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Creativity of MSV

Topic started by RAJAN (@ proxy-117.iap.bryant.webtv.net) on Sat Jan 10 15:32:47 EST 1998.
All times in EDT/EST +9:30/10:30 for IST.

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Responses:

• Old responses
  
• From: Shanmugam Murugappan (@ 208.236.83.26) on: Thu Dec 31 21:26:31 EST 1998
  
  Srikanth,
  
  You are right. Such a team work with 2 geniuses involved is something which never happens often in TFM. IR - VM combo appeared one such. But, unfortunately for us, due to so many personal problems, it didn't extend for a lifetime like the MSV - Kannadasan combo. (Just a note : I am not comparing anyone with anyone.)
  
  MSV had, and has, great respect for Kannadasan and the duo worked without any ego problems between them. MSV has acted in the film "Kaadhal Mannan" and in one scene he acts very emotionally, with tears in his eyes, before Kannadasan's photo. He told in one interview that he was asked by the director just to speak the dialogue emotionally. But, while he acted, he couldn't control his tears. Endha oru medayilum Kannadasanai patri pesa medhai MSV thavaruvadhillai. Such friendship and mutual respect for each other is a good, healthy aspect in film music.
  
  "azhagiya Thamizh magal ival" is a great song. I am not sure whether I had heard "aniyelum siranda annai". BTB, what is the meaning of 'aniyelum'?
  
  
• From: Ragapriyan (@ 202.54.37.18) on: Fri Jan 1 00:05:56 EST 1999
  
  Shashi & Saketh:
  
  Kallapiran's book on tfm and ragas says
  kaasikku pOgum sanyaasi is in Bilahari.
  I also have an article on MSV-TKR which appeared
  a month or two ago in Cinema Express, in which
  the author mentions this song to be in Yadhukula
  Kambodhi. You guys have to tell me which is
  right. (I am poor at all this.)
  
  Srikanth:
  
  Isn't panneer pushpangaLE, raagam paadu in
  Aval Appadithan in maund? By IR?
  
  
• From: saketh (@ calloway-a-asy-12.rutgers.edu) on: Fri Jan 1 13:20:42 EST 1999
  
  Ragapriyan,
  
  only the pallavi of the song"kaasikku pogum" looks close to Bilahari, but the following charanams ("pattadhu podhum pennAle" and "sariyo, ini avaludan iruppadhu muraiyo") are far away from Bilahari, to me. (this is straight out of my head; i haven't listened to the song for quite a loooong time)
  
  
• From: Murali Sankar (@ 129.252.26.207) on: Fri Jan 1 23:53:38 EST 1999
  
  Dear Srikanth,
  
  I think that "Kaadhal Oviyam KaNdaen kanavo Ninaivo" sung by Sujatha and music by IR is in Maand.
  
  Regards
  
  Murali Sankar
  
  
• From: Murali Sankar (@ 129.252.26.207) on: Fri Jan 1 23:56:08 EST 1999
  
  Regarding complex brigha structures of MSV and the power of his composition: I paricularly admire "Kanni magaL pooththirukka ". The third and the fourth lines are amazingly innovative.
  
  
• From: Udhaya (@ 205.218.142.217) on: Thu Feb 4 21:20:19 EST 1999
  
  While listening to some old songs:
  -nee pogum idamellam naanum varuven
  -ennap paarvai undhan paarvai
  -raaja raaja sree raajan
  
  I realized MSV's recipe for building a joyful tempo in the rhythms and bringing exotic interludes in the charanams. In all three of the above songs bongos figures prominently in the rhythms. Whomever MSV used for bongos was a maniac (yes, this is a compliment!), this guy must have had the fastest hands in the east. While fluent guitar and flute arrangements flow throughout these songs, the Accordion sounds that break the charanams are wildly unique to MSV. Has any other MD used the Accordion as often and as well as MSV? I wonder. One of the best modern uses of this instrument was in "Ennuyirae Ennuyirae" by ARR from "Uyirae", but apart from that, I can't remember anybody else using the Accordion in their compositions.
  
  This brings to mind another question I have for the musicians of this forum. How much does the Accordion differ from the Harmonium? They both seem a lot similar to me, except that Accordion is strapped to the body and is probably an European invention, whereas the Harmonium is a downhome invention that is played flat on the ground. Am I right in my assumptions? Does the Harmonium have more range and a deeper sound? I remember IR used to (maybe still does) compose his tunes with the Harmonium and also used it in many songs (especially songs from "Amman Kovil Kizhakkaale") Anyway, I don't want this to digress any farther. Someone please address my doubts.
  
