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MSV Programmes & Interviews in Television
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Ram
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PostPosted: Sat Aug 22, 2009 7:35 pm    Post subject: MSV Programmes & Interviews in Television Reply with quote

On the suggestion from our professor, I'm opening this thread to have a section exclusively of TV programmes on MSV like Endrum MSV (Mega TV), Thirumbi Parkiren (Jaya TV) etc. This is 'STICKY' post hence will always be on the top of this forum. Please share the show experiences & show information here.
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VaidyMSV & Sriram Lax
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PostPosted: Mon Sep 07, 2009 7:13 pm    Post subject: Reply with quote

dear all

any one has seen ENNODU PAATU PADUNGAL; , OF THIS WEEK
5/09/09

I could see only at last second . i think vidya sagar was the guest , and he was explaining , with his harmonuim ,how wonderfully , bharathi kannama from ninaithaley innikum , was composed .

he said , only He can do that .and no other will ever think about that .
on him completing , spb hummed , the song from Mozhi , which has the similarity ,and asked how that was composed ( its vidyasagar's composition ) VS never even thought a second , but said thats also derived from HIM ,(who else its MSV )
and a card appeared that that will continue next week also

Has anyone seen this programme , if so pls load it. if not .
i think the repeat must be either friday , sat this week at 11 pm ,
so pls not to miss
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Sai Saravanan
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PostPosted: Mon Sep 07, 2009 7:17 pm    Post subject: Reply with quote

Friends,
Today there was a telecast in Jaya TV on LRE with Mano. I just missed it. It probably was a repeat telecast of last week. I was informed by my wife that LRE spoke more about MM in the initial phase of the programme. Especially on the Pattathu Raani episode, and how tough it was to work with MM because of the discipline and correctness of delivery of each song MM teaches.
Sai Saravanan
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parthavi
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PostPosted: Mon Sep 07, 2009 8:53 pm    Post subject: Reply with quote

Dear Mr. VK,

I watched 'Enoodu Pattup paadungal' with Vidhya Saagar as the judge. There was no MSV song during the episode. SPB praised KVM lavishly describing him as 'isaik kadal' and said that MSV showed high respect for KVM. When once SPB had thanked KVM for making him earn fame for Sankaraabharanam songs, KVM said, "We have not done anything great. Even if others praise us, we should be aware that our contribution is very small." A noble attitude, indeed.

At the end of the program, Vidhya Sagar sang the charanam of Bharathi Kannammaa (Ninaiththaale Inikkum)

nillaak kaalangalil........

He sang the lines again and said. "Listen to this," sang the first line again and said, 'Ippadi oru nishadham avaraal thaan poeda mudiyum." Then he sang the next line and said, 'angirundhu gaandhaarathap pidikkavum avar oruvaraalthaan mudiyum" He did not even say MSV. He said only "avar," with the certainty' "avar" veru evaraaga irukka mudiyum?' His sincerity of admiration was reflected in his face and words. (I have heard these kinds of observations - not the same but similar - made by people like SRS, Sampath and Vatsan in our meetings. For the first time, I am hearing this kind of an observation from someone outside our forum. Perhaps, we could organize a presentation on MSV's music by Vidhya Saagar, as a public function and we may be able to get some sponsors for this event.

Immediately SPB sang the pallavi of 'kaatril... ' from Mozhi and observed, "Vidhyaa Saagar Avargale! Idhu yaaridamirundhu vandhadhu? idhai (ippadi oru constructioni) naangal edhirpaarkkavillaiye!"

Vidhya Sagar replied immediately, "idhuvum avaridam irundhudhaan vandhadhu!"

This episode was relelecast today (Monday) evening at 5.30 pm. I have seen this program retelecast on Sunday nights at about 11 pm. Perhaps, there will be another telecast the coming Sunday.

Being an ignoramus on the basics of Music, I couldn't make out what Vidhyaa Saagar was saying, though his praising MSV was gratifying. People in our group with knowledge of music will be able to appreciate this. They may elaborate the significance of this for the benefit of others. Or this song could be taken for analysis (if not done already.)

