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Muthukalo Kangal ( Nenjirukkum varai )
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S.Balaji



Joined: 10 Jan 2007
Posts: 772

PostPosted: Fri Jun 08, 2007 8:30 am    Post subject: Muthukalo Kangal ( Nenjirukkum varai ) Reply with quote

Another interesting movie from the great Sridhar - NENJIRUKKUMVARAI though the theme is typical of his..... the triangle love formula wherein one has to give in finally.

This movie revolves around 3 characters Nadigar Thilagam , Muthuraman & K.R.Vijaya.

While NT loves KRV, she loves Muthu only. On realizing the truth, NT gives up & infact plays the role of a sincere brother who makes KRV marry Muthu . By now, Muthu suspects something fishy but keeps mum. As days pass by , his suspicion grows to unimaginable levels that the pair reaches a breaking point. Finally NT gives up his life to convince Muthuraman .

One interesting aspect of this movie - the lead characters played without make up !!

The movie has some oustanding songs like :

1. Nenjirukkum engallukku naalai inba vaazvirukku
2. Poomudipaal indha poonkuzali
3. Enge neeyo naanum ange unnodu

But for hardened Nadigar thilagam fans, MUTHUKALO KANGAL will be in their hearts forever as one of the very best love duets of tfm .

Its an ambitious song for NT who believes that KRV also loves him & thats how goes this song .

What is there in this song ?

First , its set to the classical MADHYAMAVATHI scale

Second, the incomparable tune combined with simple but beautiful orchestration. Again, this is a classic example of how MSV had used carnatic ragas in cinema songs splendidly without spoiling the raga's character

Third , 2 of the greatest singers of tfm TMS and PS giving their best shot

The real beauty of the song to me is the tune set wherein Mellisai Mannar has stretched the decibel levels of both the singers by giving a low pitch & high pitch for every alternative sentence.


முத்துக்களோ கண்கள் தித்திப்பதோ கன்னம் ( Base )
சந்தித்த வேளையில் சிந்திக்கவே இல்லை ( moving to high pitch )
தந்துவிட்டேன் என்னை ( high pitch )

படித்த பாடம் என்ன உன் கண்கள் பார்க்கும் பார்வை என்ன ( getting back from high to base )
பாலில் ஊரிய ஜாதிப் பூவை சூடத் துடிப்பதென்ன ( Base finally )

The following anupallavi is a repeat of what TMS sang earlier :
முத்துக்களே பெண்கள் தித்திப்பதே கன்னம்
சந்தித்த வேலையில் சிந்திக்கவே இல்லை
தந்துவிட்டேன் என்னை

Now, on to the charanam : ( TMS starts first & PS complements )
கன்னிப் பெண்ணை மெல்ல மெல்ல தென்றல் தாலாட்ட ( base to high )
கடலின் அலைகள் ஓடிவந்து காலை நீராட்ட ( High )
எழுந்த இன்பம் என்ன என் எண்ணம் ஏங்கும் ஏக்கம் என்ன ( high to base )
விருந்து கேட்பதென்ன அதையும் விரைந்து கேட்பதென்ன ( base again )

The second charanam is a repeat of the first but this time PS starts and TMS complements beautifully !

ஆசை கொஞ்சம் நாணம் கொஞ்சம் பின்னிப் பார்ப்பதென்ன
அருகில் நடந்து மடியில் விழுந்து ஆடக் கேட்பதென்ன
மலர்ந்த காதல் என்ன உன் கைகள் மாலை ஆவதென்ன
வாழைத் தோரண மேளத்தோடு பூஜை செய்வதென்ன

The prelude itself is very precise and sharp ! Guitar, flute & sitar combination gives an indication to what is in store . Infact, TMS skips a second to start the pallavi & that also looks beautiful !

The interludes are combination of flute , trumphet and sitar again . Short but sweet ludes .

The song ends in a nice manner with both doing a bit of humming .

