Joined: 10 Jun 2008 Posts: 630 Location: Hyderabad
Posted: Sun Mar 21, 2010 1:41 am Post subject: Veenai Paesum
Dear Friends,
Just listened to 'Veenai Paesum' by KJJ and BSS. Got carried away by the mesmerizing caress by our MM. I do not know which instrument to start with...every one of them played so exquisitely, completely justifying MM's intentions. Flute, violins, tabla, veena,...This is one of the rare songs where MM uses Veena. His use of Veena always is so subtle-not piercing your ears, blending with the song emotionally pleasantly.
The humming is not so great, but manages to 'communicate'. However, KJJ sounds soothing in his old bass-filled raw brilliance. When he utters Thendral paesum, we can feel its presence. Even the word 'Modum' does not sound hard. What a composition by MM!!
This is a dream-like lullaby! I was thrilled to hear this. Thank God for revealing His presence every now and then!
Dear Mr. Sai,
Veenai Pesum (from Vaazhvu en pakkam, starring Lakshmi) can be compared and contrasted with 'mouname paarvaiyaal oru paattup paada vendum, naaname jaadaiyaal oru vaarththai pesa vendum' from kodi Malar. Each song is addressed to a girl who is not enabled with the power to speak. The contrast is in the lyrics. In 'mouname paarvaiyaal', there is only a silent response from the girl, since the lyrics suggest that she use silence and gestures. But in 'Veenai pesum', the heroine hums because the lyrics suggest she speak. It is only natural that the humming from a girl not endowed with the faculty of speech is subdued. MSV could not have used a humming like the one in 'Sittukkuruvi muththam koduththu.'
Your observation about 'modhum' is very appropriate.
'தென்றல் பேசும் அது மோதும் மலர்களில் நின்று.'
தென்றல் மோதினால் வலிக்குமா என்ன? அது சுகமாகத்தானே இருக்கும்? அதுவும், தென்றல் மலரின் மீது 'மோதும்போது,' 'எங்கே மலருக்கு வலிக்குமோ' என்ற உணர்வில், இன்னும் மென்மையாக அல்லவா மோதும்?
Who but our MM can bring out the entire import of Kavignar's lyrics into the composition?
The interlude before the second charanam is a class of its own. The progression of notes in the Veena reaching a crescendo, followed by other instruments (like violin) is a brilliant conception.
நான் அடிக்கடி நினைத்து நினைத்து அனுபவிக்கும் பாடல் இது. மனதில் ஒரு நீரோட்டமாக என்னை அறியாமலேயே அடிக்கடி வந்து என்னை வருடிச் செல்லும் பாடல். _________________ P Rengaswami (9381409380)
MSV, Un isai kettaal puvi asainthaadum, idhu iraivan arul aagum.
http://msv-music.blogspot.in/
Indeed it is a great song . Jesudas got a very good name through this . Our hubber Ms. Meenakshi Madam has written a lovely note on the song which is available below .
Dear Mr. Balaji,
Search function is available at the top. But I think it is nothing wrong in the same song being analyzed by different people. The way every one perceives and enjoys a song is different. Perhaps, the same tag could be used. But if one were to go through other writings before writing, it may come in the way of one's expressing one's feelings freely. While, we share our views immediately after someone makes the first post on a topic, someone writing on the same topic at a later time may start a new tag. The expectation that one should search for the topic, scan all the writings under that and then only add his or her own appears unrealistic. This is my view. As far as I know, forums do not have rigid rules about classification. _________________ P Rengaswami (9381409380)
MSV, Un isai kettaal puvi asainthaadum, idhu iraivan arul aagum.
http://msv-music.blogspot.in/
Joined: 10 Jun 2008 Posts: 630 Location: Hyderabad
Posted: Wed Mar 24, 2010 2:16 am Post subject:
Dear Sirs,
This new thread/post on this song was only unintentional and it is purely a coincidence that there already exists a page on this! I sincerely appreciate Mr.Balaji's alertness in catching this immediately! I apologize. But then, the craving to taste a mouth-watering sweet again and again never subsides. This is one of the heavenly delicacies created by MM! Let me quickly and quietly taste some more!!
