மெல்லிசை மன்னர் எம்.எஸ்.விஸ்வநாதன் பற்றி : பார்த்தது, கேட்டது, படித்தது

கடந்த மாதத் "தென்றல்" பத்திரிகையில் ஒரு நேர்காணல் படிக்க நேர்ந்தது.

மதுரை ஜி.எஸ்.மணி அவர்கள் (பிரபல கர்நாடக இசைக்கலைஞர்) கொடுத்த பேட்டியின் படி, அவர் எம்.எஸ்.விக்கு சில காலம் "துணை / இணை இசையமைப்பாளராக" இருந்தாராம்.

அது குறித்த கேள்வி பதில் படிக்க சுவையானது...

மணி அவர்கள் :
1957-ல் எனக்குத்திருமணம் ஆனது. அதன் பின் திரையிசையில் எம்.எஸ். வி.யுடன் இணைந்து பணியாற்றி வந்தேன். பிறகு அதை விட்டு விட்டேன்.

கேள்வி கேட்பவர்:
என்ன காரணம்?

மணி அவர்கள்:
இசையார்வம் தான்


The particular "thenRal" link is not working for me, please read the whole interview in the hardcopy or if you are fortunate and it works, at their site:
http://www.tamilonline.com/thendral/channels/interview/interviewpics.aspx?Page=1

http://www.thehindu.com/features/friday-review/music/his-own-tune/article2093670.ece
Hindu says the same.

He, however, moved to Chennai after some time where he worked with M. S. Viswanathan, a popular music director of south Indian films those days, as an associate music director for about ten years.

thangaikkAga songs

This album has a song 'anga muthu thanga muthu thaNNikkup pOnALAm' that sounds like a ilangai poppisai pAdal.

Not sure if this got recorded by MSV himself or the producer bought it out from Srilanka.

If MSV had indeed recorded it, then this should be the first "stereo" song of TFM, much before Priya songs 

This is a 1971 song from Sivaji movie 'thangaikkAga' it seems...

Someone with more NT knowledge please confirm...

(BTW, all other songs in that album are mono - like the TMS numbers 'kEttaverellAm pAdalAm', 'edhaiyum thAnguven anbukkAga')

Speaking of stereo. Pattakatti Bhairavan too has some sort of stereo effect. More of to the left, to the left, to the right thingy going on. Or is it the recording I had was tampered by rogue scientist later assassinated for tampering with the mono rules and regulations?

groucho,



BTW, my observation on PKB "stereo", which came after Priya :

dEvadhai oru dEvadhai post in SPB-IR thread

Since we talk about radio quite a bit, just one thing to remember about dEvathai (song of today) & engengO (song for tomorrow). Their stereo distribution of instruments / voices was quite weird. When AIR transmitted them using their mono equipment, there was no issue as all will be received bundled together in our radio. (I heard these songs max in my cousin's panasonic mono player those days and that didn't have any issue either).

OTOH, the technologically advanced IOKS had possibly stereo playback systems and may have even transmitted them as such. (It was only AM in MW / SW and I'm not sure whether they had stereo broadcast but at the minimum, should have had stereo play back). Often, only portions of the instruments / voices will be heard on the radio. The rest were so much attenuated and practically unheard.

That Madurai Mani link works now...so let me post the "actual" interview

(BTW, what I did earlier was விஷமத்தனம் )

கே: உங்களுக்குள் இசையார்வத்தைத் தூண்டியது யார்?

