From Me to You

91. Anbulla Rajinikanth

2009-07-05T17:10:00.002+04:00

This is a very sad piece from Anbulla Rajinikanth. Moved to tears with the prayer song from the children and the penultimate singing by Maestro. Posting with a heavy heart.

90. Sri Ezhumalaiyan Mahimai

2009-07-05T14:03:00.004+04:00

This movie is dubbed from Sri Edukondala Swami (Telugu). The video below has a divine melody, composed for the divine romance :) This has the instrumental version of Endha jenmam song which was sung by Maestro himself (voicing for Lord Venkatesa) with his usual, beautiful adornments to the song's theme. The movie had another spell binding song 'Nanmai naalum nalgum' composed in Chandrajyothi raga (resembles Partha vizhi song from Guna).

Now you would understand why laddus are offered to the Lord of Tirupati :).

89. Aditya 369

2009-07-05T13:46:00.002+04:00

This film which came out in the 90s, had the theme of Time Machine. The hero would travel between past (Krishnadevaraya period) and the future (2100s, people living underground after nuclear wars) to retrieve the magical stone and to save it from the present day villain.

The movie directed by Singeetham Srinivasa Rao was very different for those times, so was the title score which was futuristic. This movie had fascinated me during my school days, used to enjoy the humorous situations the hero faces in the Vijayanagar empire.

Enjoy the title score (scientist inventing the Time Machine) from the link below. He simply mirattified with the classical strings score.

88. Mallepuvvu

2009-07-05T12:38:00.002+04:00

While watching the Telugu movie Mallepuvvu, I noticed that for the title music, Maestro has used the voiceless track of the song Suvvi Suvvi (especially the charanam) from the same movie. I don’t know if he has done like this earlier. Please hear it for yourself and decide.

For the climax scene from the same movie, he has used the instrumental version of Chandamama raave, with his trademark silences in the BGM. This is one of those many movies which has a climax in the airport (earlier it used to be railway stations, remember Mouna Ragam?) I will post Swarna Kamalam soon, which has a similar climax in airport.

Please post your comments on how you liked this one.

87. Aa Dinagalu

2009-07-05T11:50:00.006+04:00

Dear friends, This is the climax scene from Aa Dinagalu where Sihi Gaali song theme is used. First Maestro increases the viewer's tension with his silence and intermittent strings which slowly peaks to the climax with the song theme peeking out from the corner. It assumes a full proportion when the movie closes.

Going with the movie's theme, the whole film has a subtle, but menacing BGM, which is intertwined with dialogues. This is the only lengthier portion I could extract. Please enjoy the movie on an original 5.1 DVD available at Bangalore for Rs.100. The audio and video quality are excellent.

86. Kozhi Koovudhu

2009-07-05T10:10:00.004+04:00

I recently saw Kozhi Koovudhu which had beautiful, immortal songs by Maestro like Edho mogam and Poove ilaiya poove. The movie also had an excellent BGM as usual, more so, because it was his home production. I have shared two BGM themes – one for Viji and the other for the comedy track of Bindugosh.

For Viji, he has built upon Edho mogam song theme layering it with a rustic humming by himself, thandha naana naaa and peppering it with strings (double bass) and a sustained strings motif. He uses the same theme for a sad situation (Viji’s betrothal with another person), adding wailing violin passages (Indian type) as counterpoint.

For the comedy theme involving Bindugosh, he has given a small but beautiful WCM flourish in waltz beat. Listen to it yourself and enjoy both the tracks.

85. Crux of Naan Kadavul

2009-03-19T09:06:00.003+04:00

The crux of the movie Naan Kadavul is hidden in this scene. I realized this only after reading writer Jayamohan's Q&A here.

He says in that article:

ருத்ரன் பாலாவின் கதாபாத்திரம். அவர் அவனை முழுமையான விடுதலையை நெருங்கும் ஒரு முழுமையான மனிதனாகவே உருவகித்திருக்கிறார். ஆனால் அவனுக்குள் ஒரு சிறு துளி — மிகமிகமிகச் சிறிய ஒரு துளி — பற்று அம்சவல்லி மேல் இருந்திருக்கலாம். அதை அறுப்பதன் மூலம் அவனும் விடுதலை அடைகிறான். ஒரு அகோரி தனக்குள் மிக ஆழத்தில் உறையும் பெண் வடிவைக் கண்டு அதை எரித்தழித்து அந்த விபூதியுடன் தன் முக்தி நோக்கி செல்கிறான். அது அவளுக்கும் விடுதலையாக அமைகிறது. பாலா சொல்லவந்தக் கதை அவ்வளவே. அவனால் அவளும், அவளால் அவனும் பெறும் விடுதலை. அதுதான் இந்தப்படத்தின் மையமே.

இடைவேளைக்காட்சியில் அவன் அவளை முதலில் பார்க்கும்போதே அவன் கண்களில அதை உணர்ந்துகொண்டதை பாலா காட்டுகிறார். அந்த அதிர்ச்சி. அவன் தன்நை அங்கே சொல்லும் இடம். தான் அங்கே தன் குருவால் அனுப்பப்பட்டதற்கான காரணத்தை ருத்ரன் அப்போது உணர்கிறான். அந்த காட்சியில் அதை பல கோணங்களில் அவன் சொற்கள் வழியாக பாலா உணர்த்துகிறார். ஆனால் அதிகமாகச் சொல்லக்கூடாது , அது பூடகமாகவே இருக்க வேண்டும் என்றும் பாலா நினைத்தார். சொல்லிவிட்டால் பலம் குறைந்துவிடும் என்று எண்ணினார்.

