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YAAR ANDHA NILAVU ( SHANTI )
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S.Balaji



Joined: 10 Jan 2007
Posts: 772

PostPosted: Sun Dec 09, 2007 8:41 pm    Post subject: YAAR ANDHA NILAVU ( SHANTI ) Reply with quote

S.S.Rajendran is forced to marry a blind Vijayakumari . Upset by the developments ( he feels deceived ) , he disappears in brief. So, his good friend Nadigar Thilagam Shivaji is forced by circumstances to pretend to be the husband . NT gets restless as days move by as Vijayakumari finds him to be at a distance always & wonders whats going wrong. NT has to keep his lover Devika also waiting. The uneasiness grows beyond one’s tolerance. How this precarious situation destroys his soul & peace of mind is described by this song.

This song is one of the greatest works of the duo MSV-TKR and an all time classic marvel. The song has lots of jazz and to some extent resembles Latin jazz type music and rhythm.

In the prelude, a sudden Sarangi sets the mood , like a silk texture on a saree . Unusual choice of intrument. Normally, only North Indian composers like Naushad, O.P.Nayyar have applied Sarangi but generally Northies are very well familiar with the instrument and hence its not a surprise but applying in a tamil cinema music is really unimaginable thinking & only the Duo can answer this.

The Sarangi work is really SOULFUL.….. Sarangi, a 17th century string instrument ( application is more like a Violin. However, the Bow will be held between thumb & index finger . Another difference, Violin Bow will be held below one’s Palm ) is being used to give a delicate touch in a classically western oriented composition . This goes beyond one’s wildest imagination…

The splendid Sarangi work made me to dig deep into the Origin of the Instrument. The word sarangi is derived from two Hindi words: sau (meaning "hundred") and rang (meaning "colour"). This is because the sound of the sarangi is said to be as expressive and evocative as hundred colours. Of all Indian instruments, it is said to most resemble the sound of the human voice – able to imitate vocal ornaments such as gamakas (shakes) and meend (sliding movements).Its name is widely believed to mean "a hundred colours" indicating its adaptability to a wide range of musical styles, its flexible tunability, and its ability to produce a large pallette of tonal colour and emotional nuance. The sarangi is revered for its uncanny capacity to imitate the timbre and inflections of the human voice as well as for the intensity of emotional expression to which it lends itself.

During this song, the Sarangi is being applied just in brief , during the prelude and during the first interlude. Though the usage is bare minimum, this instrument really gives an effect of A HUNDRED COLOURS to the situation in which the song was sung ! What an imaginative work by our Mellisai Kings MSV- TKR !

Another main feature of the song is the outstanding Guitar work. The song has brilliant string sections and Jazz guitar support. The chords, melodies, and improvised solo lines applied by the guitarist is really sensational work. The beauty of the guitar play here is that he had played Chords underneath this song's melody . In western orchestration notes arrangement , this is called "comping", a contraction of "accompanying". The Guitar play has a wide range of chords ….Major & Minor chords, diminished, half-diminished . The progression used here is again, an outstanding effort with the rhythm changes .
The Guitarist has played at times , what is called as - "ahead of the beat" ( Listen to the prelude part after the Sarangi play ) or "behind the beat," to create or release tension ( during the first interlude after the Violin section play )

The song stirs one’s sould whenever its heard. The entire song, including the preludes, interludes are in total harmony with the mood . TMS is a Genius , simply classy stuff by him.

Few interesting information about the song ….. When the audio was played to NT, he complimented the work of MSV-TKR and of Kavignar & wanted a couple of days time to get himself prepared as the tune, lyrics were extraordinary & hence wished to give his best shot so that the overall output comes out well. Ultimately, the song picturisation came out , which according to even his critics, described as one of the ever best performance by NT .
NT slows walks into a Garden , in a night setting, slowly puffing and sings

யார் அந்த நிலவு….ஏன் இந்த கனவு…..
யாரோ சொல்ல யாரோ என்று யாரோ வந்த உறவு
காலம் செய்த கோலம் இங்கு நான் வந்த வறவு


Throwing his left hand in frustration for every Yaro solla, yaro endru…its a treat to watch him in full flow

Why Nadigar Thilagam is a complete actor ?? This song itself is enough to prove that. You should study his display from 4 angles :