ப: என்னுடைய சகோதரிகள் பாபு ஐயங்கார் என்பவரிடம் இசை பயின்றார்கள். அதைக் கேட்டுக் கேட்டு அதில் ஆர்வம் வந்தது. நானும் கற்றுக் கொள்கிறேன் என்று சொன்னேன். அவர் அப்பாவிடம் சொல்லி, என்னைக் கூட்டிக்கொண்டு போய் சொல்லிக் கொடுத்தார். அவர்தான் எனக்கு வழிகாட்டி. ஆனால் இசையில் இன்ஸ்பிரேஷன் என்றால் ஜி.என். பாலசுப்பிரமணியம்தான். இந்துஸ்தானிக்கு ஓம்கார்நாத் தாகூர் மற்றும் உஸ்தாத் படே குலாம் அலிகான். நான் டெல்லியில் நான்கு வருடங்கள் வேலை பார்த்தேன். அப்போது இந்துஸ்தானி சங்கீதக் கச்சேரிகளுக்குப் போவது பழக்கமானது. கவ்வாலி, கஜல் என்று எல்லாவற்றுக்கும் போவேன். நண்பர்கள், உறவினர்கள் வீட்டுப் பஜனை என்று நிறைய அமெச்சூர் கச்சேரிகள் செய்திருக்கிறேன். 1957வரை டெல்லியில் இருந்தேன். 57ல் திருமணமானது. அந்த ஆண்டிலேயே பிரபல இசையமைப்பாளர் எம்.எஸ். விஸ்வநாதனிடம் இணை இசையமைப்பாளராகச் சேர்ந்தேன். சில வருடங்களுக்குப் பின் மீண்டும் கர்நாடக சங்கீதத்திற்கே திரும்ப வந்து விட்டேன்.

கே: என்ன காரணம்?

ப: இசையார்வம்தான். சினிமாவில் நான் வேலை பார்த்தபோது கூட நிறையக் கச்சேரிகள் செய்திருக்கிறேன். கல்யாணம், ராம நவமி, உற்சவங்கள் என்று நிறையச் செய்தேன். மேலும் அப்போ சினி ஃபீல்ட் ரொம்ப டிமாண்டிங் ஆக இருந்தது. ஒருநாளைக்கு ஐந்து மணி நேரம் கூட ஓய்வு கிடைக்காது. எப்போதும் வேலைதான். எனக்கோ நிறையக் கச்சேரிகள் செய்ய ஆசை. அதனால் முழுக்கவே கர்நாடக சங்கீதத்துக்கு நேரம் ஒதுக்க, சினி ஃபீல்டை விட்டுக் கர்நாடக சங்கீதத்துக்கு வந்தேன்.

https://twitter.com/RagavanG/status/459361125620916225

This LP disk was in our school and they used to play from time to time (on some occasions).

I love the train-sound track which has a lovely melody.

Then there was the track which was used by IOKS for their morning program 'pongum poompunal', very famous

BTW, the request for that instrumental disk was raised in the first place by none other than one app_engine

Look at me:
http://www.msvtimes.com/forum/viewtopic.php?t=216&highlight=

a_e wrote:
Greetings to the moderators of this forum!

You're doing a commendable job!

Since I couldn't find a thread / place where I can request for pieces to host on the msvtimes.com's music section, I had to open this...

There used to be an instrumental LP record in our school by Mellisai Mannar. All fabulous pieces! For quick identification, I quoted the music that "Ilankai oli parappu koottu sthAbanam - Thamizh sevai 2" (IOKS or SLBC whichever abbreviation you want to use:-)) used for their morning program "pongum poompunal" that used to feature some new songs of the time period...(Oh, those were real great days...)

That piece was part of this LP record and so were a number of soulful compositions! I especially like the one that starts and ends with a steam engine train sound with phrases similar to the "andhamAnaippArungaL azhagu" prelude...

I have no means to acquire / play that exotic LP now (I'm in metro Detroit area now where shops that sell TFM are rare)...I'm not sure whether anyone sells it anymore, even in TN...can't find these in the web anywhere...One TFM encyclopaedia, Mr Saravanan of dhool.com has promised me to locate these (supposedly posted earlier in their website by Sathya Keerthi or Sathya Kabali aka sk) and I'm waiting for that...Meanwhile I thought why not look at the official MSV site...

So here I am and I hope and request the admin to host those immortal instrumentals in some form...and I'll be ever thankful!

கருவி இசையை ராசா விசிறிகளே காமுறுவர்! :-)

Small collar-lift that the first person to talk about that disk at msvtimes.com was me

thendralathu unnidaththil solli vaiththa sEdhi ennavO - antha 7 naatkaL sung by P Jayachandran and S Janaki

In our school, the last benchers were ordered based on their heights as they would hide other students if they sit in front rows. In some schools, it would be arbitrary. School last benchers are always interesting fellows. Some times, last benchers have little bad name among teachers that they don’t study well and they are naughty and playful. Some were even seniors who failed in their previous standards. Class toppers won’t speak with them fearing of bad company. Even they will discourage their friends who talk with them. There are some back benchers who really maintain low profile. We don’t know if they really study as most of the time they will roam with friends. When exam results come, they will silently show their mastery. What these studious and front benchers miss and don’t understand is the artistic nature of back benchers. I know many of my friends who were “only” back benchers are now in superb positions and happy in their life. There will be naughtiness, fun but at the same time the way they “casually” but “solidly” understand the lessons and also the way they understand, appreciate and devote time music, cinema co-ordination, never give up friends attitude even at their young ages were big influence and inspiration for me.