ஆனால் அதை மிக தெளிவாக பின்னணி இசையில் இளையராஜா சொல்கிறார். சொல்லப்போனால் பின்னனி இசை கதையையே அங்கே சொல்லி விடுகிறது. இன்னும் மேலே சென்று அடுத்த காட்சி மேலும் அதை விளக்குகிறது. ருத்ரன் அன்றிரவே சுடைலைக்குப் போய் பிணம் எரியும் சாம்பலை எடுத்துப் பூசிக்கொண்டு நர்த்தன வடிவில் — காலபைரவனாக நிற்கிறான்.

அதற்குக் காரணம் அம்சவல்லி மீது ருத்ரன் கொண்ட ஈர்ப்புதான். அதை அவனே கண்டு அஞ்சுகிறான். குற்றவுணர்ச்சி கொள்கிறான். அதிலிருந்து மீண்டு செல்ல நினைக்கிறான். அவன் ஏன் அன்றே சுடலைக்குச் செல்ல வேண்டுமென யோசித்தால் அவன் அகமனதை ரசிகன் காணமுடியும். அங்கே ஏன் இசை அதிர்ந்து அதிர்ந்து சோகமும் கொந்தளிப்பும் கொள்கிறது, ஏன் அப்படி மன்றாடுகிறது என்று எண்ணினால் பிறகு எதுவுமே ரகசியம் அல்ல. ருத்ரன் அறுக்கும் பந்தம் அந்த ஈர்ப்புதான். விட்டுவிட்டு வா என்று குரு சொன்னது அவனுள் மிக ஆழத்தில் ஒரு விதைபோல இருந்த அந்த பெண் வடிவைத்தான். ‘நான்கடவுளை‘ புரிந்துகொள்ள முக்கியமான காட்சிகளில் கண்ணை மூடிக்கொண்டு இசையை மட்டும் கேட்டாலே போதும்.

இந்த மையம் மிகமிகப் பூடகமாக மட்டுமே இருக்க வேண்டும் அப்போதுதான் படத்தின் முடிவு வலிமையாக இருக்கும் என்று பாலா எண்ணினார். அங்கே இடைவேளைவிடுவதனால் அது முக்கியமான இடம் என்றும் ஆகவே அந்தக் காட்சிகளை நினைவில் வைத்துக்கொள்ள வேண்டும் என்றும் ரசிகன்ப் எண்ணுவான் என்றும் நினைத்தார் உண்மையில் புரியாமல்போய்விடும் என்று அஞ்சியது நான்தான் . பெரும்பாலும் புரிந்துகொள்ளப்படவும் இல்லை.

84. Waiting for Darshan!

2009-02-04T09:41:00.003+04:00

Naan Kadavul fever is gripping me!!

The tharappa thara raa ra, tharappa thara raa raa is already a spell binding theme for me. I am sure Maestro would have shown his mettle throughout the film in other places too.

It's amazing to see his written score sheet for this piece.

83. Indru Poi Naalai Vaa

2009-01-07T17:49:00.002+04:00

Today’s BGMs are posted from the hilarious comedy movie Indru Poi Naalai Vaa. Maestro’s BGMs are the 2nd hero of the movie.

1. Entry thru kid

The orchestration at the end reminds of Bach’s organ scores. Score is short and sweet.

2. First sight

Main theme of the movie, brings the whole sequence in front of our eyes, when we hear this theme.

3. Following

Bhagyaraj follows the villain, thinking him to be the would-be of Radhika. The strings are amazing.

4. Kallapetti running

Funny music. Bhagyaraj mentioned in an interview that Raja didn’t score for any rhythm to this piece, saying that the footsteps of Kallapetti would add it to the score.

5. Love letter

Wonderful guitars!! Though, its very short.

6. Prediction

This is another funny moment, where Bhagyaraj tries to impress Radhika.

7. Ration shop visit

Another hilarious sequence. Native beats.

82. India 24 Hours

2008-12-30T14:11:00.003+04:00

Enjoy the videos. Happy New Year to all!!

India 24 Hours on Youtube (12 videos)

81. Punnagai Mannan

2008-12-29T13:21:00.004+04:00

BGM 1: Betrothel

Short and sweet piece. I don't know if it has any Sri Lankan type music as required by the story.

BGM 2: Following Kamal

Nice BGM befitting the scenes with the sculptures VGP.

BGM 3: Expressing love

Nice piano version of the Love theme. It sets the mood for the piece which follows within the next few minutes in the movie.

BGM 4: Escape from hospital

I remember the glorious piece written by Vicky on this piece. Would like to revisit the same and know more from him.

80. Vishwa Thulasi

2008-12-24T14:53:00.003+04:00

This movie, produced by an NRI, Sumathy, has music by Maestro Ilaiyaraaja & Mellisai Mannar MSV. BGM is by Maestro and songs are done by both for individual tracks. The movie is a love story and a full length musical, i.e. each and every frame is beautified by the BGM and songs. I have posted some mixed clippings here.

79. Rettai Vaal Kuruvi

2008-12-23T16:04:00.005+04:00

Rettai Vaal Kuruvi, directed by Balu Mahendra, is the tale of a man with two wive, told in a humorous way. Mohan, happily married with Archana, falls in love with Radhika and both of them get conceived at the same time and go to delivery bed on the same day. The climax is rib-tickling comedy with good support from Balu's friend Raja in the music dept.

Clip 1: Archana working woman in another city, suddenly visits her husband. Mohan is so sure he's exposed of his affair with Radhika.

Clip 2: Both wives at the same clinic for consultation. Some funny moments.

Clip 3: Both the wives deliver babies on the same day. Radhika's father, a heavy weight wrestler is the villain.