  
• From: rajaG (@ pool033-dwan1x2.800.dialup.earthlink.net) on: Thu Feb 4 23:21:28 EST 1999
  
  Obviously, as you described there is a physical difference in the harmonium. One of the main differences is that in the Hm the left hand is pretty much idle, except for providing the bellow. However, in the accordion the left hand provides the bellow as well as plays the base which could be upto 120 keys (corresponding to the 12 key patterns). Many name brand Hms have a function called scale changers, essentially a transpose function in the modern keyboard. Simply stated one can play the keys relating to the C scale but pruduce the sounds for adifferent scale, C#, D, D# ..(normally +4 and -4 semitones). The best harmoniums are manufactured in Calcutta and costs about Rs.10,000 (but sold for $700 in California)
  
  
• From: karthi (@ lab3.theatrium.net) on: Fri Feb 5 01:59:52 EST 1999
  
  Udhaya, if you're very captivated by "Nee POgum IdamellAm", then just for your info, it's by KVM.
  
  
• From: Sriram Lakshman (@ ifmxlenx.na.informix.com) on: Fri Feb 5 11:30:32 EST 1999
  
  There are hundreds of numbers that have very innovative and complex bongo beats. "Paruvam enathu Paadal" from "Aayirathil Oruvan" had brilliant bongo beats, I believe played by Shankar (of the Shankar Ganesh fame).
  
  
• From: Sriram Lakshman (@ ifmxlenx.na.informix.com) on: Fri Feb 5 11:40:07 EST 1999
  
  I wish to add to another facet of MSV. Ragapiriyan had requested me to find out the Raag for "Sonnathu Nee Thaana" from "Nenjil Or Aalayam". Playing it on a keyboard was a real sweat. What movement of melody !!!! Several creations of his do not fall under any raag as such, instinctive compositions!!!
  
  His santhams do not have parallels and you can confidently consider past and present composers in all languages in India. Listen to "Sathiya muthirai" from kanimuthu paappaa, "Ellorum nalam vaazha" from Enga Mama, very unconventional santhams. "Paavalan padiya puthumai peNNai" from Muhammad Bin Tughlaq is another example.
  
  
• From: Udhaya (@ 205.218.142.217) on: Fri Feb 5 13:41:26 EST 1999
  
  RajaG and Sriram,
  Thanks a bunch for enlightening me.
  
  karthi,
  Touche.
  
  
• From: Sriram Lakshman (@ ifmxlenx.na.informix.com) on: Fri Feb 5 16:12:48 EST 1999
  
  The percussion area was one of his strong points too. "I will sing for you, I will dance you " by TMS in "Manitharil MaaNikkam" set to Karaharapriya (the song Srikanth loves to make a reference to ) had a superb mix of drums, bongos and Mirudangam in its anupallavi. So did ponmagaL vanthaaL in "Sorgam". The pace of the interludes with chorus is notable and when TMS shoots off with "Selvathin ANaippil kidappen", the mirudangam does wonders. "Indru vantha intha mayakkam" in "Kasethaan KadavuLada" had superbly composed congo beats. "Sambo Siva Sambo" has 6 percussion instruments playing different beat patterns at the same time. "Kaathal Kaathal endru pesa " from "U.U.vaa" had bongos, drums, mirudangam and morsing played in harmony.The melody itself was very powerful with M.L.Srikanth chipping in with his humming, perfectly positioned within the song.
  Talking of accordian, it was used well in "Pachai KiLI muthucharam" in UUvaliban , the prelude piece in "Aalayam enbathu veedagum aasaivaithaal" in "Thaamarai nenjam" is a difficult piece to play.
  
  He pioneered the art of mixing instruments like sitar and veena with bongos and the likes. Eg:- The first interlude in "VeLLIkiNNanthaaL" in "Uyarntha manithan" had an expression laden sitar piece set to speedy bongo beats,the second interlude in "Sirippil undaagum raagathile " in "Engiruntho VanthaaL" had sitar with drums.
  
  One of the features in his interludes / preludes that is particularly endearing is the manner in which the instruments perform a superb build-up for the charanam and hand-over the song on a platter to the singer to commence the pallavi or charanam ( the point at which the interlude or the prelude music ceases). Eg:- The sitar piece in the prelude of "Mouname paarvayaai oru paatu paada vendum" ends beautifully for PBS to start the pallavi. So much was this piece in sync with the tune build-up that PBS himself could'nt have helped starting the pallavi on his own even without being told. "Paal vaNNam paruvam kandu" had a superbly placed violin bit for PBS to start the charaNam ( not that the first interlude was bad).
  
  I could go on and on about MSV for his melodies have often left me speechless and overwhelmed.
  