That was almost adolescent age and they had always had pictures of their favorite actors and actresses inside their books which they cut from magazines and dailies. That was the first time I really got to see these things. Most of my friends that time were Kamal fans and I got to see different posters of him through them. Interestingly they also had Bagyaraj posters after Antha 7 Naatkal and Darling Darling Darling.That was the first time I used to ask myself that we can cut pictures from magazines like that. As I remember now Ambika was the first actress I saw in their books, very favorite of them. That was the time Sakalakala vallavan got released. At the same time, Antha 7 Naatkal was also running in theaters. They were discussing which Ambika was more beautiful, with the pictures they cut from magazines from both the movies. Those were some intriguing moments which I try to escape but my inner mind stayed with them. I was asking myself how come the same person appear beautiful in one movie compared to another? I was laughing at them and appreciating my incredible thought, but I didn’t know they were dead right and I was dead wrong (all the time). This was just one of the examples of their artistic brain which I got heavily influenced in later stages of my life. Till now, I have that beautiful picture of young Ambika in my mind and her pictures, thanks to the back benchers.

Only after internet age I came to know that this film was a remake of a Telugu film, Radha KalyaNam directed by Bapu. The most surprise and unbelievable part was the original and this remake were released within 2 months of time frame. This film was dearly loved by one and all, no exceptions. Most talked about film of Bhagyaraj after his previous average grosser, Vidiyum Varai Kaththiru. The climax and ending was loved by all. Many mimicked the accent of ‘Palakkad’ Madhavan, such was the craze. Ambika in her just second movie (in thamizh) performed like an experienced actress. I was a fan of her.

Every song is priceless. The best part was MSV sir didn’t use SPB or K J Yesudas. He used Jayachandran and delivered big hits. May be this came as influence for Raja to use him in Vaidhegi KaaththirunthaaL later to deliver huge success. A singer mostly under-rated and lived in the shadows of K J Yesudas, but a singer of great brilliance and a glittering voice. On the other hand the Telugu original had music by K V Mahadevan sir and songs were mostly sung by SPB and P Susheela. For the same situation, Telugu visuals is much more interesting than the dreamy thamizh version. Who will not love the song, Kalanaina Kshanamaina BY SPB and P Susheela? This is also a test given for Madhavan (without his knowledge) by Dr. Anand to understand how deep is their love is. What makes the song more interesting is the song did not just carry Palakkad Madhavan to his dreamy moments (as he composes with her in mind) with his lover, it also confluences the thought process of Dr. Anand who “virtually” sees their love in that song, as a third person. This perspective was completely lacking in thamizh version, as K Bhagyaraj converted that situation into a ’typical’ duet song.

KVM sir’s composition has all the classical elements in melody but supported by western arrangements. He alternates between triple bangos and tabla for rhythm.Some wonderful guitar playing. The song also has a touch of pathos (the solo violin in first interlude denotes that) in the way arrangements are laid out in a subdued manner which is absolutely right for the situation. We can listen to this melody all days long. Hear how SPB finishes the song.



On the other hand, MSV sir didn’t conceive it as a typical duet song even though KBR conceived it as a typical duet. completely changed its flavor from its original version. He starts with the basics. Swaras (notes) and how it give birth to words and lyric and how words give birth to a song. What a start! He uses mridangam for the pallavi. Really lengthy line of melody. No one constructs like this anymore. I think it is Thilang, not sure though. “Honey-sweet” is a very less term to describe the sweetness of this melody. The reason the sweetness quotient increases more and more is because of the stress (importance) certain words get. Hear the words ‘தென்றல்’ ‘உன்னிடத்’ ‘சொல்லி’ ‘சேதி’ in the first line. These words get stressed more than their following words or letters. Superb execution there! Normally there will be two lines of pallavi then anu-pallavi, but here MSV sir composed a single line of pallavi (though repeated twice) and continues to anu-pallavi straightaway. Interesting beat pattern too.