78. Katrukkenna Veli

2008-12-17T12:54:00.002+04:00

This movie centered on some wounded LTTE militants coming to Tamil Nadu for treatment. The doctor who attended to them meets with police harrassment and the movie is about the happenings in the hospital. After prolonged fight with censors and courts, the movie was finally released with some cuts.

The songs I posted today are from this movie. There is a small episode of friendship between heroine Suji (who later becomes a militant) and Kushbu (who is killed by Sri Lankan army). Except Sri Gana Natha, all other songs are by Mahakavi Bharathiyar.

77. Adhu Oru Kanakkalam

2008-12-16T14:10:00.007+04:00

Adhu Oru Kanakkalam is one of the latest movies to have full length BGM score by Raja. He is the real backbone of the film, which is directed by Balu Mahendra. These are some of the wonderful BGM tracks.

1. Koondukkulle:

Dhanush, an innocent teenager, kills somebody by circumstances and sentenced for life. This track sung by Raja is the melody of Kattu Vazhi song, as Dhanush is brought into the jail.

2. Jail intro:

Dhanush is shown to his cell. This theme reflects on the pitiable state of Dhanush and repeated during the jail scenes.

3. Priyamani’s visit:

His lover visits him in the jail. A good WCM score followed by their love theme.

4. Beaten up:

Dhanush takes revenge on a cop, who misbehaves with Priyamani. He is then badly punished by the jail warden. A disturbing sequence, but Maestro’s stunning use of silence and brilliant score elevates it to a different level.

5. Climax:

Shanmugaraj, the sub inspector, takes pity on Dhanush and releases him. A beautiful finale piece for the climax – full usage of keyboard sounds.

76. Yajaman

2008-12-15T13:23:00.003+04:00

Today's selection is from Yajaman. The first piece, the introduction theme for Meena, is repeated again in the next scene when she brings snacks. This piece is a good example for usage of tremolo strings.

The next one is for a comic cum sentiment scene. As is customary, Rajini wants to get a gift for Meena, as she is pregnant. But Meena asks for a trivial thing like butterfly. The music is very lively for the mood.

Oru naalum unai maravadha - this is a bit song by Maestro, when Meena dies. It unintrusively takes the story to the next level.

75. Music for Malayalam

2008-12-14T08:47:00.002+04:00

Raja is a minimalist when it comes to BGM for Malayalam movies. Except for movies like Kalapani, Guru which warrants grand score, he underplays on the BGM area. Presented here is a the climax music from the movie Vinodayatra. This is the instrumental version of Kaiyetha dhoorathu.

74. Panneer Pushpangal

2008-12-13T10:00:00.002+04:00

I was watching Gautam Menon's tribute to Ilaiyaraaja in Vaaranam Aayiram, where Surya plays the song Kodai Kaala kaatre on guitar. It also struck me that Raja has already used some guitar instrumentals of the song in the movie, while the college goes on a tour (near a bonfire).

73. Sri Raghavendrar

2008-12-13T08:58:00.002+04:00

My favourite movie of Rajini, as I am also a devotee of Sri Raghavendrar. On Rajni's birthday, I want to wish him by posting a clipping from the movie. Ofcourse, one of the masterpieces from Raja for this movie.

72. Atharvam

2008-12-12T11:06:00.004+04:00

Atharvam, directed by Dennis Joseph, stars Mammootty, Charuhaassan, Thilakan, etc. Its a story of fight between the evil forces and the divine grace. The first piece here is the love theme for Mammootty and his lover. Its scored for different versions Indian & Western classical.

The next piece is for a situation where Mamootty performs some tantric pooja. The mysticism of the situation is well brought out in the score.

71. Aanpaavam

2008-12-07T10:07:00.005+04:00

I have received many requests for this BGM. This movie is one of my early favourites, for, each scene is a pleasure to watch along with the BGM. The 'girl seeing' episode is one of the lengthiest BGM piece and set to Madhyamavathi. This BGM has been ringing in my ears for many years since I saw the movie. Its instantly catchy and cannot be forgotten even after you come out of the movie hall. Actually, this BGM occupies the first half of the movie, like a hero. The director has done a nice job of editing the various scenes into one immensely enjoyable episode. The dialogues and the supporting actors are all brilliantly done.

This scene is similar to the piece from Mannvasanai where the heroine is impatient to wait for the next day, to meet her darling hero. It actually takes us through the character's mind.

70. Mudhal Vasantham

2008-11-19T10:05:00.001+04:00

Mudhal Vasantham was a super hit movie with Sathyaraj’s Kongu Tamizh and good songs. ‘Aarum adhu azhamille’ was heard everywhere. I think its written by Kuruvikarambai Shanmugam.

I remember this movie fondly - as my father and I waited outside the theatre for the previous show to get over, we heard this climax piece and immediately attracted to it. Kalki magazine also had made a special mention of this BGM piece in their movie review and said that none other than Raja can score such a piece.

Here is a song which comes in the titles. I don’t think it was included in the audio cassettes.

69. Mannvasanai

2008-11-18T13:41:00.005+04:00

Mannvasanai has beautiful theme pieces which I thought of sharing with you today. Bharathiraja’s picturization nicely complements the music in every scene, which makes the movie a pleasure to watch. Silence is also masterfully used in many places for BGM. As usual, the theme is heard with many variations in the scenes here.

The director has shown his skills in imaginatively picturising the shots with beautiful visuals like regular exchange of letters, letters flying out of the pot, Pandian entering back the house in Revathi's imagination, etc. Revathi has shown wonderful expressions when she learns that Pandian is alive and he is visiting the village again. Kanthimathi has given her life time performance in this movie.

