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ULAGAM SUTRAM VAALIBAN - "A Musical Feast"
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Ramesh.P
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PostPosted: Mon Oct 29, 2007 11:16 am    Post subject: Reply with quote

பச்சைக்கிளி முத்துச்சரம்

I dont think anyone can play this song on stage now. all time favourite for MGR fans.

Our Emperor finished all the songs in less than ten days time. Spell bound orchestra.

One could feel the "richness" of the tune matching the location and cinematography.

MSV gave outstanding music for those films picturised outside india. Example: SIVANDA MANN/USV/VARUVAN VADIVELAN(JOYFUL SINGAPORE. JUST HEAR THIS SONG. WHAT A VARIETY)
OREY VANAM OREY BHOOMI.
NINAITHALE INNIKUM.

It is unfortunate that MGR dropped next foreign location project. We all missed another THUNDER.

regards
ramesh
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S.Balaji
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PostPosted: Tue Oct 30, 2007 1:24 pm    Post subject: Reply with quote

Greetings dear Sriram K

A terrific post on Pachai kili , my alltime favourite MGR-MSV number Very Happy

As Ramesh pointed out, this song will be impossible to play in stage shows for the mighty orchestation , an amazing work by Master

Are you aware, MSV had apparently composed tunes without knowing the situation. MGR seem to have asked MSV to set tune for love duets and he made it ! God. What a peppy song this is ! Very Happy
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Venkat
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PostPosted: Tue Feb 12, 2008 9:48 pm    Post subject: Reply with quote

USV is another Musical Miscellany by our Mellisai Maamannar.
MM has used 7 singers in this movie.

I think only for the song sequences the film was shooted in foreign countries...

After the recordings MGR, MSV-kita "Ennoda adutha padathuku poda ethavathu vechurukiya" endru kettaram...

Some more abroad movies:
Pilot Premnath - Srilanka
Thee - Srilanka
47 Natkal - France
Avan than manitha - some part in Singapore/Malaysia
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Jeev
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PostPosted: Wed Feb 13, 2008 6:58 am    Post subject: Films shot outside of India Reply with quote

MSV scored music for:

Sivantha Mann - London/Paris/Rome/Switzerland/Spain
Imayam - Nepal
Varuvan Vadivelan - Singapore/Malaysia
Dharmaraja - Japan
Ratha Pasam - Europe
Mohana Punnagai - Sri Lanka
Vasanthathil Oru Naal - Singapore
Andhaman Kathali - Andhman

Jeev
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Jeev
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PostPosted: Sat Dec 27, 2008 7:12 pm    Post subject: Reply with quote

Hi Friends,

Please click on the links below to read about USV.

http://www.cinemaexpress.com/Pdf/17122008/10.pdf
http://www.cinemaexpress.com/Pdf/17122008/11.pdf

Thanks.
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Damodaran Pachaiappan
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Joined: 21 Oct 2007
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PostPosted: Sat Dec 27, 2008 10:25 pm    Post subject: Reply with quote

Dear Mr.Jeev,

Thank you for this article.

Exactly, this is how it is narrated in Rani Maindan's biography of Mellisai Mannar MSV.

We all know that Sangeetha Saraswathy Shri MSV has no ego and is known to be very obliging to direcors, producers, actors etc. In fact, in one place in the biography, MR. Rani Maindan mentions an incident where even very junior and ignorant assistant directors tried to hassle the Musical Legend but he never rebuffed them. However, when it meant that someone else ( in this case Kunnakudi) would be deprived of the opportunity, our Legend stood up to a very powerful personality like MGR. Not only that, even if it meant antagonizing MGR, he refused to compose music for Naalai Namadhe. One gets a glint of the steely resolve hidden inside our Musical Genius. It is this resolve and resilience that have made a person from a humble background, with no father to support him during his adolescence, no formal education, no financial back up - to blossom into the greatest film music(or any music for that matter - with no offence to anyone) composer ever to live on this earth. One can never underplay the fact that he (with the association of the other Mellisai Mannar TKR ) achieved this breakthrough when other 'Jambavans' like GR and KVM where in full form.

As an aside, I still wonder what would have happened if people did not misspend the talents and resources of our Mellisai Maamannar and discard so many of his perfectly worthy tunes on a whimsical basis. A gentle soul that he is, he has never complained about any body wasting his talents.
But I am fllled with anguish.