The veena takes over in the interlude and caresses you further. Is it Sahana? The flute is hidden in a melodious combination to create a mysterious feeling. The important aspect of this song is KJJ's voice. During the initial days, he had sung in a thin, nasal voice, and sometimes with great bass also. This use of bass in his voice by MM seems selective. Only on certain portions of a song was this used. But, if we notice, there is a great deal of change in his voice when he sang for other music directors. That too during the same period. The softness and warmth was mostly extracted by MM alone, and this song is a small testimony. Especially, the finishing lines lead you into a lullaby and he literally puts you to sleep!
Earlier, the emphasis on accepting the heroine's inability to speak is shown when KJJ stresses the lines 'eppothu paesum...munne' and 'ondraana pinne'. This is beautifully brought out by the bhava selected by MM. KJJ is only an instrument in his hands! Poetry of Kannadasan (?) apart, the beauty lies in MM's soulful composition.
BSS does not sound very melodious, but, probably fits the occasion. The dumb heroine needs a representation, and the type of voice is immaterial, probably. May be to sound natural. Others may not have fitted the type, ...
Overall, the music guides us, mood pervades, words being only a small help. It does not overpower, but is gentle. Look at the tabla...it is silky in the hands of Mr.Prasad, it flows...it is ornamental! How did God create the fingers of Mr.Prasad, the breath of Mr.Nanjundappa (flute), caress of Veena (By?),... How is the Veena played so softly in MM's compositions alone? The lyrics fade when my mind listens to the song like this....
My apologies too for the poor communication as what I also had intended was to have a single thread for a song where all our thoughts can be poured in so that the viewers will know more about the song.
Yes. I fully agree with Mr. Parthavi's viewpoint that if we see a preexisting writeup on a song, our own assessment of the beauty of the song may not get reflected in the manner we perceive as we may get influenced by the existing writeup !
Well, this is the beauty of Mellisai Mannar's compositions ! We never get tired of analysing the same number as the melody is and will be there forever !
Veenai pesum's prelude will be totally different from the song's rhythm . Like this, MSV has created many unrelated preludes only to get sync with the main tune wonderfully . Sheer magic . This song has some brilliant counter melodies .
Alas. sometime from now, many may even say that this song was composed by Ilayaraja ! After all, many guys have been asking me whether Ninaithale Inikkum / Agnisatchi have been IR's or whose ?
There is no need for apologies. We may have different viewpoints and we express them freely and appreciate others' viewpoints, even if we may not agree with them. That is the spirit which keeps forums like this vibrant.
As for your "poor communication," I find that you have expressed what I had intended to, very succinctly and clearly. I am not making this up. This is the thought that occurred to me spontaneously, when I was reading your mail.
With the Veena conversing with the fingers that tune it and the Breeze having a chat with the flowers, we are in an environment of super communication! _________________ P Rengaswami (9381409380)
MSV, Un isai kettaal puvi asainthaadum, idhu iraivan arul aagum.
http://msv-music.blogspot.in/
Joined: 10 Jun 2008 Posts: 630 Location: Hyderabad
Posted: Wed Mar 24, 2010 11:29 pm Post subject:
Dear Mr.Balaji,
Your views are very appropriate, and I have accepted the problems of repetition that we keep facing.
As you say, MM's songs are evergreen and keeps breathing new life whenever we think of them, not even listen! Therefore, his song gets all the importance, a fresh new dimension, whenever it is taken up by anyone.
Dear Parthavi Sir,
As usual, your words are crisp and I agree when you that we are in an era of super communication- yours is one of the best examples!
As for our song,...it plays on, illuminating new meanings and fresh hope!
Sai Saravanan
Joined: 10 Jun 2008 Posts: 630 Location: Hyderabad
Posted: Mon Sep 06, 2010 1:40 am Post subject:
Dear friends,
This evening MM was asked about this song by Mr.Aadhavan in Endrum MSV. The song was imaginatively played by the small orchestra, and managed to get the feelings straight.