Scene 1:

This is where Pandian attends the function to celebrate Revathi, when she attends the age. The village sentiments are nicely brought out. Pandian looks Revathi in a new light and starts loving her more. The theme music is introduced from here onwards. He loses his sleep in the nights.

Scene 2:

Revathi asks Pandian what he will do if doesnt get her hand. She keeps the grama devadhai as a witness and asks God to unite them.

Scene 3:

Pandian elopes the village after the villagers fight over an issue of marrying Revathi. They all think that Pandian had died in the fight. But the teacher Nizhalgal Ravi creates fictitious letters as if written by Pandian, to keep Revathi in good cheers. The village girl's innocence is beautifully shown here.

Scene 4:

One day Revathi received a letter really written by Pandian, saying that he is returning to the village. Her joy knows no bounds. She shares it with her mother and Kanthimathi also.

Scene 5:

Most beautiful scene of them all. Revathi is not able to contain herself the previous night, when Pandian is supposed to land in the morning. She is impatient and not able to sleep. Very interesting visuals and the dialogue is very natural.

Scene 6:

Theme music is played as a happy version in the climax, when the lovers unite once again, after some mishappenings.

68. Lyrics with Music

2008-11-17T12:12:00.008+04:00

It’s my long time wish to hear Vairamuthu’s poems with Maestro’s music. If they ever join again, it would be our fortune if somebody brings out a collection of his poems read out by Vairamuthu himself with Raja’s music in the background. Till then, we have to be content with these BGMs from Mannvasanai. There are some short poems recited by Bharathiraja. Its pure bliss to hear these along with the beautiful picturization by Bharathi Raja.

Nizhalgal Ravi is the new teacher in the village, who enjoys Revathi’s beauty and writes lyrics in praise of her. The situation is beautifully and decently picturzed.

Non Tamil fans: I am sorry for not translating these as the translation won’t do any justice to these lines.

Scene 1: Revathi & Ravi meet each other

Scene 2: Ravi sees her with Pandian and feels happy for their love

Scene 3: Ravi pens these lines when Revathi attends age

Scene 4: Ravi is unable to bear the sadness in Revathi’s life

67. Ninaivellam Nithya

2008-11-15T17:49:00.004+04:00

Ninaivellam Nithya, by late director Sridhar, is one of my most favourite films for its BGM. Its another lesson in how to gradually develop the theme motif throughout the movie, binding the audience to the story. Here are the eight variations of the love theme.

Scene 1:

This is the starting point of the story, where Karthik meets Jiji for the first time. The theme is just introduced with tribal music for the situation (heroine is from a tribal family).

Scene 2:

Karthik follows Jiji and gets a glimpse of her along with friends. The theme is more developed and complete.

Scene 3:

Karthik waylays her and asks her name. She is also interested in him. Love at first sight.

Scene 4:

Hero and heroine talk at the river side. Main theme is presented with another connected piece. The mood suddenly changes to imply the danger, as heroine’s relatives/friends see her with another boy. Luckily hero’s friend saves him.

Scene 5:

Both meet at the supermarket. Short but sweet piece.

Scene 6:

Jiji elopes with her lover to the city. But they don’t get any support from Karthik’s parents and struggling for a job. There is a small friction between them and they reunite again. The BGM is mainly scored for voices. Another beautiful variation in the piece with lots of counterpoints.

Scene 7:

Karthik meets with an accident. His parents blackmail her while hospitalizing him, taking a promise from Jiji that she would not meet him again in life. She sacrifices for their love. Another amazing choral piece with counterpoints.

Scene 8:

Climax scene, where the lovers are shot by heroine's brother and his gang. A sad end to the story. The score ends with haunting chorus voices.

66. Ponmudipuzhayorathu

2008-11-15T10:04:00.002+04:00

Ponmudipuzhayorathu (2004) was one of the flop movies of Maestro in Malayalam (along with Pachakuthira & Sooryan). But it had beautiful songs and BGMs. Two of the BGMs are here. The music may sound familiar to some of you. Yes, it was used in the title score for Hrudaya Ragangalude Raja series.

Scene 1:

Sheela, a widow is heading the family with a son and daughter. She dances in temple during the mudiyattam festivals and does small jobs like treating children, etc. This is one such scenes. She advises about precautions to be taken while breast feeding a baby.

Scene 2:

This is one of the poignant scenes in the movie. Sheela runs a poor family. Adding to her woes, their only property, a small house, is in the danger of being snatched away by the municipality for the road extension work. Her son (hero of the film) goes to neighbouring town with his friends in search of a work for his livelihood. However, he learns later that they are gangmen who are hired for doing murders. By circumstances, he is forced to be a part of this and caught by police. Due to all these, Sheela gets mentally afftected and comes back home after prolonged treatment. She finds that his son lost his legs due to his wrong friendship. The director has given a nice touch here when Sheela thinks about his son as a child.

65. Bala Nagamma BGM

2008-11-05T08:20:00.002+04:00

This is a clipping from Bala Nagamma. A perfect fusion between Baroque (western) and Carnatic. A long clip to relish.

64. Kovil Pura BGMs - Part 2

2008-11-04T15:05:00.006+04:00

Kovil Pura has a small episode on how an artist is destroyed due to fatal attraction to fame coupled with ‘madhu and maadhu’ (wine and woman). Vinu Chakravarty who is a genuine artiste, a nagaswaram player, is lured by an unscrupulous person to Chennai who promises him concert chances with wealth and comforts. Soon Vinu falls prey to a damsel Silk Smitha and also becomes a drunkard. He loses his youth in these indulgences and left a pauper when he loses his prime. He is unceremoniously dumped and that’s when he realizes. But its too late now. He leaves back to his native along with his son. Some time later, his soon broods over the past.