Its the lightening change in the pitch in which one has to sing is the speciality content of this evergreen song . High / low ....high / low is somewhat unique and not often one comes across in songs .

Subtle change in the singing like TMS when he touches Muthukalo kangal after the first charanam shows why he is called a genius !
Also when he sings - Sindhikkaveyillai

Migavum anubavithu paadiyirupaar !

And P.Susheela - Aasai konjam ....naanam konjam ( again the gentle variation while singing Naanam konjam .... all class personified ! )

Why I am highlighting this is ... pls listen to how TMS sings - kannipennai mella mella and compare with how PS sings -- Aasai konjam ..naanam konjam.... while TMS will be majestic ( ofcourse , for NT, one has to sing from the bottom ) , PS will display the real naanam in her voice !!

Sheer commitment to perfection !!

Kavignar once again has given a poetic lyric ...... Muthukale pengal !! Paalil ooriya jaathi poovai sooda thudipathenna !!

Oops. I have forgotten to mention about Mellisai Mannar ! Well, he is omnipresent throughout the song . So why the need to mention !!

Its more than 40 years since the song was composed but the great melody still impact !! The cruel time has not dared to touch this immortal song .

It gives the impact of a roller coaster ride Very Happy

Simply incomparable !
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Ramesh.P



Joined: 07 Dec 2006
Posts: 177
Location: Chennai

PostPosted: Fri Jun 08, 2007 11:13 am    Post subject: Reply with quote

Hi Balaji

one more speciality is lyric use to end ENNA& MSV gave different style for ENNA.(HIGH AND LOW PITCH). What a orchestra with flute/trumphut/sitar,especially mild use of trumphut. Top 10 for TMS&PS Smile

Yes incomparable song for ever, ofcourse for next generation also.

regards
ramesh
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Srinivass NV



Joined: 12 Feb 2007
Posts: 86
Location: Hosur

PostPosted: Sun Jun 10, 2007 5:51 pm    Post subject: Reply with quote

Dear Balaji Sir,
உங்கள் பாணியை மிகவும் விரும்பும் ரசிகன் நான்!... நெஞ்சிருக்கும் வரை நினைவிருக்கும்!...

Out of all the Composers in this world, the Master has always had the blessing to have the ability to flow the way he wants... still sounding Indian and Harmonius!... Here again & yet again, there is a monumental
proof!...

The Master has deviated the Basic Madhyamaavathi scale @ பார்க்கும் பார்வையென்ன & பூவை சூடத்துடிப்பதென்ன and navigated deceptively and comfortably to a Kaanada domain; Again @ தென்றல் தாலாட்ட & கடலின் அலைகள் ஓடிவந்து காலை நீராட்ட, he has flown to the domain of Desh!... And... most importantly, all these have happened without letting out an evident symptom of deviation or disharmony!... The listener is still given an impression of staying within the boundaries of Madhyamaavathi!... Height of creativity!!!...

One of the Greatest Compositions and a complimenting writeup!

With Love
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Ram



Joined: 23 Oct 2006
Posts: 782

PostPosted: Sun Jun 10, 2007 6:56 pm    Post subject: Reply with quote

Wonderful write-up by our Balaji on one of the ever green melodies from the "King of Melodies" !!!

Not only Madhyamavathi/Desh, we can clearly get the feel of Brindavana Saarangaa in this song, so seamlessly blended with rest of the raagas. Truly an amazing compo, possible only from the Legend, known as "M.S.V" !!!
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s.r.sankaranarayanan



Joined: 29 Jan 2007
Posts: 80
Location: CHENNAI

PostPosted: Mon Jun 11, 2007 3:25 pm    Post subject: Reply with quote

DEAR BALAJI,

HOW IS THAT WE HAVE ALL MISSED THIS SONG FOR SO LONG?THIS IS A CROWNING MARVEL FROM THE MASTER.AND RAM , YOU ARE ON THE DOT. COULD NOT RECOLLECT HOW MANY TIMES I HAVE ENTERED INTO ARGUMENTS WITH CLASSICAL GUYS ON WHETHER THIS SONG IS MADYAMAVATHI OR BRINDAVANA SARANGA? THE BEAUTY OF THE SONG IS LISTEN TO THIS SONG AFTER AN ELABORATE ALAP OF BRINDAVANA SARANGA -YOU END UP FEELING OF B.S LAKSHANA ,OTHERWAY YOU HEAR A THOROUGH ALAP IN MADYAMAVATHI YOU FEEL THE LAKSHANA OF MADYA MAVATHI.