Sai Saravanan
Aadhavan remarked that those who got the opportunity to sing this song (KJY and Sasiraaka) were blessed (migavum koduththu vaththavargal.) But I felt this was a bit too much for the singer Prabhakar who was not very good at bringng out the expressions. Byut a great song sounds great even if sung by an average singer! _________________ P Rengaswami (9381409380)
MSV, Un isai kettaal puvi asainthaadum, idhu iraivan arul aagum.
http://msv-music.blogspot.in/
Joined: 10 Jun 2008 Posts: 630 Location: Hyderabad
Posted: Sat Sep 11, 2010 1:01 am Post subject:
Dear Sir,
Every instrument played in this song (or, in every song of MM) speaks a definite language, shows its individualistic presence, and softly dominate the scene. However, none of them overpower the song, its lyrics or the singers' voices! The absence of the important instruments like Veenai, etc., showed the incompleteness. At home, similar comments, like you have expressed were aired. All said and done, I just keep looking at MM, wait for him to utter a few words, or wait for him to hum or sing...Due to the inadequacy of some of the singers, some instrument players, etc. I used to be disappointed with Ganapathi's tabla always in this programme. He used to play his own beats, never care for the original contents or their nuances, usually dry, monotonous and lazy sometimes, and slowly becoming a boring factor on many songs. Luckily someone else is playing now, and this man is better!
Thanks,
Sai Saravanan
Joined: 10 Jun 2008 Posts: 630 Location: Hyderabad
Posted: Sat Oct 16, 2010 9:17 pm Post subject:
Friends,
There are a couple places, I believe, with a few piano notes also. I have to listen again to confirm this. Probably, just before the start of the next stanza...MM starts with a finish with the piano, if I remember right.
Sai Saravanan
Posted: Tue Jan 11, 2011 5:42 pm Post subject: Resp.
The song is a priceless gift bestowed upon us, the lucky ones.
MSV indeed chooses Veena as the instrument for dishing out the counter melody. The first such instance was in "kaNgaL engE" in Karnan where the gamaks on the Veena introduced to merely complement the main melody played out by the Sitar and Organ, actually ushers in a hair rising experience. This FYI, happens after P Susheela has rendered the pallavi devoid of percussion support.
In this song taken up for discussion, the very first word of the pallavi was enough to provide the spark for MSV to grow it into an all engulfing flame of a counter melody for the pallavi. There is this overall pleasant, soothing aura to the song, which adds to the listening pleasure. The prelude infact starts with notes played out with the low pitch strings on the veena with a piccolo (?) and piano riposte for each phrase on the veena, followed by strings, and a very Indian flute phrase bordering on Hindustani Kalavati, a violin passage again and finally the perpetrator, veena gently nudging the pallavi for it to start its game of spoils . Timely whamping on the piano seems to impart a sense of majesty to the song. The beautiful tune of the pallavi is enveloped by the tempting veena counter points that seem to be playing hide and seek with the pallavi.
You have here instances of the pallavi repeated without the veena counterpoint. This composer knows the art of moving listeners tantalizingly close to the ultimate bliss and then withdrawing the experience as subtly as it was introduced, leaving listeners yearn for more. Mischief monger MSV !!! I am sure this was also due to a part of his composing self that detests hackneyed repetition.
The ethereal, tranquil humming at the end of the second charanam was prompted by the words "nenjil thAlAttu kaNNe". The protagonists with the listeners slowly start slipping into a slumber when the lullaby of a humming flows through like a gentle stream of crystal clear water with just that slight difference of the lady actually only humming and the man having to follow the same notes, as a being not vocally challenged.
This song is testimony to what we call as a "Complete" package, consummate in its ability to touch upon all required flavours of nuanced emotions, deliciously dished out.
If the song envelopes us with a feeling of deep comfort and security, much like the fledgling with unruffled feathers snuggling within its nest in the presence of its protective parents, kudos, we have the opened ourselves to the song's influences.
Joined: 11 Jun 2007 Posts: 1226 Location: navimumbai
Posted: Wed Jan 12, 2011 6:57 am Post subject: Pick a song
Dear Friends,
The song has repeatrdly surfaced in our forum almost eversince the forum was floated. Not once it has satiated the listener/ reader / interpreters immaculately indicating that it is one of the compositions that truly defines composition that stays stably elegant, not to be ever disturbed. Grand.
K.Raman Madurai _________________ Prof. K. Raman
Mumbai
Dear Friends,
There are lot to be written about the intricacies. Having short of time as I am proceeding to office. Will come back after sometime. In the mean time I am giving a link of video of the song played by me on the keyboard. Just see the way the (notes)keys have been arranged for the melody.
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