Incidentally, I am reminded of what Mr. Thumbaa Sekar said about Yaadhum Oore from this film. He said, he composed the song so effortlessly with a profuse flow of music. Yet this song has an excellent tune and intricate orchestral construction.
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parthavi
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PostPosted: Mon Sep 07, 2009 9:18 pm    Post subject: Reply with quote

Dear Mr. Sai Saravanan,

I happened to listen to Mano's interview of LRE. Understandably, she expressed her gratitude to MSV. She said she started singing chorus and got a chance to sing for MSV. I forgot the first song she mentioned. MSV took note of her. Later she gave her a break by giving her a chance to sing 'vaaraayen thozhi.' She said it was the most memorable day of her life and mentioned the date of recording. But before the recording of this song, she had to participate in the chorus of 'paavaiyin mugaththai.' It took almost one full day. With a number of rehearsals and takes, the song got over only by about 9 pm. Then she was asked to sing vaaraayen thozhi. Her voice had gone down by that time and she was worried that she would lose the chance, but MSV sympathized with her and postponed the recording to the next day. After the recording was over, MSV came to her and said, "You have done well. Keep it up." After tha,t her stature started growing with opportunities given by MSV.

About Pattatththu Raani, she said that Sridhar wanted PS to sing the song but MSV was adamant and said that if PS had to sing, he would compose the song again in a different style. Sridhar yielded. After she sang, MSV and Sridhar were having a discussion in whispering tones. LRE was impatient and butted in asking what it was about. Sridhar, after listening to her performance, now wanted her to give her the sound effects for the sighs and cries also, which initially was not the plan! She readily did that.

When the song was composed in Hindi, Lata Mangeshkar had not heard the Tamil version (Sridhar deliberately did not want the Hindi team to hear this before the composition was over) In Hindi, the sighs and cries were given by another person. Lata was stunned when she listened to LRE's song. She wanted to meet her. LRE said that Lata came to Madras only to meet her. She also showed the photographs.

Then Mano asked her about Kaathoduthaan pesuven. He appreciated her rendering of the song saying that it was very difficult to maintain the sruti while modulating the voice. LRE started saying, "Naan padichcha pallikkoodam appadi.....," referring to the MSV school, where she was trained. Mano immediately cut her off and diverted the topic, giving credence to the views expressed by Mr, Venu Soundar and others that Jaya TV has been deliberately blacking out MSV!
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parthavi
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PostPosted: Tue Sep 08, 2009 12:04 am    Post subject: Endrum MSV - MSV on Naushad Reply with quote

The program on 30th Aug started with the song

நாளை வெற்றியை சரித்திரம் சொல்லும்
இப்படை தோற்கின் எப்படை வெல்லும்?

Aadhavan said that this song was the title song of 'உலகம் சுற்றும் வாலிபன்.' But I think it is from மதுரையை மீட்ட சுந்தர பாண்டியன், MGR's last film. MSV also went by this and mentioned that MGR was busy with the election work. Aadhavan said it was the Dindigul by-election, the first election faced by MGR after starting his own party. Again, I think it was the 1977 election, which brought MGR to power. MGR's swearing in was delayed by a few weeks, till he could complete மதுரையை மீட்ட சுந்தர பாண்டியன்.

Please let me know if I am right or my memory is not serving me right. In any case, I don't see any relevance of the theme of this song to உலகம் சுற்றும் வாலிபன்.

Adhavan said "உங்கள் படை எப்போதும் தோற்காது. உங்கள் ரசிகர்கள் பொன்னை விட உங்களைத்தான் அதிகம் விரும்புகிறார்கள்." MSV took the cue and delivered the song

பொன்னை விரும்பும் பூமியிலே.

This was followed by

ஓடம் நதியினிலே.

This song was transcribed by Panchu Arunaachalam. He has mistakenly written
தரையினிலே
instead of
கரையினிலே.
No one had noticed the mistake and the song was recorded. (I have not heard the song after listening to this statement by MSV. I will be surprised, if Seekazhi had sung தரையினிலே!)

Kavignar was aghast on hearing the song after recording and wanted it to be changed. But he was politely told that this could not be done.

This incident raises a question about Panchu Arunachalam's credentials as a later day lyricist. While even a layman would know that நதியினிலே
can be followed only byகரையினிலே, how did PA commit this blunder? There may be some truth in the belief held in some quarters that
பொன்னெழில் பூத்தது
was a creation of Kavignar, not of PA, as the titles of the film say! Mr. Vaamanan, considered to be an authority on film songs, said this openly in Door Dharshan, in the
'துள்ளாத மனமும் துள்ளும்' program, a couple of years ago.)

Another incident MSV said about ஓடம் நதியினிலே has already been mentioned by him on earlier occassions.