• His body language
• His facial expressions / emotions
• Lip movements
• Style

மாலயும் மஞ்ஜளும் மாறியதே ஒரு சோதனை
மஞ்ஜம் நெஞ்ஜம் வாடுவதே பெரும் சோதனை
தெய்வமே யாரிடம் யாரை நீ தந்தாயொ
உன் கோவில் தீபம் மாறியதை நீ அறிவாயோ
ஹோ ஹோ கோவில் தீபம் மாற்யதே ….நீ அறிவாயோ

ஆடிய நாடகம் முடியவில்லை ஒரு நாளிலே
அந்கும் இங்கும் ஷாந்தி இல்லை சிலர் வாழ்விலே
தெய்வமே யாருடன் யாரை நீ தந்தாயோ…
இன்று யாரை யாராய் நேரினிலே நீ கண்டாயோ
ஹோ ஹோ ஓ ஓ ஓ ஓ ஒ ஒ ஒ ஒ


He is an incomparable actor who has brought everything to this song ! I am stunned by his precise lip movements to each word in this song. When TMS stretches some words like… Silar vaazvile, NT also stretches and gives exact lip movements. Its just an example… This song’s acting by NT should be made a study material on how to express a lyric .

A commendable work by the great BhimSingh who did not make NT really give some hysterical or emotional display but just portray the agony of a man who is caught in a piquant situation…. Its an amazing sight to watch NT’s facial expressions as he frequently puffs & uses his favourite left hand to express his anguish.

Mellisai Mannar MSV is a real Master of Hindustani instruments. Once composer Ranganathan Parthasarathy described him as a Hindustani type Composer. Its true . MSV was the only person probably to enable Sarangi to enter Tamil cinema music. The entire Karnan movie had some mind blowing Sarangi work. Don’t forget the P.Susheela sung mesmerizing Oru naal iravil ( Panathottam ) where Sarangi is dominant . Later in the early 70s, for Dhavapudhalvan, he had applied Sarangi ….

Sad that this instrument has virtually lost its place in Tamil music. This is one such instrument which has been replaced by Fusion .Heartening to see some North Indians still play this.

Its learnt , TMS initially expressed his reservations on singing the song as it had predominantly western notes . However, under request from MSV , he sung & we all know only TMS can sing such . Its basically a tune set in mild base and gradually goes to high pitch….

There is another superb song sung by P.Susheela …its Nenjathile nee netru vandhaai , wherein whistling plays a major role ! Innovative work again !! MSV-TKR remain a mystery to me

This 1965 release Shanti ,directed by the great Bhimsingh, probably was one of the few movies outside the famous Paa series, this performed well in the Box office. Produced by Kavignar kannadasan’s brother A.L.Srinivasan.

The way NT holds the cigar and gesticulates reminds me of that famous Barrister Rajinikanth’s outbursts in Gauravam.

Even that Ho Ho spelt out of exhaustion gives the desired impact, an expression of frustration & helpness…

I am rendered speechless by the Violin work that is being played on the background especially that first interlude when they start by taking a lead but suddenly go behind when the Guitar takes charge ! Mesmerizing ! The Violin resurfaces at the fag end of the song when the Pallavi is re-played , they end on a scintillating note …..

What a singing by TMS !!!!! This song has no standard rhythm arrangement ..Thats one of the unsolved mysteries ….See how MSV-TKR were able to fix each phrase in a musical format !

The prelude runs for 20 seconds . The musical duo conveys the mood of the person through Sarangi interception.

A composition , simply incomparable , goes beyond one’s imagination , again ,way ahead of times…..
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madhuraman



Joined: 11 Jun 2007
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PostPosted: Mon Dec 10, 2007 7:39 am    Post subject: Pick a Song and Analyze! - Yaar andha nilavu [Shanthi] Reply with quote

Dear Mr. Balaji,
Thank you for very good write-up on this number of 1965. BY ANY STANDARD ALL SONGS WERE VERY GOOD. As for the use of SAURANGI, you are very right to pointout that MSV was the first MD. Infact I remembered to have read somewhere that MSV insisted on mustering the services of Mr. Narayan of Bombay to play Saurangi for a specific situation as MSV felt the need for a specialist. I donot remember the name of the movie for which Saurangi Narayan was brought. Certainly the matter can be discussed with MSV himself who would share more information on such items. THANK YOU FOR THE OPPORTUNITY.
Warm regards, Prof.K.Raman Navi Mumbai
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Ramesh.P