WHAT A MAGIC! AND WHAT A BEATIFUL AND EVOCATIVE SANGATHIS!

AND BALAJI,TO TELL YOU THE TRUTH ,ALTOUGH I WAS WILLING TO POST AS SOON I READ YOUR BRILLIANT POST,I WAS LEFT WORDLESS TO DESCRIBE THIS SONG.AND WHATEVER YOU TRY TO APPRECIATE SUCH GEMS, I FEEL SILENCE WOULD BE THE BEST LANGUAGE.

WHAT ELSE TO TELL?

MSV THE MAGIC


S.R.SANKARANARAYANAN
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S.Balaji



Joined: 10 Jan 2007
Posts: 772

PostPosted: Tue Jun 12, 2007 12:09 pm    Post subject: Reply with quote

Dear Ramesh / NVS / SRS and Ram,

Actually I was searching for words to appropriately describe the class of the song .

really amazing to note that this song has elements of other ragas also !

I too had doubts about the presence of Brindavana saranga but could not emphatically state that .

But if we all ask Mellisai Mannar, ONLY A GENTLE SMILE WILL COME . Thats his greatness and modesty !

His music is unparalleled .

Ram, what made him to apply these ragas to this song, we should definitely check with him !
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rajeshkumar_v



Joined: 19 Apr 2007
Posts: 79

PostPosted: Tue Jun 12, 2007 10:41 pm    Post subject: Reply with quote

Wonderful pick

This song is among the top 10 romantic duets by MSV

wow.. as balaji said PS singing aasai konjam naanam konjam, avare naani paaduvadhu pol paadiyirukkum vidham aaha ..

Those were good olden days
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S.SAMPAT



Joined: 27 Jan 2007
Posts: 234
Location: CHENNAI

PostPosted: Wed Jul 18, 2007 10:51 am    Post subject: Reply with quote

Dear Balaji, Ram, SRS and NVS,

Brovo!!! What a composition! First and foremost Balaji, Atakasam!! wonderful pick up and fantastic write up.

I want to share some of my observations.

1. Mostly and normally, all the songs will be started either with the swara
SA or GA or PA. Exception to the rules are always there. MSV is not
normal and he is a natural genius. He started the song with the swara
Ri.

2. As Ram rightly said it is only Brindhavana saranga and not Desh as Desh will have G2 and Dha 2 in the avaroghanam.

3. SRS, what is the difference between Madhayamavathi and Brindavani
and Brindhavani Saranga? Shall I write this in this section or separately in Articles section? Pls clarify.

With regards
Sampat


Last edited by S.SAMPAT on Wed Jul 18, 2007 7:57 pm; edited 1 time in total
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S.SAMPAT



Joined: 27 Jan 2007
Posts: 234
Location: CHENNAI

PostPosted: Wed Jul 18, 2007 7:54 pm    Post subject: Reply with quote

Dear All,

As suggested by SRS, I am writing the difference between Madhayamaavathi, Brindhavani and Brindhavana saranga here itself.


Vaidy and Venky, Kindly excuse me for this technical aspects.

1. Madhayamaavathi and Brindhavani:

The arohanam and avarohanam of the both these ragas are the same.
Then how they are different? They are different in their renderings.