Viswanathan - Ramamurthy performed a musical show at Bombay and at MSV's insistence, Naushad Ali was invited to preside over the function. Because of Naushad's presence (so said MSV, while anyone else would have said, 'because of my popularity'!), several leading MDs and singers including Shankar-JK, Lata etc. attended the function, and watched the performance, sitting in the first row. Naushad displayed the bunch of letters MSV, as a fan, wrote to Naushad. He said he would leave after half an hour, as he had to leave for Pune.

Towards the end of the program, MSV received a chit written in Urdu. PBs read it out and it turned out to be a request from Naushad, a Rasika, requesting that ஓடம் நதியினிலே be sung. So, Naushad had not left after all and had been sitting somewhere among the audience! (In an earlier occasion MSV said that he reacted saying that it was not a listener's choice, but God's choice!)

When he went to Naushad's house for tea, he found that Naushad had a collection of songs from all languages, composed by the leading MDs.

Later, releasing MSV's biography (by Raani Maindan, if I am not wrong) Naushad Ali said that MSV was too polite and advised him that he should develop some pride, an advice, which MSV has not followed till today!(Incidentally, after reading this news in the Hindu, I wrote an article, 'இசைக்கு ஒரு எம் எஸ் வி.' This was published by a business magazine in Tamil
நமது பிசினஸ், with a lot of printing errors! I don't have a scanner. I will send this to the group, after getting it scanned elsewhere. It is only a simple article, praising MSV's music, as it appealled to me.)

Adhavan asked for one of his favorite songs அண்னன் என்னடா.

After rendering this, MSV narrated the well known episode of Kavignar, after failing to raise the money required to buy a favorite item of his that was brought to the studio for sale by somebody, approaching his elder brother AL Srinivasan for financial assistance. After being blasted by ALS, Kavignar came out with these lines, befitting the situation in the film as well as his own real life!But MSV said that this was only after Kavignar successfully getting the item, by raising the funds from other source. This was confirmed to MSV by kavignar's assistant Kannappan.

There were a couple of more songs, which I do not recall.
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N Y MURALI
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PostPosted: Tue Sep 08, 2009 8:48 am    Post subject: Reply with quote

Dear Friends,
Great Writing indeed. Reg 'Barathi Kannamma' song I have one information. This is very different from all other song in that movie. While song like 'Engeyum Eppodum' or 'Inimai Niraindha' etc are for different taste this is absolute melody. I happened to watch a light music programme during 'Kannadasan Vizha' when Mr. Prasath the man who played the tabla for that song played for that programme also. I cannot describe the feel in words.

After a day or two I bought a DVD to hear all the songs in that movie. My son who does not follow MSV said that he used to listen to this songs with his friends in college but they were all thinking that it was composed by Ilayaraja. And he said he would correct that impression to his friends also.

reg,

N Y MURALI
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parthavi
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PostPosted: Tue Sep 08, 2009 1:30 pm    Post subject: Reply with quote

Thank you, Mr.Sivakumar, for correcting me.

Now I realize that I got this song confused with a song, reading something like 'Bharathaththin sudhandiraththai...' from M M S Pandian.
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parthavi
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PostPosted: Tue Sep 08, 2009 3:17 pm    Post subject: Endrum MSV - the man who stood up to TRS! Reply with quote

Highlights of என்றும் எம் எஸ் வி, telecast on 6th Sep, 2009.

MSV started the program with
உத்தரவின்றி உள்ளே வா

Adhavan interpreted this song as MSV's invitation to all to come into the world of MSV and enjoy his pleasing music. He said there were no caste or other limitations. This remark led MSV to render
அழகுக்கும் மலருக்கும் ஜாதி இல்லை

Adhavan observed that we get one kind of experience when we listen to MSV's song for the first time, another kind when we listen again and so on. He said, "The greatness of the song போகப் போகத்தான் தெரியும்", obviouly indicating what the next song would be.

After rendering the song போகப் போகத் தெரியும், MSV indicated that this song reflected the theme of the story, since there was a question about who would get KRV's hand, would it be Nagesh or Muthuraman? இது போகப் போகத்தான் தெரியும். I had not thought about this interpretation earlier.

The next song was
ஓடும் மேகங்களே

Adhavan again picked up his 'allegation' that MSV was 'partial' towards Pantulu. MSV narrated his experience with Ganga Gowri. Pantulu was in financial strain when he was producing this film. MSV was invited to the puja but there was no further word for the next couple of months. When an intrigued MSV asked one of Pantulu's men "என்னையா, ஒங்க படத்திலே பாட்டே கிடையாதா?"