A very sad, but unconnected to the main story. But see Maestro here, he enriches it with his impeccable background score – starting with solo violins, his favourite guitar notes, the beautiful ‘desh' flourishes and ofcourse, peppered with nagaswaram pieces. The whole episode has been enriched with his score. What a range of emotions he has shown - greed, lust, passion, helplessness, dejected, etc etc! A lesson to be learnt by modern MDs.

This is a light piece for a comedy scene, but Raja is Raja. He has given a trumpet version of Idhu oru ponmalai pozhudhu and Vatapi Ganapatim bhaje. Nice to hear.

63. Kovil Pura BGMs - Part 1

2008-11-03T14:50:00.001+04:00

These are some amazing BGM from the movie Kovil Pura. The first file is the theme music which comes at many places. The same has been sung by our Maestro as a bit song in another place.

I will post more BGMs later.

62. Hrudaya Ragangalude Raja - 6

2008-11-03T13:50:00.002+04:00

This is the last episode of the series (4 parts). Unfortunately, Amrita TV stopped telecasting this. I have one more episode recorded in speed recording mode in the VCR, which I am unable to convert. It has interviews with directors like Balu Mahendra, etc with beautiful shots of Maestro on the temple backdrops. I missed recording 2 episodes (1 on Thiruvasagam and 1 about evolution of instruments). If somebody has these, kindly share it with me.

Hope you all enjoyed it. Please post your comments and suggestions.

61. Maestro felicitates Kavignar Vaali

2008-11-03T10:20:00.002+04:00

This is a function organized by Raj TV few years back. Maestro has given a beautiful and befitting speech on this occasion. Enjoy!

Vaali, endrendrum vaazhi!

60. Nostalgia: Karthik Raja's Reception

2008-11-02T09:11:00.002+04:00

This is Karthik Raja's wedding reception video. Who's Who of the Tamil film field are here. Nice to see a happy and smiling Maestro.

59. Title scores of My Dear Kuttichathan

2008-11-02T09:07:00.003+04:00

The (end) title scores of My Dear Kuttichathan in the old and new avtars. Gives two different flavours to enjoy.

58. Hrudaya Ragangalude Raja - 5

2008-11-01T12:16:00.002+04:00

Episode 7 in three parts have been uploaded here.

57. Hey Ram Score Recording

2008-11-01T09:12:00.003+04:00

When I heard the title score of Hey Ram, I was literally blown away by the choral piece which was of international standards. This has become one of my favourite pieces along with Lajja title score, which is another amazing piece.

Unfortunately, this is a very short piece. Also, this theme being Mahatma's theme, appears only in one place in the movie, after Mahatma is shot in the climax. I wish Maestro composes full length choral pieces based on such themes.

This video also has a brief clipping of Pt. Ajoy Chakraborty recording with Maestro, for Har koi samjhe song.

56. Hrudaya Ragangalude Raja - 4

2008-10-30T10:45:00.003+04:00

Here is Episode 5 in three parts.

55. Meeting the Maestro (REPOST)

2008-10-29T22:51:00.002+04:00

Two years back, I had met the Maestro on this very same day. This is an old write up on those moments I had written which I am glad to share with you again.

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I was very fortunate and happy to meet Maestro recently at his residence. It was my long cherished desire to meet him in person in my life time. Lady luck finally smiled at me on 29th October 2006.

My wife and myself had been to Prasad Studios once around 2001, when Lajja scoring was going on and hence he was in Mumbai at that time. We left the place disappointed. Though I visited Chennai regularly, I didn’t have the courage to muster myself up to his studio or residence.

Finally, it happened during my visit this time. It was a Sunday evening and I was casually going out with my wife to T.Nagar for some shopping. I thought why not try out our luck today and see if it happens. If he was not at home, I thought of requesting for an appointment to see him another day.

As you all know, He stays at 38 Murugesan Street, T.Nagar. First we went to Vani Mahal to check on some drama play but due to heavy rains it was cancelled, but there was another function organized to release a book on Kannadhasan, where AVM and MSV were to be the main guests. Then I got sceptical that Raja may come there, so we may not be able to meet Him at home.

However, we took an auto and went to Murugesan Street. Landmark known to me was the Raghavendra Swamy mutt at the road corner. From there, you have to go ahead and take the 2nd right and His house was the 2nd on your right. It had a big white colour gate with some of the trees from his garden peeping outside. We reached His house around 4.30 PM and saw two security guards at the gate.

We went to them and said that we are from Muscat and wanted to see Maestro. He didn’t ask any other questions (my business card came out handy at that time). He said ‘ayya’ (they reverently call Raja by this name) is busy in a recording inside and asked us to wait near the gate. The house was silent - I thought others may be out at the moment. We saw that couple of short steps led to the main entrance which opened into a huge hall. I remember seeing a Vinayaka statue near the entrance and inside hall had a huge Tirupati Balaji picture (with golden lacing work).

The security removed his slippers and went near the hall entrance and softly called ‘ayya’. One can sense that Maestro has come out of the room to see him from the sudden change in his pose (he was almost half-bent). I heard him saying ‘some body has come from Muscat to see you’ and then ‘I don’t know’. He came back and said ayya is busy and asked us to stand there. We would have waited for 10 minutes which seemed like eternity. I felt like standing at the gates of heaven. In the mean time, couple of vehicles arrived – which were posh. Still no sign of Maestro calling us. We felt uneasy that we may be disturbing him.