Joined: 07 Dec 2006
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Location: Chennai

PostPosted: Mon Dec 10, 2007 11:30 am    Post subject: Reply with quote

Hi Balaji

Excellent writing. I think MSV used SARANGI in MANITHAN ENBAVAN also.
I can recollect MSV interview with YUGEE SETHU about this song. MSV sang majestically with his harmonium(especially the humming part. ). and said MSV could not able to recollect much even that occasion.
My friend often use to say I SHOULD BORN AGAIN TO SEE HOW MSV COMPOSED "YAARANTH NILAVU/ELLORUM NALAM VAZHA SONGS.

I am rendered speechless by the Violin work that is being played on the background especially that first interlude when they start by taking a lead but suddenly go behind when the Guitar takes charge ! Mesmerizing ! The Violin resurfaces at the fag end of the song when the Pallavi is re-played , they end on a scintillating note

what a genius he is. He can bring telling effect with minium usage also.
We often use to wonder about guitar work but you pointed out about the violin part. It made us to enjoy more, yes even after 40years. Very Happy

Not only SARANGI , people forgot about ACCORDION. MASTER used it in so many songs with his delicate touch.

Interesting to note that BHIM SINGH NEVER USE TO INTERFERE IN SONG COMPOSING.

I never saw someone even trying this song in stage performance. Can anyone DARE TO DO IT?

regards
ramesh
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Sriram Kannan



Joined: 12 Sep 2007
Posts: 103

PostPosted: Mon Dec 10, 2007 12:03 pm    Post subject: Reply with quote

Balaji Sir,

PRANAMs to the great MAN who did such a tremendous composition, the singer who made it possible (TMS was a bit hesitant at first when hearing to the tune, and sais he is not suitable for such songs. But, it was EMPEROR who persuaded him to take the challenge), and the actor who made it immemorable by his charming style (lip movement with cigarette, and it will be so stylish), and to the man who has analyzed it so lively!!!

Kudos, Balaji Sir!!! It's my all-time favorite, in fact, it's a favorite song for our entire family... The prelude and interludes just grab our hearts, especially the guitar and sarangi, very aptly mentioned by you..

Thanks a Ton again, Balaji Sir!!!
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Sriram Kannan.

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irenehastings
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PostPosted: Mon Dec 10, 2007 12:11 pm    Post subject: Reply with quote

After SSR left from Vijayakumari, she has releaved from blindness and want to see her husband....

M.R.Radha compells Shivaji to act as her husband.....

Shivaji is in situation to accept it in half minded.....

Within one line Kannadasan brings all these....

யாரோ சொல்ல யாரோ என்று யாரோ வந்த உறவு

My God....
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ragasuda



Joined: 17 May 2007
Posts: 1532

PostPosted: Mon Dec 10, 2007 6:43 pm    Post subject: Yaar andha Nilavu Reply with quote

Dear Balaji,
Fantastic - I find it difficult to find words to appreciate your analysis on the song. Yaar andha Nilavu - This very first line itself conveys so much at the same time conveys nothing - a puzzle raised which does not contain answer. No body else except Kannadasan could imagine such situation in such a theme! And our genius time and again has proved he is equal to none and he is above all. He is at the top of the mountain staring those below at the bottom. None of the mds have not even have the credential to touch the first step. Then how can he see him at the top or how can they proceed? As for the song while MGR gave life to MSV's songs through lyrics, NT has given life to MSV-TKR's composition to full core. He took almost 7 to 8 days - postponed shooting for this song two or three times and almost after 7 to 8 days he came for the shooting - He wanted the genius composition to be presented in the way it should be. This itself shows the calibre of NT and that he is at the top of the world. And not to be missed is the one and only T.M.S. - his pronounciation for each and every word, leave alone the musical aspects, is a lesson for today's singers - I don't know how many present day singers have the conscience to give importance to pronounciation - Simply great. And equally great is your analysis of this song.
V. Raghavendran
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tvvraghavan



Joined: 15 Dec 2006
Posts: 175

PostPosted: Mon Dec 10, 2007 9:01 pm    Post subject: EXCELLENT WRITE UP !!!! Reply with quote

DEAR BALAJHEEEEEEE
WAH !!! WAH !!!! WAH !!!! .....WHAT A WRITING...WHAT A WRITING !!!! AM REALLY IN CLOUD NINE LISTENING TO THIS GEM AND READING UR ARTICLE....