Kannadasan words are precious. Hear how he starts the charaNam. உள்ளம் எங்கும் பொங்கும் ஆசை இன்று தங்கரதம் ஏறியது. The heart which overflows with love and desire elevates to the level of golden chariot (akin to elevating to God’s level as God ornament and decorate the Golden Chariot). What a beautiful thought! I love the melody which goes up exactly when he sings ‘ஏறியது’. Same way, he describes, his love will last as long as generations stay long in, எது வரை தலைமுறை அதுவரை தொடர்ந்திடும் என்னாசை உன்னோடுதான். Every line is worth a thesis. Again, if the melody is not of this level, the words would not be ornamented like this. God’s melody! Again, lengthy melody lines in charaNam, but this time backed up by tabla (tabla coming for the first time in the song). Two leisurely laid out melody lines, followed by brisk paced melody lines. இன்பத் தேன் வந்து பாயுது காதினிலே!

Interludes tell so many stories. That’s where MSV sir tries to incorporate and add more meaning to the otherwise plain and dream duet conceived by K Bhagyaraj. While KVM sir appropriately conceived arrangements to convey a bit of pathos (as Madhavan was separated from his lover and Dr. Anand despite getting married was not having a happy life), MSV sir conceived it as Madhavan having auspicious moments with his lover in his dreams. That’s the reason he even brings mridangam there. Even though the first interlude starts with triple bangos and violins, later half it switches to mind-blowing flute and mridangam (the same happens in second interlude) to denote that he can live happily and endlessly with his lover (and love) in memories, without worrying she is not with him. The flute and mridangam also denotes his wishes and blessings that she (his lover) be happy where ever she is and whom ever she gets married. If you hear the second part of second interlude (flute and mridangam part) there is a tinge of melancholy in flute melody compared to the one in first interlude. The reason is two folds. One, he is going to end his dream shortly (as the song is going to conclude shortly). Second, even though he wishes her well, there will always be tears soaking out of his eyes as a lover who does not want to get separated from her.

Another aspect which MSV sir brings in this duet is the way Jayachandran and S Janaki sings this song. While S Janaki sings as perceived by the hero in his dreams she sings normally and happily (in console mode sounding she is with him always), but when Jayachandran sings again we can hear a touch of sadness as he sings as perceived by the separated hero. Not too happy, not too sad.

So you can see, lots of thing happen in this ’standard’ duet conceived by K Bhagyaraj, but MSV sir conceived many things which even K Bhagyaraj is unaware of. A gorgeous, bright melody which we can listen all day long. Every time we too will surely get elevated to the golden chariot. I too do, but I also get elevated to my good old back bench (days) and my friends who gave me the first glimpse of art. This is dedicated to all back benchers without whom the art would not be same and the way we see this beautiful world would not be same.

Nice article, V_Sji!

but when Jayachandran sings again we can hear a touch of sadness

IMHO, that may be a JC limitation and not intentional  

Limited number of samples only if I recount JC singing joyous / exhuberant / mirthful / delighted...
("poonthenRalE" of BOK / "Adi veLLi" of MM / "oru vAna vil pOlE" of KVG / "enadhu vizhi vazhi mElE" of STM...inRaikku Enindha, kAdhal mayakkam, thavikkudhu thayangudhu kinds are on the border, like this thenRaladhu unnidaththil).

BTW, my fav from andha 7 nAtkaL is 'kavidhai aRangErum nEram'
(There is also a MV-VJ duet).

Was 'andha 7 nAtkaL' a remake from Telugu?

I always thought it was a KBR original and one of the movies that earned him "best screen play writer in the whole country" title

If it was a remake, how did he sell the rights to indhi? (wOh sAt din)...

I too thought Antha 7 NaatkaL was original until I saw this: http://en.wikipedia.org/wiki/Radha_Kalyanam  
You can also see wiki page of Woh Saat Dhin as a remake of Telugu film and not Thamizh film.

V_S wrote:I too thought Antha 7 NaatkaL was original until I saw this: http://en.wikipedia.org/wiki/Radha_Kalyanam  
You can also see wiki page of Woh Saat Dhin as a remake of Telugu film and not Thamizh film.

