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'pAdal rAjjiyam emadhu'-MSV -the MAGICIAN

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Joined: 11 Jun 2007
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Location: navimumbai

PostPosted: Sun Oct 05, 2014 1:20 pm    Post subject: 'pAdal rAjjiyam emadhu'-MSV -the MAGICIAN Reply with quote

Dear Friends,

“pAdal rajjiyam emadhu”
Yes, I deliberately choose to call him a magician for the ability of his to unleash a range of absolutely ‘possessive’ impacts by the art of ‘negotiating’ words. Stated in plain terms, he has a wide variety of options to dabble with for every word, comma, semicolon rendered to perfection. It is this rendering which confers a powerful impact on the listener. Now, if we try reading a lyric phrase or word –it looks a docile term giving a meaning of course; but, once a word /frame is set to tune by MSV, it assumes an emotional weight that catapults the mood to its zenith; the orchestration sustains the mood at that plane and sets the path for the tune to ascend or descend –all in a natural ensemble! This appears to be a domain exclusive to MM’s creativity that we do not find similar variants in most other composers’ works. I am tempted to coin a frame for MM “PAADAL RAAJJIYAM EMADHU” from his beauty ‘kAdhal rAjjiyam enadhu’ from the movie ‘mannavan vandhAnadi’.
There have been quite some scintillating observations about “neela nayanangaLil”. True, it is a classic melody rich by tune undulations and all the elements of a grand composition. Just around the time when discussions were on over ‘neela nayanangaLi’, in our site, I happened to watch ‘kAdhal rAjjiyam enadhu’ in a telecast. Since then, the song is rolling in me constantly, inviting a closer look at the majesty of the composition. I do not suggest any comparison between songs; more so between items of MM’s creation.

Coming to the magician in MSV, it is simply the word treatment in ‘kAdhal rAjjiyam enadhu’ that gives a dimension to the process of ‘kAdhal’ itself.

Fully aware of my inability to analyse the compositional intricacies, I just stay inspired by the subtle nudges /slight gaps or long stretching of words –which in totality raise the duet to a scale of majesty that would otherwise be missing had it not been for the treatment of syllables in these words. Equally, we owe to the lyricist [?] for using words that carry the emotion on which MM can cast his spell of rendition.

‘kAdhal rAjjiyam enadhu’ is simply a grammar on “melody embracing the rhythm”. The magic in this song pertains to establishing a rhythm on which melody plays around like an enthusiastic child [read –the child is MSV]. Needless to remind ourselves of the MM-brand orchestration in floating the piece in ecstasy.

Like in ‘rAjAvin pArvai’, this song is carried on rhythm beats simulating the horse gallop that stays through the song. But the simulation of horse hooves is withdrawn in later charanam only to be replaced by Tabla beats matching the simulations by bamboo strokes. The treat begins at the first word ‘kAdhal’ rendered with a capturing expansion at ‘kA’ as ‘kAA’ and effectively quickened at ‘dhal’ making the earlier stretch powerful. Same is the style for ‘kAval’ in the succeeding line of pallavi.
Soon enough the legendary flute grabs attention leading to the same rhythm in percussion, just after TMS renders the pallavi lines.
The orchestration in first interlude brilliantly slips into a new mode of travel away from pallavi pattern; but it manages to camouflage by its elegance and takes us to a different presentation suggesting the play of charanam tune which has characteristic split jump, split jump rendition of words ‘vagai’ ‘malar poigai’ , ‘thingaL’ AND the words rendered each in isolation without looking drab.
The elegance is splendid when PS renders ‘then pAndithevanin’ when the tune is split as ‘then ………….pAndi …. thEvanin and rapidly ending at ‘uLLam koLLAdha AAnandha thavippu’ after the romantic piece ‘ rAsa leeEE laigaL idhu thAnO’.

Through the subsequent interludes the orchestration is a bonanza of flute-violin-brush drum- Tabla play instead of the bamboo simulation of horse hooves’ rhythm.

Equally robust has been the rendition by TMS, THROUGH the later charaNam phase ‘ thaththum kiLi niththam’ … and towards the closure, the lyric and rendition at ‘kamban sollAdha kAviya chirap .. puuu’ portray MSV –KD’s grandeur in tune-lyric competition and competence.

The astonishing feature in this song [as in many other MSV-KD pieces] is the authentic shift in tune which is absolutely comfort-personified by the consummate ease with which, tune, interludes rhythm beats merge/ segregate much like the cloud –rainbow play on a serene cool breezy evening.
Every inch MSV-KD have unequivocally established that the cine –song domain is theirs and on their behalf let us proclaim “pAdal rAjjiam emadhu”
Warm regards
K.Raman Madurai
Prof. K. Raman
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Sai Saravanan

Joined: 10 Jun 2008
Posts: 631
Location: Hyderabad

PostPosted: Mon Oct 06, 2014 4:33 am    Post subject: Reply with quote

Dear Professor,
A grand song indeed! What a majesty! The interludes are so soft and lift you into another world, the flutes, violins, and the brisk Tabla from Prasad. How many styles has Prasad he played in this song! I can imagine MM's fingers dancing, only to be recreated by Prasad on the tabla. This has been another song interlaced with words, beauty, beats and majesty.
Sai Saravanan
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Joined: 08 Nov 2006
Posts: 715
Location: Madras, India

PostPosted: Tue Oct 07, 2014 2:38 pm    Post subject: ......... Reply with quote





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VaidyMSV & Sriram Lax

Joined: 15 Apr 2007
Posts: 852
Location: chennai

PostPosted: Sat Oct 11, 2014 6:37 am    Post subject: Reply with quote

dear Prof

great song and a great write up too .

your posting has drawings from face book fraternity too .

like vaidy said this is 70 s marvel .

its high time the learnt reaserchers should probe melliaimannar's late 70s -80 s compositions to realise he has never gone out of his designated pedestal

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