AM ESPECIALLY THRILLED TO KNOW ABOUT SARANGI...AS IT IS ONE OF MY VERY FAVOURITE INSTRUMENTS.......THANKS FOR THE INFO....

AS YOU SAY , IT IS INDEED AN EXPRESSIVE AND EMOTIVE INSTRUMENT !!!!

NEEDLESS TO SAY , NONE OTHER THAN OUR MASTER HAS MADE A TREMENDOUS AND THE RIGHT USAGE OF THIS GREAT HINDUSTANI INSTRUMENT.....

THIS SONG IS A BEAUTIFUL EXAMPLE OF AN AMAZING FUSION....WHERE OUR MASTER HAS USED THE WESTERN INSTRUMENTS LIKE VIOLINS,DRUMS , ACOUSTIC GUITAR AND ACCORDION WITH THE HINDUSTANI INSTRUMENTS LIKE SANTOOR AND SARANGI !!!!

ONE CAN LISTEN TO SUBTLE CYMBALS AT THE BG THROUGH OUT THE SONG,..WHAT A CREATIVITY !!! (ANOTHER SONG THAT I CAN REMEMBER IS "KELVI PIRANTHADHU ANDRU ....." FROM PACHAI VILAKKU..)

GUITAR !!!!! ME AND RAM HAVE ALWAYS WONDERED DURING THE COLLEGE DAYS AND I HAVE GONE MAD WHENEVER I LISTENED TO THE USAGE OF GUITAR IN THIS SONG.....MY ROOMIES USED TO GET SURPRISED WITH THE WAY I SHOUTED WHEN THIS SONG WAS PLAYED IN THE RADIO.. Cool Laughing

NT'S ACTING IN THIS SONG IS REALLY A LESSON FOR ALL THE ASPIRING ACTORS...ESPECIALLY THE LAST PART OF THE SONG WHEN HE CARELESSLY EMOTES WITH THE CIGAR BUD SINGING..."NAAN VANDHA VARAVU....." I JUS LOVE THIS PART !!!!

DEAR PROF UNCLE,
THE GREAT SARANGI PLAYER RAM NARAIN PLAYED FOR THE MOVIE KARNAN. THINK SHANKAR JAIKISHAN MADE THIS HAPPEN AFTER KNOWING THAT OUR MASTER HAD TAKEN UP A PROJECT WHICH WOULD BE FULL OF HINDUSTANI COMPOSITIONS !!! THERE IS ALSO AN INTERESTING ANECDOTE WITH THIS MOVIE...

AFTER THE RE-RECORDING, RAM NARAIN TOLD MSV THAT HE WAS THE FIRST PERSON TO PROVIDE HIM NOTES FOR ALL THE BGM WHEN THE OTHER COMPOSERS USED TO LET HIM PLAY HIMSELF SOME RAGA DEPENDING ON THE SITUATION.....!!! WHO CAN FORGET THE SARANGI IN ENNA KODUPPAN., IRAVUM NILAVUM PRELUDE, EN UYIR THOZHI, KANGAL ENGEY AND THE ONE AND ONLY ULLATHIL NALLA ULLAM.....WITH AN ENCHANTING SARANGI IN THE POSTLUDE !!!......

THANKS FOR ENTHRALLING US ALL WITH SUCH A GREAT WRITE-UP ABOUT A GREAT SONG.................


KEEP UP THE GOOD WORK !!!

MSV RULES !!!
VENKAT
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msvramki



Joined: 18 Dec 2006
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PostPosted: Mon Dec 10, 2007 9:20 pm    Post subject: Reply with quote

Dear Balaji

Great analysis of one of the greatest numbers of MSV, YAAR ANTHA NILAVU !

The healthy competition that existed between Kavingar, MellisaiMannargal, TMS and Shivaji in bringing out such a wondeful piece
is something that belonged to only that Golden Era and will never happen, even by accident, anymore !