That link says Radha Kalyanam was (co)written by K Bhagyaraj...also, the wOh sAt din wiki page too says "screenplay" by KBR and directed by Bapu...

So, Radha Kalyanam too was written by KBR (or, in other words, andha 7 nAtkaL was possibly the "original"...)

Out of curiosity (to validate if the claims of wiki that rAdhA kalyANam was indeed the original), I checked the censor certificate date :
https://www.youtube.com/watch?v=fTBONj5RUvM

It was Nov 1981 and not Sep 1981 as claimed in the wiki (granted, it could have possibly been made simultaneously - getting the story from KBR).

I don't know why they somehow want to prove that Telugu was the original, even telling wrong release date...

That was a good catch. It's beyond me how they fool by mentioning incorrect release date and also write "This film was remade in Tamil as Antha Ezhu Naatkal directed by K. Bhagyaraj" without any consideration and merit.

I think that was a clever ploy by Telugu bigwigs that time as KBR was a fresher. They utilized his talent, but believed people won't like the movie (not the usual dubbed ones) if it was made by an outsider, so they put their name and gave KBR just the monetary benefit.

V_S,
 Last Bench story.. romba nejam......  naan Last Bench dhan. Height nala dhan.....  anal enaku azhagaga therinjadhu..Sri Devi dhan.....

Nice write about the song........  enjoy it. Thank u V_S........

Thanks Usha ji.

BTW GiRa corrected the information in all the three Wiki links (Antha 7 NaatkaL, Radha Kalyanam, Woh Saath Din). Thanks App ji for pointing this error.

V_S wrote:BTW GiRa corrected the information in all the three Wiki links (Antha 7 NaatkaL, Radha Kalyanam, Woh Saath Din).

Well, he hasn't edited it completely...the A7N page continues to show "radha kalyanam" as the "original", with Sep 2 date : http://en.wikipedia.org/wiki/Antha_Ezhu_Naatkal

I am not seeing it. May be IE browser cache issue?

V_S wrote:I am not seeing it. May be IE browser cache issue?

Please check at the bottom, there is a table called "Remakes" where it still makes the Telugu as "original", with Sep 2 date...

Oh I see it now. I didn't scroll to bottom. I corrected it now

Just mention the title of the song (Thendral vanthu)...I can start hearing the Mirudhanggam in my head. Back then (I think we have talked about it elsewhere...and where is Plum?) I had a crush on Ambiga (so did he, I think) and especially in this film. Lovely, lovely movie...great songs. (The Rooputhera masthana suttufied scene is hillarious, K. Bagyaraj's earnestness is claiming that it is his tune is goddam believable). Grouch can you please stop overusing goddam parentheses? And goddam stop overusing the word "goddam". Goddamit! 

Thendraladhu is a fabulous song, with the progression of the tune in the first line reminding one strongly of MSV's other classic "naaLam naaLam thirunaaLam". Maybe a case of minor self-inspiration.

Jayachandran was a fabulous singer who was grossly underutilized in the mid-80s, especially after vaidegi kaathirundhaaL/kadalora kavidhaigaL(just one song but a fabulous one). How come lesser singers took his place is one of the mysteries which only our composers(especially IR) can answer.

Songs like naan enbadhu neeyallo devadevi, thenmozhi inba thenmozhi, nee oru kaadhal sangeetham and many more should have gone to him if SPB was indeed busy and not available. The latter half of the 80s was a disaster with respect to male playback singing. Fortunately we had choices like Chitra and Swarnalatha emerge for female playback leads. No such luck for male voices.

BTW, the thread of this title seems to suggest anecdotes or news clippings discussions on MSV and his style of composing.I think for a detailed discussion of his songs themselves maybe we should have a separate thread?

Kameshratnam has shared the youtube jukebox of the recent "re-launch" of the MSV instrumental album ("thrilling thematic tunes"):


I kept mentioning about the a "train station sounding piece" that used to be played at our school functions. That one I fell in love with those days.

It is the last piece in the above youtube!

They seem to call it 'Percussion Ensemble - Viswanathan' (it is at 43:43 of the youtube)...I get goosebumps when that sitar piece comes!