Thanks again,
With regards,
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madhuraman
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PostPosted: Sun Dec 28, 2008 6:37 am    Post subject: Movies Reply with quote

Dear Dr Pachaiyappan,
In your write-up, you have briefed the magnanimity of MM. Nothing surprising, that he stood the pressure from MGR. As early as 1961, MSV did the same 'act of rseistance' to Director Sridar, not accepting to be MD for 'Nenjil ore aalayam' . The reason was NOA was to have been handled by AM Raja. CVS had to take enormous pains to convince MSV of no moral violation in accepting to work for NOA. MSV did not budge till AMR SAID "ANY ONE CAN COMPOSE FOR NOA, as I am not involved with that movie banner". The issue I am referring to has lot of serious value. CVS was among the well known Directors [perhaps the first name to attract audience out of the clutches of hero-oriented adoration], MSV was establishing his credentials as a quality MD, yet to make his mega movies with dominant movie houses [except Pava mannippu of Buddha Pictures]. Any MD under those situations would have grabbed the offer. What made MSV to tread carefully was his early upbringing that had deeply engraved in his mind that 'no act of mine shall deprive some of something however small the deprivation may be'. There are several such lessons of his humble disposition. On ocasions, people have exploited this culture of MSV but MSV has always stood respectable even on the face of adversity. We need to learn such lessons to have a life free of encumberances.
Warm regards Prof.K.Raman Madurai.
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N Y MURALI
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PostPosted: Wed Dec 31, 2008 6:52 pm    Post subject: Reply with quote

HAI,
I SAW THIS MOVIE RECENTLY IN PILOT THEATRE WHEN IT WAS RERELEASED WITH ADDITIONAL SOUND EFFECTS. THE MOVIE GOES WITH FULL TEMPO RIGHT FROM THE BEGINNING TO THE END. BUT ADDITIONAL SOUND EFFECTS SOME HOW TAKEN AWAY THE CHARM OF THE ORG COMPOSITION. EXAMPLE IN THE SONG 'THANGA THONIYILE' WHEN THE PLANE LANDS DURING THE BGN BEFORE 2ND CHARANAM A REAL PLANE SOUND HAS BEEN ADDED WITH THE RESULT THE ACCORDIN BIT HAS BEEN SUPRESSED. SAME WAY THE SONG 'AVAL ORU NAVARASA NADAGAM' STARTS WITH NO OPENING BGM. WITH OUT THAT OPG BGM THAT SONG IS WASTE

N Y MURALI
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madhuraman
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PostPosted: Sat Jan 10, 2009 10:16 am    Post subject: Movies Reply with quote

Dear Dr SRS
As regards Sandow MM Chinnappa Devar's request to MSV, the information goes thus:On MMCD's request MSV had accepted to work. When Mr.Devar was ready to make payments, MSV's mother Nanikutty advised MSV to forego the chance. Her contention was KVM was the Aasthana MD for Devar films and HE HAS BEEN A WELLWISHER and mentor of MSV from his days of entry. So, MSV can not afford to rob KVM of his natural chances. Without batting an eyelid MSV OBEYED THE SENTIMENTS of his mom and declined the offer explaining the situation to MMCD. Mr. Devar felt the logic and appreciated MM's decency and said "one day I shall avail of your services". All close friends of MSV knew of his mopther's sobering influence on him and used her name as a trump card to make him accommodate to their line. MSV has several times quoted his mother as saying "Sangeetham must be blended with 'INGIDHAM' [decency]." We all have so much to learn from his life,
Warm regards Prof.K.Raman Madurai.
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parthavi
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PostPosted: Sat Jan 10, 2009 1:25 pm    Post subject: Reply with quote

I heard a similar incident about Nenjil Oer Aaalayam. A.M.Raja was composing music for Sridhar's films. But they had developed some differences. Sridhar sent an advance to Raja for Nenjil Oer Aaalayam. But Raja returned the cheque, refusing to work with Sridhar. Then Sridhar approached MSV. MSV did not readily accept the offer. He checked with A.M.Raja and only after confirming that he was not interested in doing music for the film, he accepted Sridhar's offer.
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N Y MURALI
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PostPosted: Mon Jan 12, 2009 10:08 pm    Post subject: Reply with quote

‘THANGATHONIYILE’

It is very difficult to rate the songs of USV since each one is very different from each other. But for the shear matter of composing style this song is the best for me.

The song starts with the raga ‘Mohanam’. There is a ‘ni2’ swaram addition in the second line itself (thavazhum ponnazhage’),. Then it touches ‘ma1’ and ‘ma2’ when PS starts her line. All these because to bring change in the color of the song with chords based melody. Because of this it gives an impression of ‘mohana kalayani’ raga.

The first charanam starts with the combination of all these notes and there is further addition of one more swaram (pennai konjum line by KJY). Then the brilliant connection back to pallavi thro ‘d’ major chord (on c scale) giving it to kalayani raga feel.

