"MSV CLUB" - The Discussion Forum of MSVTimes.com

[madhuraman]

Dear Friends
I open the series on ludes, just to look at the crafty pieces rendered to perfection. The perfection I refer to here should be taken as a reference to the component of relevance a] to the lyric content and b]in sustaining the mood of the song. My submission is, these have never been items of mindless insertion as time-fillers. Rather, most of them punctuate the mood even as they innervate much like the blood vessels and nerves that are integral to any higher form of life. The analogy is just to highlight the absolute harmony in existence of components as if born together. This is precisely where MSV registers both authority and authenticity as a composer who exactly attains the stature of a creator. Now fit my earlier analogy of blood- nerve ensemble to HIS orchestration, you will be obliged to concur of HIS BEING A CREATOR. At the outset, I should admit that the play of a cluster of instruments is so finely blended that I am unable to pinpoint every item except settling for a summary terminology like strings or brass or percussion, lest I should get bogged down in my own sea of uncertainties. Those of our friends with a better clarity on those spots can lend their help in setting the thought right. I begin in a sequence -all too personal in preference with no justification or logical priority there of.

1. 'dEvan koil maNi Osai' "maNi Osai" - Seerkazhi Govindarajan [V R]

The song opens with bell and continues to stay on the back up of a series of bells rich and low without interfering with the lyric. If we carefully consider "Is it possible to handle so many bells in succession, each to the right decibel? The systematic play of gongs renders a total ambience of a divine setting. As the line 'oorAr veruththAl' is being sung look at the array of subtle bells at the backdrop; we have to bow our head in reverence. The play of flute and xylophone[?] together enhances the serene mood. As the song ends, we feel the majestic presence of the Lord as bells strike in gentle winding-up note, Oh- heavenly as early as 1963 or so.

2. 'aththAn ennaththAn' "pAva mannippu" PS

This song has several credits. Most mellowed orchestration -way back in 1961. The whole piece is rich by absolutely aesthetic flow of notes. The best of listeners would be confused in determining if the tune or the orchestration determined the other.Undoubtedly the first ever declaration of the use of Accordion as an asset in TFM. Two things stand out besides; these are PS's singing 'solvEnadi' with an absolutely dry lips and tongue tip keeping off the prospect of even a stray 'plip' from that spot while singing. Oh what a percusiion? It was a more a cushion to the voice of PS.


3. 'angum ingum pAdhai undu' SPB

MSV portrays the mood of the lyric by opening on a confused strumming of strings but chose not to permit disarray for long and opens on a steady singing of pallavi. Through the song strings are played in staggered paces [unusual in his compositions] in perfect harmony with the task on hand.
Jingling beats before 'kanna enrAi' is a class of musical interpretation of mood. Windingup beats are also let out in steps in a well thought out composition.

4.'anbuLLa mAn vizhiyE' 'kuzhandaiyum deivamum" TMS PS

The romantic piece declares itself from a punchy guitar -Drum duo to open the pallavi; dominant violin layers set the tone for PS to open 'anbulla mannavanE' again a boisterous violin cluster flows like a waterfall inducting TMS to charanam. Pallavi lines are backed by dexterous drum beats in precise play [Noel Grant] Guitar-violin play floats the mood a clear 10 feet above ground before PS finishes on hum hm hm hm. The orchestration is rich dominant and melodious with artistry of sorts.

5. 'AgAya pandhalilE' "ponnoonjal" TMS PS

Swirling in mood right at the start withstruming, shenoy- flute concurrence; the first pallavi line is rapidly fondled by percusion- what an opening? The beauty of the song is a brilliantly interwoven lude that flows with lyric. Separating the lyric phase and ludes is well nigh impossible and everything races in though in an orderly pattern. Steady play of strings while singing is on fortifies the elegance far beyond description. A real model for cohesive composition that showcases MSV's unparalleled supremacy as an articulate composer.
To continue.....

Warm regards Prof.K.Raman Madurai.
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Prof. K. Raman
Mumbai