Pantulu's associate said that Pantulu was reluctant to approach MSV, since he could not afford to pay his usual remuneration. (All along, Pantulu had paid him liberally. Sometimes, he would pay him extra after the film was released and became successful and the songs became hit.)
The very next morning, MSV went to Pantulu's house and offered to work for his film, for zero remuneration.

Adhavan commended the magnanimity of both Pantulu and MSV.

Adhavan then referred to the song மெட்ராஸ் நல்ல மெட்ராஸ்
that was played in an earlier episode and mentioned that there was a similar song in பெரிய இடத்துப் பெண்.
MSV delivered பாரப்பா பழனியப்பா.

The sound effects were reproduced brilliantly.
MSV gratefully recalled the contributions made by Sathan, Sai Baba and Murugesh for producing the sound effects of this song.

Adhavan mentioned the song , 'Poo uranguthu' composed by "your Mama KVM" and pointed out a song with a similar theme composed by MSV 'திங்கள் உறங்கிய போதும் from பெற்ற மகனை விற்ற அன்னை.
MSV said that it was a song composed by him in his young age and then played the song.

When asked about his experience with TR Sundram of Modern Thetres, who was the producer of பெற்ற மகனை விற்ற அன்னை, MSV said that he had only one request for TRS. They (MSV and TKR) were not concerned about the remuneration but insisted that they would compose in their own original tunes. This was because of the practice of several producers insisting on copying the tunes of Hindi songs.
TRS wanted one song that could become a title for the actress. Accordingly, they composed a song லொள் லொள் and the heroine got the name லொள் லொள் சுந்தரி!

TRS had only one chair in his cabin and anyone talking him had to stand before him and speak. Once, TRS called Pattukkottai for discussing a song. Pattukkottai handed over to TRS, a sheet of paper which had the “lyrics”. On that sheet Pattukkottai had written "மரியாதை கொடுத்து மரியாதை வாங்குங்கள்." TRS immediately had a chair brought in for Pattukkottai!
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N Y MURALI
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PostPosted: Tue Sep 08, 2009 5:10 pm    Post subject: Reply with quote

Dear Friends,
Mr. S R Shankar mentioned that I have stopped writing about MSV songs which is true. The reason is that I feel that I have not been able to properly communicate the intricacies of the composition in writing. The result is that what the feel I had during playing the song the reader is not able to get the same.

This is one of the reasons we MSV fans meet at frequent intervals and discuss in person. Mr. Rengaswamy who attended a meeting recently in my house did mention a valid suggestion which is to invite more participants. So please let me have your mobile number if you are in Chennai so that I can inform you whenever we organize such meet. This will enable us to have more ideas being shared. However since Mr., Shankar rekindled my interest in the song ‘Barathi Kannamma’ let me share some information about the intricacies of the song but with minimum technical information.
But excuse me that there will be some technical information that has to be shared without which it is very difficult to explain.

Normally when a song is composed the composer handles the tune in three octaves or ‘sthayis’. The three ‘sthayi’ are ‘madhyama sthyai’ which is the normal sa to sa, the next is the ‘ucha sthayi’ which is the higher octave ‘upper sa to next upper sa’ and ‘mandhra sthayi’ which is the lower octave that is ‘sa to lower sa’. A human singer could at most sing the swarams from the lower ‘ga’ to upper ‘pa’. Not everyone could sing in this range. Some body can sing from lower ‘ga’ but cannot go more than ‘upper ga’. This is called the base voice. KJY is a classical example. On the contrary TMS or TRM could travel on higher octave easily but cannot come down. This is the reason why TMS refused to sing the song ‘Yaar andha nilavu’ which is in the lower level.

So a composer has to keep in mind the singer who is to sing the song and arrange the composition in such a way that the singer’s potential is fully exploited.

The specialty of this song is that the range of this song is from ‘lower ga’ to upper ‘da’. Very ideal for KJY. I do not know whether MSV originally composed it keeping in mind about KJY.

But no complaints about SPB who sung brilliantly. The song never touches ‘madhya sthyai’s (normal octave) ‘ni’ or ‘sa’ which is very unusual for SPB songs. The place where it travels through lower ga is at the place ‘adisaya malar mugam’. In the same way where it touches the normal ‘da’ is at the place ‘Nila kaalangalil’. This is one specialty of this song.

The other specialty of this song is the pallavi arrangement. See how the pallavi is written.