Now another car came. The person was in safari suite kind of dress, asked something to security and went inside. I couldn’t recognize him and thought may be some director or His manager. He also removed his shoes and went in respectfully, after few minutes we could see him sitting in the hall sofa and the next sofa was occupied by another person of whom we could see only the edge of his hand and a bare leg – it was covered in white kurta and veshti!! You can now imagine how I would have felt at that time.

Raja would have talked to him for 5 minutes or so – we could see only his hand gestures from where we stood but not anything else. Now another big car came inside and stopped in the portico. It was Sujeya (Yuvan’s wife) and I think a small boy was also there. She was giving some instructions to the driver. Before she went in, she saw us and then asked the security who we were. The security told about us and handed my card to her. She took it and went inside.

Within few minutes, the man in safari dress came out to receive us and took us inside. He asked us to leave our footwear there. When I went in, I saw Maestro coming to me with a question in his eyes and saying ‘vaanga’. I immediately touched his feet to take his blessings and said I come from Muscat. He was very respectful to us. He showed us the sofa and we took our seats. I told him that I have been his ardent fan for the past 20 years and he just nodded with a smile. I then presented him with the gift (Mont Blanc pen) that I had taken. I just kept the box on the glass table and requested him to open and see. He smilingly asked ‘edhukku idhellam?’ (why all this?) I said ‘its just for my satisfaction, hope you will like it’. I opened the box for him and showed the pen. He saw it for few seconds with lit up eyes and nodded his head in perfect satisfaction.

I apologized to him for causing disturbance in his schedule and he just smiled at me. Now I was dumbstruck and frozen after seeing him at such close distance, my eyes were roaming all over him, drinking this great figure in jibba and veshti. I was having mixed feelings inside me like reverence, surprise, shock, ecstasy, happiness, etc and all sorts out emotions overcame me. My tongue was tied for few minutes. I kept seeing him and he kept seeing both of us.

In the meantime, he gestured to somebody and we received a glass of drinks in our hand. It was some cold orange juice. We sipped it in silence.

I tried to get back to some sense and asked him about Ajanta songs and his Hey Ram BGM album. He just smiled at me and nodded positively. Then, I told him about singer Manjari who was born and brought up in Muscat became she came to filmdom. He nodded his head in affirmation.

He asked me where I was working, how many years in Gulf, etc. I told him briefly about my family background. The choice of words were not occuring for me and I knew I was blabbering. Before going there, I had many questions in mind to ask him but nothing came to me at that instance. Also, I felt awkward to speak to him in the presence of another man whom I didn’t know. It looked like they were talking something important and we interfered.

I took out my note to request him for an autograph and I gave him my pen. After that, I asked him for a photo and he graciously agreed. My wife took out the digital camera and shot a snap. Then Maestro pointed my wife to me and the other person and said ‘avangalum nikkattum, innoru photo edunga’ (let her also join us for another photo). The safari man took the camera from me and asked how to operate the flash. My wife stood next to Maestro and the photo was taken. Now, Maestro saw the flash and asked me ‘avange eduthappo flash varalaye, innonnu venumna eduthukkalam’ (when she took there was no flash, so let us take another one). So, the safari man took another snap with only me and Raja. I immediately tried to check the camera and saw that the snap that my wife took was shaky and not come out well. I mentally thanked Maestro at that time for his presence of mind.

I asked him if I could come to one of his recordings (he nodded ok) and when would it be. He said nothing for the next few days. I said I will be in town till 10th November and would try my luck again.

We apologized to him once again for disturbing him and left from his house.

Whole of that evening, my mind was reeling from the effect of the meeting. I couldn’t believe my luck that I had seen one of the great composers in the history of music.

After a week or so, I casually went to Prasad Studios to check if any recordings were happening, but there was nothing. I just went to the back entrance of his studio (I guess this gate is used by his musicians), where there are couple of sofas and the wall is adorned with a Maestro’s photo gifted by Parthiban (isai alias raja) and two big portraits of Maestro by Maniam Selvan, which you would have seen on the covers of Venpa Malai and Gnana Ganga books. I could just look at the deserted recording hall and sigh.

I wanted to know when is the next recording scheduled to be held. I was told to contact his manager Mr Subbiah but could not find him anywhere. Some fellow tipped me to go to Kalasa recording theatre (which is nearby) where he can be found. I took an auto and went there to see him. Subbiah also said there is nothing planned and most probably after 15th November only.

Kalasa is relatively new studio and is regularly used by Yuvan, Karthik, Devi Sri Prasad and others. There were two short recordings scheduled by Karthik and Yuvan that evening. I didn’t feel interested and also had to go elsewhere, so I left the place after spending few minutes in seeing the recording console, etc.

The pen I gifted to Maestro was a theme built on his favourite composer JS Bach. It had a fountation pen with gold plated nib with Bach’s image and his signature engraved on the pen. It also had a small booklet on the composer and reprint of the original manuscript of his magnum opus Brandenburg Concerto No.5. This pen came to me few years back through some of my sources and seems to be very expensive. I am glad that I could get it, preserve it and then reach it to the right hands.

54. Hrudaya Ragangalude Raja - 3

2008-10-29T12:42:00.002+04:00

Here is Episode 2 in 4 parts.

53. TIO Release Meeting

2008-10-28T11:48:00.004+04:00

This is another interesting video covering the 'all Tamil MDs meet' before the release of Thiruvasakam CDs. Madhan has covered the same in Vijay TV.

52. Hrudaya Ragangalude Raja - 2

2008-10-28T10:31:00.001+04:00

Here are the balance 2 parts of Episode 1.

51. Hrudaya Ragangalude Raja - 1

2008-10-27T12:17:00.003+04:00

Happy Diwali to you all!