Arohanam : Sa Ri2 Ma1 Pa Ni1 Sa

Avarohanam: Sa Ni1 Pa Ma1 Ri2 Sa

In Brindhavani the Rishabam is plainly sung and the the Kaishiki Nishadham (Ni 1) is sung at slightly higher pitch as if it may jump into Ni 2 (Kakali Nishadam) if u push it further. But it is not Ni2. You may say that the Brindhavani Nishadam is in between Ni 1 and Ni 2.

The best example of Brindhavani is Dikshidhar Krithi "Soundara Rajam".
An expert singer could bring out the difference even singing only Sa Ri Ma for both the ragas. That is the greatness of our Carnatic Music. Even a shade will change the color of the ragas with the same ascent and descent.

Madhayamavathi is very classical with its characteristic gamakas. Eg

Rama katha Sudha, Vinaayakuni of Saint Thiyagaraja.

2. Brindhavana Saranga:

It takes Ni2 in the ascent and the rest is the same.

Eg : 1. Kakkai Chiraginilae Nandalaalaa, a song of Mahakavi,
tuned by my guruji Sri.TNS.

2. Pon Onru Kandaen.

Though I have tried to explain, it could be better explained when u actually execute the pharases pertaining to these ragas.

Hope I have tried my level best!

Vaidy, Venkay Mannipirgalaaga Crying or Very sad

With regards
Sampat
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Srinivass NV



Joined: 12 Feb 2007
Posts: 86
Location: Hosur

PostPosted: Wed Jul 18, 2007 10:05 pm    Post subject: Reply with quote

Dear Sampat,
Nice explanation on the variations between Madhyamavathi, Brindhavani, and Brindhavana saaranga. Thank u.

Reg the mention of Desh, I have to apologize to this forum for my oversight. Somewhere in the corner of my mind I wrongly remembered the Sangathi @ ஓடி வந்து காலை நீராட்ட having the Phrase Ri2;G2Ni2,Sa, - Ni2SaRi2Ni1;; which I have written without verifying in reality.

After Ram's reply, when I listened to this Song in depth, I realized my mistake. Sorry and Thanks for the correction.

Dear Balaji sir,
Myself and Sampat are like மாத இதழ். Instead of appearing we even disappear some Months!... You are a meticulous Weekly. Why there is no release for the Week? உங்கள் வாசகர்கள் ஆவலுடன் காத்திருக்கிறோம்!...

With Love
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vaidymsv



Joined: 08 Nov 2006
Posts: 715
Location: Madras, India

PostPosted: Thu Jul 19, 2007 11:47 am    Post subject: MUTHUKKALO KANGAL-A RAREST OF RARE PEARL IN ITSELF!!! Reply with quote

Dear Balaji,

Thank you for this great pick up which is one of my alltime favourites of our Master (ethai viduvadhu ethai virumbuvathu.... The Master always puts us in deep trouble). I don't know how many have listened to this song with a whistle prelude & a little bit of Sivaji's dialogues! Truely a song handcrafted my MSV! This is one of those songs of MSV which will make you listen to it again & again(thank god I have a repeat option in my player!!!). I was also pleasantly surprised to see NVS, Bala, Sampath & Ram, Rajesh flowing in full form to write about this song which only goes to prove to what extent Our Master's Matter & Meter has affected all of us!!! Long live MSV and the Elite Members.

MEMBERS, HERE'S ONE JEEVAN CRAVING FOR MORE & MORE - AFTERALL WHAT OTHER MOMENT COULD BE BETTER IN OUR LIVES THAN OUR OWN MSV MOMENTS!!!