  One last observation of mine (for the day) .his TMS-PS duets had this feature of multiple tunes. Listen to "Chandrodayam oru peNNaanatho", "Engiruntho AasaigaL", "Sirippil undaagum raagathile", "ChinnavaLai mugam sivanthavaLai" and many more. Typically, PS would sing a stanza set to a particular tune at the end of which TMS would start off the next charaNam with a bang on a higher note and set to a different tune. Absolutely captivating!!!! (in "Chandrodayam...", PS starts the stanza "Alayodu piravaatha kadal" and when it ends, TMS commences with "Idhazhodu idhaz" set to a different tune).
  
  
  
  
• From: karthi (@ lab3.theatrium.net) on: Sat Feb 6 00:21:37 EST 1999
  
  sorry Udhaya.
  
  
• From: SRikanth (@ d155-36.ce.mediaone.net) on: Sat Feb 6 02:32:36 EST 1999
  
  A song called Idho endam deviyam in Babu, one of the greatest compostion
  
  (Raja was inspired by this song and did a similar one Pachamala poovu )
  
  SRikanth
  
  
• From: raja (@ spider-te083.proxy.aol.com) on: Sat Feb 6 08:38:11 EST 1999
  
  Sriram Lakshman:
  
  Engirindho from Chandrodhayam and Indruvandha from Kasethan Kadavulada are really great songs.
  
  What about
  
  Odum Ennangale - from Neela Vanam
  Mella varum Kaatru - Galata Kalyanam
  Alangaram Kalayadha - Rojavin Raja
  Unjalukku Poochooti - Avan Than Manidhan
  Chella Pillaihalaam - Enga Mama
  Kaadhal Vilayada - Kanmani Raja ( I love this song)
  Muthukallo Kangal - Nenjirukkum Varai
  Naan Nandri Solven En Kangalukku ( one more great which is not well known - IMO)
  
  more to follow..
  
  
  
• From: raja (@ spider-te083.proxy.aol.com) on: Sat Feb 6 08:38:26 EST 1999
  
  Sriram Lakshman:
  
  Engirindho from Chandrodhayam and Indruvandha from Kasethan Kadavulada are really great songs.
  
  What about
  
  Odum Ennangale - from Neela Vanam
  Mella varum Kaatru - Galata Kalyanam
  Alangaram Kalayadha - Rojavin Raja
  Unjalukku Poochooti - Avan Than Manidhan
  Chella Pillaihalaam - Enga Mama
  Kaadhal Vilayada - Kanmani Raja ( I love this song)
  Muthukallo Kangal - Nenjirukkum Varai
  Naan Nandri Solven En Kangalukku ( one more great which is not well known - IMO)
  
  more to follow..
  
  
  
• From: Sriram Lakshman (@ dal-as2-1044.cmpu.net) on: Sat Feb 6 14:41:04 EST 1999
  
  I got reminded of another song which had a great usage of morsing, "Sudhandhira boomiyil paravaigaL".
  Raja, all the songs you listed are great. 'Naan nandri solven' , I think is from "Kuzhanthaiyum deivamum". This movie had another classic, "AnbuLLa maan vizhiye". MSV had developed a penchant for the swing beat somewhere down the line. "VaNNaKKiLi sonna mozhi", "O little flower", "MaNamedai MalaragaLudan Deepam" (Gyaana oLi), "AAyirathil oruithiyamma Nee" were all set to the swing beat.
  Songs like "Mella varum Kaatru" oozed romance. The same movie had "Nalla idam nee vantha idam"."Chithirame solladee" (veNNiraadai) could also be bracketed with the above song.
  It is not easy to predict , the note the stanza is going to start with in MSV's compositions. The first song in your list, "Odum ENNagaLe" falls under this category. Another song in the same category, "Thedinen Vanthathu" from "Ooty varai Uravu" and many more.
  "Chella KiLigaLaam" can never be forgotten.
  "Enakkoru kaathali irukkindraaL" by SPB and MSV, simply had a different tune, super melody.
  Needless to say, his folksy tunes too had very strong melody content, Examples :- Aarodum MaNNil engum Neerodum (pazhani), Thaazhayaam poo mudichu,most padagotti songs,Kattodu Kuzhal Aada etc.
  In particular , I liked his usage of Sitar and Shehnai which I felt assumed tremendous expressive capabilites under his baton. Shehnai esp, has been used by MSV for varied moods and situations. "Aalayamaniyin osayai" from paalum pazhamum had the Shehnai interlude without the traditional melancholy that it brings along with it, so tender!!! Its usage in "Unnidathil ennai koduthen" from AvaLakkendru oru manam brought in a different feel. The Shehnai interlude in "VeLLI maNI osoaiyile" from iru malargaL only elevated the festive mood.
  Oh!!! So many more things to say. Time constrains, sir!!! Will continue later.
  
  

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