I am happy to share with you all the video recording of Hrudaya Ragangalude Raja which was telecast in Amrita TV around June 2004. Here is the 1st Episode in 2 parts. This is really a treasure and a must watch for all Maestro fans.

I have about 7 episodes with me (I missed to record 3 episodes). Further updates will be done soon.

50. A True Leader

2008-10-26T10:04:00.001+04:00

This BGM from the movie Kamaraj is a crucial one, which establishes Kamaraj as a true King Maker at the Centre. He helps Indira Gandhi to be elected as Congress President. However, he is insulted by Indira at another stage, by kicking the ladder after she comes up. The score is minimal but poignant and patriotic, revolving around Nadu Parthadhunda song which is repeated in the movie at many places. It makes one yearn for such leaders - will those times ever come again?

49. Another Sandham as BGM

2008-10-25T15:48:00.002+04:00

I wondered many times, how it would be to rescore his melodies with refined orchestrations / instrumentals. In one of the scenes in Aanpaavam, he has used his melody from Annakkili ‘sutha samba pacharisi kuthathan venum’ as a BGM. This comes where Revathy’s students help her father with Revathy’s marriage arrangements.

Aanpavam - Marriag...

Incidentally, this tune is also from a Nattuppura sandham, as he explains it here.

Italy concert - Ar...

48. Guru BGMs

2008-10-16T09:38:00.002+04:00

Here are some BGMs from my most favourite movie Guru (Malayalam). It’s a pity that the film flopped and also it didn’t make it to Oscars. As you are aware, the themes were rescored as a private album ‘The Music Messiah’.

Guru - BGM 1

Mohanlal is saving his blind friend from the opposite camp, in the valley of blind people.

Guru - BGM 2

Mohanlal gets a divine vision about restoring eyesight for all blinds in the valley. He asks everybody to drink the milk of a plant (which all of them think poisonous) to get the sight. They obey him and get the vision. If you follow the instructions of a Guru with faith in him, you will see the path.

47. Same Sandham

2008-10-15T18:18:00.001+04:00

Raja has used the sandhams from folk songs in many of his songs. This is one such sandham used in Avar Enakke Sondham and Annanukku Jey. Please listen to both the song pallavis here.

Kudhirayile naan amarndhen (pathos) – Avar Enakke Sondham
Solai Ilankuyile (happy) – Annanukku Jey

You can easily notice that the mood of the songs is opposite from one another. Going forward, even the charanams and interludes are different in both the songs.

Same sandham songs...

Note: Both songs play in the same file.

46. A spine-chiller!

2008-10-09T13:18:00.001+04:00

When I saw this movie Paadum Paravaigal (dubbing of Anveshana – Telugu) during my schoolhood days, I was scared to death with the BGM. I had never seen a scarier movie before that. Later, I have seen the movie in TV / video couple of times. The BGM should be a study piece in Thriller genre, of how to use the silence to create the fear in you. This piece is one of the excellent ones from the movie. There are few others too, notably a long sequence in the climax, where Maestro has experimented with only the voices in the BGM.

This piece also has stunning silence in many places, which enhances the effect. In many places, you can her only the rustling sound of leaves under Bhanu’s legs and her heavy breathing only. It starts with foot steps kind of rhythm with guitar chords. Then comes birds chirping and other eerie forest sounds. Suddenly you hear a solo violin when the heroine steps on a bed of flowers. There are many menacing moments in the bursting strings section which will take you through in search of this mystery man.

45. Annakkili Titles

2008-10-09T11:57:00.001+04:00

Isai: Ilaiyaraaja (Arimugam) !!! Do I need to say more on this?

100% natural, village music.

44. Same scene, different BGMs

2008-10-08T14:13:00.004+04:00

Have you ever come across Raja scoring two different BGMs for the same scene? I recently noticed once such occasion. I am not talking about the remake movies here like Unnal Mudiyum Thambi vs. Rudraveena. Even they almost had the same BGM. I am talking about My Dear Kuttichathan which was first released in 1983/84 and re-released again in 1996 in DTS. The background score was rewritten by our Maestro. I wanted to highlight the introduction scene of Kuttichathan, where the two BGM versions are entirely different. First see the original version of 1983.

Now, this is the score for the new DTS version.

Scenes to be enjoyed in particular:

1) Piano plays by itself – brilliant one! The same keys are played. New version is more modern sounding (around 1:12).
2) Kuttichathan descending in a basket – The new version sounds mature, reminds of the score he has done for Guru (starting at 3:15). The orchestration and chorus are out of world.
3) Children going around & touching Kuttichathan – the original version is amazing, with carnatic violin score (around 4:45) - what a way to show the innocence of the children! The new version is also equally good.

Even the music for Kathakali dance is different.

In closing, I feel the original has a raw WCM feel, but the revised version is modern and matured in orchestration.

Readers are encouraged to analyze this more in detail and arrive at their favourite version for each cue.

43. Soulful BGMs

2008-10-07T12:16:00.002+04:00

I recently watched Sooryan (Malayalam). The film failed due to bad screenplay and is uninspiring to watch. However, Maestro shines as usual, in couple of scenes, though the BGM is minimal throughout the movie. He has given carnatic music (violin and mrudangam) for couple of fight scenes as the hero is a trained classical musician. He has also given a small solo carnatic violin score for one of the scenes where police chases the hero after a killing (a la Mounaragam Karthik police chase scene). Here, I have posted the title score of the movie, which is very soulful and to the core of the movie theme.

Sooryan - Title sc...