But the second charanam is the best out of all. The reason is the color or the tune of the song itself changes completely by 180 degrees. You can feel this when KJY sings the line ‘Alli poovai’. It is supported by the notation of the chords ‘e’ flat ‘ga1-pa-ni1’ combination of swaram which is totally different from mohanam or kalyani. In fact if you notice closely the starting of the second charanam is preceded by an accordin bit which is again the same notes of the chord ‘e’ flat. I feel he has deliberately created this accordin bit in order to help KJY to take the tune in the second charanam. And the song goes now to the combination of the chords notes ‘d’ major ri2-ma2-da2. you can feel the sharpness of the tune change while PS singing the line ‘ennumbode kanni pogum poo allavo’. Now comes the other chord based melody which is ‘c’ minor. Sa-ga1-pa. You can sense that line when KJY sings ‘anjum kenjum’. So if you hear the whole charanam you will feel that this is going in the raga ‘Hemavathi’. And finally again the same brilliant tune by PS (accham vetkam vittu ponal) which same as the first charanam tune at the same point. This line is based on the chords ‘d’ major chord same as in the first charanam. The difference is in the first charanam the connection to pallavi was from mohana kalyani but in the second charanam the connection is from the raga ‘hemavathi’ the chord ‘d major’ is common to both kalyani and hemavathi. So the common chord notations are used. And same as the first charanam the connection is back to pallavi which is basically ‘mohanam’. The connection method is one the brilliant method adopted by MSV.

It remains me of a story in ‘Mahabharatha’. We all know the character ‘Abhimanyu’. We all would have seen the picture where Abhimanyu lift the wheel of a chariot and fighting. In the story Abhimanyu dies because he knows only to break the enemy formation arrangements but cannot come out of that. Whereas Arjuna his father knows that trick but failed to teach that to his son. So we can compare MSV to Arjuna since he has the capability to start from mohanam, float at kalyani then come back to pallavi mohanam with ease. Then he will a take a dig at an unexpected quarters called ‘Henavathi’ and again go in that formation in full blow like Arjuna and can come back to original mohanam in pallavi. This is all because his exclusive ability to link chords based melody.

Regards
N Y MURALI
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madhuraman
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PostPosted: Tue Jan 13, 2009 6:28 am    Post subject: Movies Reply with quote

Dear Mr.Murali,
Thank you for a nice appreciation of the song 'ThangathONiyilE' from USV. More interesting is your analogy of Arjuna to MSV for opening a shell and traverse to all territories and come out gloriousky without a ripple of trespass of raga limits. With your new interpretation of this, I am convinced of certain realities. Among the teaching community at College / University level , I know a handful of Professors who can enter a topic from any segment and still make the presentation absolutely logical and a delight to sit through. This is 'given' to them through the grand capacity called 'MASTERY' of the subject.Obviously the scale of MSV's mastery in composition is a class by itself that always takes care of melody and lyric value as its hue and colour. Thank you for giving a nice lead to understand MSV.
My request to all our new friends to the forum -PLEASE USE THE RIGHT THREAD FOR POSTING YOUR ENTRY. THE ITEM 'ThangathONiyilE' preferably comes under song analysis instead of in Movies section.
Mr. Sriramkannan started his posting here to look at the movie USV using songs as the port of entry. If your posting needs a specific slot, then please create a new topic under an ideal thread. Why I suggest this is, Detailed Analytical pieces should not get shrouded in a clutter of postings. When responses come about , the very posting would get bogged down in a plethora of write-ups. Normally movies section is used for analysing movies threadbare for varied components. I hope I have expressed my desire to help analyses to stay visibly open and accessible instead of reaching the abyss. Thank you all.

Warm regards Prof.K.Raman Madurai
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N Y MURALI
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PostPosted: Tue Jan 13, 2009 10:08 am    Post subject: Reply with quote

DEAR PROF,
THANKS FOR YOUR REPLY. I AGREE WITH YOU. I THOUGHT FOR A MOMENT BEFORE POSTING. BUT SINCE IT CAME IN USV I JUST LEFT IT.

I THINK YOU HAVE A POINT THAT INFORMATION CAN ESCAPE ATTENTION.

THANKS FOR YOUR GUIDANCE

REGARDS

N Y MURALI
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PostPosted: Tue Jan 20, 2009 3:16 pm    Post subject: Reply with quote

Dear Mr SriRam,

This is one of my favorite songs.In another post I think I have mentioned the use of Latin and western rhythms in MSV'S compositions. Just to recollect, the 'tapping' part is a 'swing' and the place where the rhythm changes is a variant of 'Basa Nova'. Thus pattern can be heard in some other songs notably " Nejirukkum Engalukkum kalam Varum".
Next time I listen to the song I will enjoy it more knowing that there are others who are enjoying it as well.
Thanks for the lead.
Chakravarthy.
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ragasuda
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PostPosted: Tue Oct 13, 2009 6:32 pm    Post subject: Reply with quote

Dear Sivakkumar,
MGR, a master planner he was, simultaneously made preparations for the Part II of the film Ulagam Sutrum Valiban and a few of the songs were reserved for the Sequel, Kizhakku Africavil Raju. Of course these songs were recorded for the film USV but was decided to use for the sequel. These songs were (i) Ulagam Sutrum Valibanodu, (ii) Ninaikkum bodhe thanakkul sirikkum madhu (sung by P Susila solo). This P Susila song is a fantastic beauty and contained all the nuances of a masterpiece --- thanks to Mellisai Mannar. I listen to it almost daily for the past 36 years ! I am an addict to it. But unfortunately this film KAR did not materialise.

Raghavendran
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