Baradhi kannamma
Neeyadi chinnamma
Keladi ponamma

All in the same meter or ‘sandham’. Normally lyrics writer writes the same sandham and the tendency of the composer is to repeat the tune. For instance see the song
‘Ilaya nila pozhigiradhu’
‘idayam adhil nanaigaradhu’

The composer here just repeats the tune for the same two lines.

Take another song with another composer.

‘Pulveli pulveli thannil pani thuli pani thulli thannai thaangudhu thaangudhu paaramma’ ‘aha sooriyan sooriyan vandhu chellamaai chellamaai vandhu yezhppudhu yezhppudhu yenamma’

Here also the tune is repeated for the same two different lines but with the same meter.

There is another song by another composer. The song is ‘ottagatha kattikko’ in which the tune is repeated for the same meter.

But MSV is unique in handling the same. He has a special tool called the progression. This is not the chord progression. In a way this can be called a mathematical progression because if you give numbers to the swarams then you can arrange the tune in terms of number which will give a mathematical progression. Take this song itself as an example.
If we keep the numbers 1 to sa and in the same way number 7 for ni and we can keep -7 for lower ni and +7 for upper ni then we can write the tune in the mathematical progression.

Bharathi kannamma – ga ma pa ma ga sa sa – 3 4 5 4 3 1 1
Neeyadi chinnamma – sa ri ga ri sa da da - 1 2 3 2 1 -6 -6
Keladi ponnamma – ni sa ri sa ni pa pa - -7 1 2 1 -7 -5 -5

You can notice a sort of arranged progression in these 3 lines. This is one of the methods which MSV uses in composition. This can be called as downward progression. That is the starting of the second line is lower from the starting of the first line and the same way the starting of the third line is lower from the starting of the second line. The last note in each of these 3 lines lands at different note and hence you have to adopt different chords for these lines when you end which gives the feeling that each line as a different raga.

MSV has composed few songs in this style of progression. The immediate examples come to mind are ‘Kuyilaaga naan irundheenna’ and ‘En Kelvikkenna badhil’.

He can also arrange this progression in upward direction. Example ‘Anbe vaa’ song’s pallavi. The reason is left to him as he might have done it with the idea of bhavam or emotions.

There are cases where he has made a progression downward for 4 lines and takes upward for the next 4 lines. Classic example is ‘Velli kinnam than’.
So he is a master in handling the same sandham but gives different color for the same sandham.

Take a case of the charanam in the songs ‘Velli mani Oosaiyile’. What is that charanam?

‘Pirandhu vanden nooru murai’
‘mannavan kai serum varai’
‘thavamirunden kodi murai’
‘devan mugam kaanum varai’.

This is a charanam which can be written behind a pallavan bus ticket. But see how he has handles the same meter very very differently and in the process infused the emotions of the character who sings.

The singer sings the first and the second line of the charanam. Then she repeats the same line again. See what happens when the repetition comes. She sings the line ‘mannavan kai serum varai’ differently during the second time with respect to the first time.

See what happens when she sings ‘thavamirunden kodi murai’ in which she travels to new horizon of the tune and again when the line is repeated it is different from the first time. Then he handles the last line ‘devan mugam’ by coming back to the original raga with a declaration about the kind of emotional attachment she had towards the person she is singing for.

Coming back to the song ‘Barathi kannamma’ this kind of progression may not be there for the entire song then it would be boredom. This is one powerful tool for him to get the tune in motion. For instance the charanam is not based on any progression.

Somebody mentioned that this is in the ghazal format. As me and Mr. Vatsan used to discuss that ghazal does not have any format. It is purely left to the imagination of the composer. But the end product has to be cohesive. That is the reason in the last charanam when SPB sings the last charanam ‘Kalai modum vadivodum’ in which when he repeats the line second time he touches the ‘ma2’ (pradhi madhyamam) during ‘vadivodum’ which is not in the original format of the song in the earlier charanams. But it sounds good for hearing.

Of course there other aspect about orchestration in which he has used the tabla played by Mr. Prasad (I was told by somebody that Mr. Prasad was awarded by some organization for this song) then about the flute piece which answers every time during the line ‘Adisaya malar mugam’

I have also noticed MSV uses this kind of progressions not for pallavi but in charanam. Take this song ‘Enge neeyo naanum ange unnodu’. In that song if we notice the charanam
‘Kaalam varum nam kanavugal ellam kanindhu varum’
‘Kaathiruppen un aasai mugathai paarthiruppen’

These 2 lines are same sandham and he tuned with different tunes which is very complex progression because the lines is long.