It is a great puzzle how our EMPEROR could imagine giving such a blend of instruments to christen a song like this !

LONG LIVE MSV's GLORY.
Ramki
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vaidymsv



Joined: 08 Nov 2006
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Location: Madras, India

PostPosted: Tue Dec 11, 2007 6:22 am    Post subject: Amazing Write-up Reply with quote

Dear Balaji,

Yet another master piece from you through your writing. What a song this Yaar Andha Nilavu. There was a literal 3 cornered competition between the EMPERROR, NADIGAR THILAGAM & KANNADASAN to excel in their respective fields and in the end was born an immortal song that speaks volumes & volumes of the involvement of these 3 giants who considered their job as service to humanity rather than just money making. Cut and the present scenario - just look at the way how the same is done as a "profession" these days. No wonder these so called professionals have literally run out of ideas/creativity which forced them to conveniently steal and remix (read re-mess here) Sad Sad Sad . Another great tribute must go to TMS also (though it was our Legend who literally drilled this way of singing into TMS's brains) for having given his heart & soul into this song. Last but not the least - as usual the unsung heroes of any song - the instrument players of our Legend. What a team effort and what playing!!! Hats off to them. We Pay our reverence to all those players who were/are with him and made this possible for generations to listen to.

MSV - THE LONE CREATOR IN THIS UNIVERSE, YOU OUGHT TO LIVE FOREVER TO ENTHRALL US WITH YOUR IMMORTALS!!!

CHEERS
MSV IS ONLY MUSIC
VAIDY

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madhuraman



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PostPosted: Tue Dec 11, 2007 6:41 am    Post subject: Pick a Song and Analyze! -Yaar andha nilavu Reply with quote

Dear Mr.Ramki, Mr.Balaji and other friends,
At the time of its arrival , Yaar andha nilavu was a stunning piece by its sheer "novelty" of sorts.If we consider the then pattern of male solo numbers, Yaar andha nilavu would stand apart as a song that firmly embraced the mood of the story, while male solos were mostly philosophic and rendered as giving vent to suppressed pathos.
If we look at the orchestration, again it was totally unconventional of its times ; the tune, strings and beats were all absolutely articulated and for a song of that situation, Drums! - a real inovation. Needless to say that Kaviarasu can render heart renting message through simple words. This was the time that all movie banners were marketing excellent movies replete with brilliant songs - a demanding pressure on Mellisai Mannargal. They converted every opportunity into a glorious piece of supremacy. A special mention has tobe made of Mr.TM S, for his singing this number in an uncharacteristic style of his. Imagine, how much effort would MSV have taken to brief the singer of the need to be on controlled amplitude. Certainly TMS has given his very best to this number. I am reminded of his "Thaedi varum Deivaga Sugam" of NIMIRNDHU NIL, ALSO RENDERED IN A MELLOWED NOTE. Both these numbers proved that listeners are ready to accept numbers that are melodious even if the singer is used in an unusual way. On both occasions , it was MSV who mesmerises us.
Warm regards. Prof.K.Raman Navi Mumbai.
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irenehastings
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PostPosted: Tue Dec 11, 2007 12:23 pm    Post subject: Reply with quote

Dear Balaji sir,

You have once again proved that you are the King of (sorry) Emperor of Analysis. When we read your writings, we visually seeing the song. Thanks a lot for your detailed information about the rare instrument 'Sarangi'. We can hear this instruments throughout all the songs in 'Karnan'.

(kandavanellaam ivar paadalai thirudi pEr vaangumbOthu, why not he come another round with his old (gold) music and songs..?).


**********

Once in a meeting to felicitate the great Nadigar Thilagam, Thiru. Vaiko, the politician told "yaar andha nilavu paadalil avar mattumaa nadiththaar?. avar kaiyil irundha cigarettum nadiththathu, avar vaayil irundhu vandha pugaiyum (smoke) nadiththadhu".

true...Mr. Vaiko....