CHEERS
MSV IS MUSIC
VAIDY

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dr.mm.ram



Joined: 07 Jul 2007
Posts: 5

PostPosted: Thu Jul 19, 2007 2:17 pm    Post subject: Reply with quote

dear Ramesh&Balaji,
for sometime both of u ve been dissecting and devouring on muthukalo kangal..which is like d even by the common music buff [its one song played with max.frequency next only to `adaludan padalai' and `naan mandopil nindrirunden' among all south ind.film music [study report by `PesumPadam' monthly of yesteryears..but howcome as hardcore MSV fan u miss to be allured by `ninaital Podhum Paduven' a haunting number by S.Janaki from same film more haunting than even `nenjam marapadillai'..look at the presence of more aarohanams than avarohanam and the rich orchestration [about 54 players by my uncle DrAK.Kannan`s account who visits studios those days..] ist interlude has a volley of 34 violins ,organ,mridangam flute all playing pure electrifying CRESCENDOS..subliming to a hum soaked in tears of S.Janaki then again a overlap play of alto and penalto..simply the master has bathed in sweating waving and drifting across the orchestra floor..2nd interlude connotes some more sinister eeven
Ramesh.P wrote:
shocked to see the hub in drunken company and a danseuse..with organ piece and cello catapulting to unimaginable foot drum BG..oh what apiece/ can Vaidy/Ramesh tell this ignorant buff what raga is that? but not much of ahit
compared to master`s other bonanzas..but i collect such ones more ..
dr.mmram [quote="Ramesh.P"]Hi Balaji

one more speciality is lyric use to end ENNA& MSV gave different style for ENNA.(HIGH AND LOW PITCH). What a orchestra with flute/trumphut/sitar,especially mild use of trumphut. Top 10 for TMS&PS Smile

Yes incomparable song for ever, ofcourse for next generation also.

regards
ramesh

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msv is the real Maestro who did not know he is using extremel nuances like counterpoint/ensemble
application,overlap,appragios but that all came in
his music purely out of love for music..
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dr.mm.ram



Joined: 07 Jul 2007
Posts: 5

PostPosted: Thu Jul 19, 2007 2:24 pm    Post subject: Reply with quote

dear Ramesh&Balaji,
for sometime both of u ve been dissecting and devouring on muthukalo kangal..which is like d even by the common music buff [its one song played with max.frequency next only to `adaludan padalai' and `naan mandopil nindrirunden' among all south ind.film music [study report by `PesumPadam' monthly of yesteryears..but howcome as hardcore MSV fan u miss to be allured by `ninaital Podhum Paduven' a haunting number by S.Janaki from same film more haunting than even `nenjam marapadillai'..look at the presence of more aarohanams than avarohanam and the rich orchestration [about 54 players by my uncle DrAK.Kannan`s account who visits studios those days..] ist interlude has a volley of 34 violins ,organ,mridangam flute all playing pure electrifying CRESCENDOS..subliming to a hum soaked in tears of S.Janaki then again a overlap play of alto and penalto..simply the master has bathed in sweating waving and drifting across the orchestra floor..2nd interlude connotes some more sinister event[heroine arriving there to ge shocked to see the hub in drunken company and a danseuse..with organ piece and cello catapulting to unimaginable foot drum BG..oh what apiece/ can Vaidy/Ramesh tell this ignorant buff what raga is that? but not much of ahit
compared to master`s other bonanzas..but i collect such ones more ..
dr.mmram [quote="Ramesh.P"]Hi Balaji
_________________
msv is the real Maestro who did not know he is using extremel nuances like counterpoint/ensemble
application,overlap,appragios but that all came in
his music purely out of love for music..
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S.SAMPAT



Joined: 27 Jan 2007
Posts: 234
Location: CHENNAI

PostPosted: Thu Jul 19, 2007 2:33 pm    Post subject: Reply with quote

Dear NVS,

Do not bother much. It happens at times. But I admire ur " Naermai" Sir.

From the bottom of my heart Ungalukku Thalai Vanangukiraen NVS. Your are a treasure of this forum. We are always greatful for the fabulous job you are doing.

With love
NVS.
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irenehastings
Guest





PostPosted: Thu Jul 19, 2007 3:59 pm    Post subject: Reply with quote

ragasuda wrote:
Dear friends,
MSV's songs analyses are going great and there are numerous young visitors for whom we should pass on his legacy. The most popular numbers are analysed in various forums and platforms for umpteen times. There are so many other masterpieces. Let's please bring them out.
V. Raghavendran


I second this statement.
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