See the next 4 lines

‘Kanna undhan thaaiyaaven’
‘madi mel vizhundaal seiyaaven’
‘Kanna undhan nizhallaven’
‘Unnekkena naan vaazhven’.

The first 3 lines are the progressions as like ‘Baradhi kannamma’ which is downward progression. The fourth line is the finisher with the statement.

There are instances where he has used these progressions for interludes. Take the song ‘Paadaadha paatellam paada vandhaal’ in which the famous mandolin piece is the progression.

Again coming back to the song ‘Barathi kanamma’ Mr. Rengaswamy mentioned about Mr. Vidyasagar mentioning about the sudden touch of the swaram ‘Nishadam’. I think what he is mentioning happens during the song at ‘Kaalai varai’ during the charanam. He unexpectedly touches the nishadam (ni2) but also in the process touches the other ‘nishadam ‘ (ni1) which only MSV is capable of handling.

But this handling of the nishadham suddenly is MSV’S special. He has handled that style in other occasions also. For instance in the song ‘Iru Manam konda thiru mana vaazhvil idayinil nee yen’ in which for the word ‘yen’ he touches the nishadham suddenly. There can be many examples

Regards,

N Y M URALI
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parthavi
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PostPosted: Tue Sep 08, 2009 8:13 pm    Post subject: Reply with quote

Dear Mr.Murali,

Your piece of writing should be commended as much for its simplicity as forits lucidity, depth and thoroughness. Though I am unable to comprehend the notes, I feel that I have gained some insight into the uniqueness and the uncloying nature (திகட்டாத தன்மை) of MSV's songs. In the past, have only observed the modulations and variations in successive lines of a song. Now I understand something about the background of these nuances. I endorse Mr. Shankar's suggestion that you should write more, though you may feel that any attempt to describe MSV's music will look incomplete.

To supplement Mr. Shankar's mention of MSV's appreciation of other MDS' creations, I can cite the fact that he has, in Endrum MSV, has played the songs of several other MDs.

1) Janani Janani of Ilayaraaja
2) Budhdhi Sikaamani Petra Pillai of KVM
3) Aalaala kandaa of ARR.
4) Kagitha Oedam of TKR
5) A melody of VS from Chandramukhi
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Sai Saravanan
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PostPosted: Fri Oct 16, 2009 6:57 pm    Post subject: Reply with quote

Dear Murali Sir!
What is this writing called!! This is a brilliant technical paper presentation over the web!!! Simply brilliant and am I breathless after reading through...I feel 'Bharati Kannamma' is blessed for this commentary from your pen.

The technical brilliance of the tabla of Mr. Prasad (once he played a few pieces of this song when he came in Jaya TV), and the orchestration is equally matched by your analysis. I feel thoroughly satisfied.
Regards,
Sai Saravanan
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Sai Saravanan
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PostPosted: Fri Oct 16, 2009 7:08 pm    Post subject: Reply with quote

Dear friends,
Recently there were interviews with B.S.Sasirekha in Star Vijay (I hope I am right). Initially, she mentioned about MM elaborately and at right instances when she was speaking about her career. She mentioned about how MM encouraged her and gave her lots of openings, which included her singing for SPB's troupe where IR and his brothers were playing instruments for SPB. Eventhough it was not MM who gave the first chance, she considered MM as the starting point. She said that she still fears when sings before him. Later on she narrated her experiences with IR, and the show meandered towards other 'usual' details. Not many of her beautiful songs with our master were sung by her during this interview, unfortunately (as usual).
Sai Saravanan
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VaidyMSV & Sriram Lax
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PostPosted: Fri Oct 16, 2009 7:23 pm    Post subject: Reply with quote

dear murali


i wanted to write a lot about writting ,but then realised , your writting is as excellant as masters melody

donot thnik , no other compliment is fair enough

love you my friend for educating us to enjoy more of King of melody's ever lasting melodies .

hats off
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Sai Saravanan
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PostPosted: Tue Nov 24, 2009 6:59 pm    Post subject: Reply with quote

Dear friends,
Since a few days, (Shankar-)Ganesh is on Jaya TV reminiscing his era in 'Thirumbipaarkiraen'. He has been talking non-stop on MM, as expected. But, I just had the opportunity to listen to a few of his words only. It is still on, but more of himself now, I believe.
Sai Saravanan
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