai Nathiayaagirathu. The song is “Thalayaai Kuniyum Thamaraiye” by SP Bala and one Rajeswary.
  
  Chinna Kannan Azhaikkiraan became a satisfactory piece to Dr. Balamurali, Panchu Arunasalem, Ilayaraja and the fans. It was only after the release of this song that many critics were dumbfounded. It then dawned upon many that Raja did not enter the cine filed handicapped, or with knowledge of folk tune alone. Raja had already been tutored by TV Gopalakrishan of Chennai, through whom Raja became well grounded in Carnatic music.
  
  
  Now the readers may want to know comments by authority on carnatic music.
  
  
  BALAMURALI KRISHNA:
  
  Dr. Balamurali Krsihna, who had been leading in the sales of carnatic based cassette albums has this to say about Raja:
  
  “Ilayaraja can easily pass out as the MD of this century. He is always in research mood and strives to present in a new form. He leads in rendering a new approach to music based on Carnatic music that he has mastered. As far as I know there is no one else of his young age who equals him in being so energetic and resourceful. Apart from his immense ability, he has some inner power within him that moves. He is incomparable in so far as orchestration is concerned. He is able to compose music that is easily understood and enjoyed by both elders and children, not leaving out the music vidwans as well”
  
  Dr. Balamurali ahs sung under so many MDs, but only Raja has received such accolades from this great vidwan.
  
  
  SEMMANGUDY SEENIVASA AIYER:
  
  “Ilayaraja has an in-depth knowledge on carnatic music. He also possesses immense ability. That is the reason as to why he is able to understand the intricacies of carnatic music and compose music that is enjoyable to both literate and the layman. It is not an easy task to compose music that is enjoyed and acceptable by all quarters. He is able to dilute even the most difficult form of music. My own opinion is that Raja should make some efforts to enable the music fans enjoy even the difficult forms of music.”
  
  Raja’s triumph did not end there with this song of CHINNA KANNAN AZHAIKIRAN.
  
  To make sure the critics were silenced forever, in a later day he even performed a Kachery in the gracious presence of the carnatic music authority Semmangudi Seenivasa Aiyer at the Naaratha Gaana Sabha. Semmangudi Seenivasa Aiyer conferred upon RAJA the coveted title of “NAATHA BRAHMA”. What else could be a better recognition for Raja? One may even remember Raja even discovered a new raga called PANHCMUGHI in 1994.
  
  The issue that Raja was incapable of composing carnatic based songs was put to rest almost as soon as it surfaced. CHINNA KANNAN AZHAIKKIRAAN served as a preamble to several other carnatic-based songs that were composed by Raja in later years.
  
  Here is the song: Listen to it!
  
  Chinna Kannan Azhaikkiraan
  Chinna Kannan Azhaikkiraan
  Raathaiyai poongothaiyai
  Aval Manamkonda Ragasiya Raagathai paadi
  
  
  Kankal Solkinra Kavithai
  Ilam Vayathil Ethanai Kodi
  Kankal Solkinra Kavithai
  Ilam Vayathil Ethanai Kodi
  Enrum Kathalai Kondadum Kaviyame
  Puthumai Malarum Inimai
  Antha Mayakkathil Inaivathu Uravukku Perumai
  
  (Chinna Kannan)
  
  Nenjil Ullaadum Raagam
  Ithuthaana Kanmani Raadha?
  Un Punnagai Sollatha Athisayama
  Azhage Ilamai Rathame
  Antha Maayaninn Leeleayil Mayanguthu Ulagam
  
  (Chinna Kannan)
  
  
  So, this is yet another landmark song for Ilayaraja.
  
  Can the fans provide more inputs please? Let us have more discussions.
  
  
  
  
  
  
• From: RR (@ 192.122.134.249) on: Tue Nov 23 03:28:17 EST 2004
  
  I'll try to write something on the carnatic side, from my kelvi gyanam. Experts pls add to it.
  
  Riti gowla was long considered a difficult raagam to dilute, for its complicated swara passages (e.g. ascent is S G2 R2 G2 M1 N2 N2 S, D2 can be touched only in descent) and its closeness to famous ragas like sriranjani. IR was the one to show it's not really so. Now, ARR ('azhagaana raatchsiye' - a fun take on this raga), Yuvan ('theenda theenda'), Anand (background score in 'Sakthi'), etc have all started using it. What a trendsetter.
  
  Other IR songs in this raga: 'raaman kathai kelungal' (sippikkul muthu), 'meettaadha oru veenai' (poonthottam).
  
  
• From: Kiran (@ 202.73.40.66) on: Tue Nov 23 05:36:09 EST 2004
  
  Mr.manisekaran....
  
  ...great song....thanks a lot song....it reminds me of the classical song "Raama kanavemiraa..." in telugu....its tyagaraja or something like that .......
  
  
• From: keerthanarambham (@ 161.114.64.75) on: Tue Nov 23 07:58:43 EST 2004
  
  Dig
  Mumbai Ramki,please go through the archives if you want to know about our beloved Mr.Manisekaran. He is a rare veteran with abundant TFM knowledge , He is back with us after a long hiatus
  
  
• From: murali (@ 61.247.247.230) on: Tue Nov 23 10:40:52 EST 2004
  
  Dear Mr.Manisekaran
  
  I want to know more and more about Raaja sir. There are thousand of fans like me eagerly going through this thread.
  
  In many fields our great grand parents have kept many things as seceret. That is why our generation could not find out the mystery about great marvels of the past like... The Great Thanjavour Temple by Raja Raja Cholan. And many more for eg: great wall of China ...this list goes on...
  sir I sincerely feel that many facts about our Raaja will not be known to my generation unless people like you write here.
  Sir please continue your great work and stop not for any reason.
  What I believed all these days as mystery on Raaja has now been made clear to me as facts, by your writings.
  
  Sir Please clear us and let there be no mystery any more .
  Let everone know the inside of genius.
  
  Congrats on your great work please continue sir.
  
  with luv n regards
  mully
  
  
• From: eden (@ 136.1.1.101) on: Tue Nov 23 10:45:58 EST 2004
  
  Thanks Mani Sir, for this extraordinary song!
  
  It's funny to recall now how I thought of BMK during my young days...that he's a comedy singer...(the loser in ThiruviLaiyAdal to pAttum nAnE of TMS:-)), may be a classical version of AL Raghavan etc...all influenced by the APN film...just another example how the impressionable young minds can be influenced to believe things that are not true...
  
  I think the instruments used in the interludes are different for the BMK and SJ versions...the BMK version having the soft(&sweeter) ones while the SJ version has some ghaNeer stuff...Oh how I love those flute pieces...
  
  An evergreen song!
  
  
  
  

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