***********

Recently i was fortunated to watch 'maanaada mayilaada' dance programme in Kalingar TV. The female compier announced "in today's episode we are going to watch the dances for the 1960s songs"

Suddenly the male compier (Sanjay) told "Oh... that means we are going to the 'Golden Period of Music'".

no doubt, it is hammer hit to the present 'dandanakkaa' MDs.
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rajeshkumar_v



Joined: 19 Apr 2007
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PostPosted: Wed Dec 12, 2007 6:48 am    Post subject: Reply with quote

Wonderful analysis

Yaar andha nilavu - Pala Medhaigalin Kootu Muyarchi... Idhuvallavo Paatu idhuvallavo potti aam poraamai illadha potti
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Vatsan



Joined: 20 Jan 2007
Posts: 352

PostPosted: Wed Dec 12, 2007 1:34 pm    Post subject: yAr antha nilavu Reply with quote

Hi,
MSV being an ardent fan of Cliff Richards wanted TMS to toe the Cliff Richard line without changing his voice and thus was born..... Providing a different instrumental response for the pallavi, each time it is sung is yet another aspect of MSV-ism. The second time around, it is the electric guitar. Towards the end it is volley of violins that play the counter for the pallavi, finishing the song on a high. Typically, this serves as an announcement of sorts, of the fact that the pallavi is going to be put through for the last time...please listen the last time pallavi is sung in pAl vaNNam paruvam kaNdu.....violins barge through ending the song on a crescendo, on a high. Several songs stand testimony to MSV's remarkable sensitivity to the innate flow of music within a song. Defining a song construct is a sub-art within the art of composing that MSV rules over, ofcourse amongst other aspects Smile Sarangi.....let us not forget thoothu sella oru thozhi illai song. The Creator alone knows how MSV got the idea to squeeze in Sarangi here and the chord...the damn chord at thuLLum kAtru vanthu words......there is an 'Aaaha' moment delivered there, which will make you sit up and experience it deeper. oru thuLI sottu neelam effect. MSV can introduce a new flavour through a touch of a single chord. That very chord can make the listener view the rest of the song in a different light altogether.
MSV taught the music world, the art of introduction of violin counter melodies within the charanam at the right time. When TMS puts through, 'deivamE....' the violin flourish starts off on a crescendo, something that was absent till then. Needless to say, we all find it absolutely, absolutely, absolutely appropriate. What a fillip it gives to the tune (not that the tune needed it, this is ornamentation) and to the song as a whole. The art of establishing the soul of the song in the prelude, providing various embellished versions of the soul through the song interludes and charanams and seeing the song through in the postlude, like a caring mother performing the final rituals like handing over the lunch box etc...and watching her children run away to school is an art that belongs to ....you know who. God....how many aspects of composing can we all accommodate in one shot....quite overwhelming..
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tvvraghavan



Joined: 15 Dec 2006
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PostPosted: Wed Dec 12, 2007 1:55 pm    Post subject: Well Said Vatsan Reply with quote

Well said Vatsan.... Ofcourse , the usage of violins towards the end of the song , after the last charanam , just b4 or along with the beginning ot the Pallavi is a trademark and an established style of a Great aesthete called MSV !!! He can aesthetically play around with the strings embellishing the complete song and ofcourse, bring out the right emotion Smile !!!

Another song similar to "Deivame.." that I can think of now is "Andh Naal Gyanbagam... " from Uyarndha Manithan..!!! What a way to start with pizzicato of violins along with a beautiful Brass section. This is a beautiful example of a song which is typically a convesation b/w two intimate friends but with rich interludes and ofcourse with the emotive solo violin piece......!!!! In my opinion, the movie title is apt for our Master Creator !!

MSV Rules !!!
Venkat
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msvramki



Joined: 18 Dec 2006
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PostPosted: Wed Dec 12, 2007 4:47 pm    Post subject: Reply with quote

Dear SL,

What a way to describe the creation of the 'Creator' MSV !

Every song we listen to, has an innovation that has 'happened' thro MSV and personally I was not able be express in words at all what I 'felt' when I listen to his song all these years.

You have done it so wonderfully ! Hats off to you for your expression of the 'feel' when we listen to a MSV number !

Has any of the MDs(?) of the present year 'feel' this way at all when they 'tune' a song(?) or atleast when they listen to MSV's ?

If they 'feel' MSV's music this way (as we all do), why these guys are not acknowledging this openly whenever they are interviewed or come in magazines ? THis is true for the top-ranking Carnatic musicians too !

It pains if you think about this !

MSV is a Creator.

Ramki

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