Kizhakke Pogum Rayil had a soulful theme for the lovers, which was very famous those days. This is a long female alaap, sinuating up and down. Bharathiraja has beautifully woven the train as a motif into this love story. The lovers stay apart (Radhika in village and Sudhakar in Chennai) but keep communicating through the last compartment (LV) of the train, by writing on chalks. Due to rains, once the message gets erased and Radhika feel very sad for not hearing anything from Sudhakar. This cue starts with a short keyboard piece with counter harmonies provided by WCM violins to show her mental agony and ends with the theme motif.

KPR - Rail messagi...

42. Godly BGMs

2008-10-06T12:49:00.004+04:00

I have uploaded two BGMs from Aathma and Thai Mookambigai which has a similar theme.

In Thai Mookambigai, the Goddess disguises as an untouchable woman helping Major Sunderrajan. When Major knows about it, wow, the WCM chorus by Maestro gives us goosebumps, followed by the poignant Malarena Kadhiroli chant (in Hayagiri Nandhini sandham).

In Aathma climax scene, God appears as light, in a certain temple atop the mountain – at a designated time. She destroys the evil spirits and saves a devotee from his cancer. Here also Maestro plays a beautiful WCM violin and flutes section for the blooming flowers on the mountain in the background. This is again followed by Vedic chants and a short temple piece on Nagaswaram.

Both the pieces are awe-inspiring (WCM) and devotional (chants) at the same time. Thank you Maestro, for the invaluable pokkisham you have given us.

41. Raaja in my Life (Blog Tag Game)

2008-10-05T12:43:00.003+04:00

My thanks to Vicky for giving me a chance to relive those moments once again. My sincere thanks to Kamal for tagging and for nagging me to write something on the blog after a long time. Here goes my tortoise / kosuvarthi posting (read flashback).

Me & Raaja - The 5 things I should tell you:

1) The moment that introduced you to Raaja:

As far as my memory goes, it was the film Naan Paadum Paadal (1984). I was emotionally affected at that age by the song Paadava Un Paadalai and the BGM of the movie.

Naan Paadum Paadal...

So I can say 1984-85 is the time of Raaja-awareness in me. Before this, I used to hear many of the popular songs from radio, but I didn't know about the MD's role. I was humming Vellai Roja songs (I was a Sivaji fan) without Maestro's contribution in it. I have seen people going crazy with Ninaivellam Nithya songs, but didn't know the composer behind it.

My father, who was an ardent fan of yesteryear MDs like KVM, MSV, etc started liking Raaja for his BGM skills and the songs, with the densely crafted orchestration. He always used to tell me to note the various instruments used in his songs and how He didn't leave even a second of the song unorchestrated. I slowly used to pick up interest from there and started hearing songs with more care.

My father appreciated His BGM scores also which I picked up from him. I still remember discussing the BGM of movies like Aan Paavam, Unnal Mudiyum Thambi, etc with him. The moment we leave the theatre, we used to hum the BGM themes from the movie but alas! next day morning we would have forgotten the intricate BGM themes and there was no way of hearing it again!

My father and I used to jointly hear the songs and appreciate the tune and orchestration. We have many favourites from this period which is a futile exercise listing here.

We had a rickety radio in house which used to entertain us all the time. Accidentally, one day we heard Telugu version of Anandha Kummi songs from a Telugu station (I don’t remember the station now) and our joy knew no bounds. The reception was so feeble that we had to keep the radio to our ears like a headphone to hear it.

2) Name one occasion where Raaja's music directly / indirectly influenced your life.
This is not one, but many occasions. In fact, Raaja has touched our lives, the every other minute.

As I said earlier, Raaja's music became a part and parcel of our life. We used to watch many movies those days - some on the screen and some on the video. Rs.10 video rental was famous those days, which I used to watch in friend's house / neighborhood. Thus, I was in constant touch with Maestro's songs. We especially loved Ramarajan movies for great songs and BGMs. I also used to like T. Rajendar's movies and songs which were super hit those days with good lyrics and grand picturization of songs. Between 1985-89, I would have seen almost 80-90% of His Tamil movies.

Those days, it was a very special enjoyment and favourite pastime to browse the newspaper cinema ads. Dinathanthi was replete with ads for new launches, which invariably had Maestro's photos within a circle, proclaiming Isaignani Ilaiyaraajavin Innisai Mazhayil, Ragadevanin Geetha Mazhayil, Isai Chakravarthiyin Innisayil, etc. Same was the case with posters on the street. No wall was left without his photo. All this created euphoria. We used to derive great satisfaction, as if His achievements were our own.

In school also, we had discussed songs from Mann Vaasanai, Mundhanai Mudichu, Moondram Pirai, etc.

By 1989, I started working. Those were the days of pirated Cony (duplicate Sony?) 60/90 cassettes which used to be played in all private buses in our place (Coimbatore). I used to wait for additional 15-30 minutes to get the bus which plays songs in the bus. Thus my 30-45 minutes ride was brightened by Maestro every day, while going and coming. With my earning, I purchased a cassette player and even managed to record couple of cassettes with my favourite Raaja songs.

Between 2004 and 2006, I was back to bachelorhood again for some family reasons. Again, Maestro was with me every minute of the day. I used to collect BGMs from many of his movies.

3) Lets take Tamil, Telugu, Malayalam, Kannada and Hindi into account. Assuming that one of this is either your mother tongue or native language, name a favorite song in each of the other 4 languages that immediately comes to your mind.

Until I was exposed to Internet, which was around 1996, my knowledge of Raaja's songs in other languages was almost zero, though I have heard Telugu version of some of His songs. After the proliferation of the Net, I gained knowledge on His masterpieces in other languages. I went on exploring those songs with my collecting mp3s from all over the Net.

My native language is Tamil. So here I name 4 songs that immediately come to my mind from the rest 4.

Telugu : Karigipoyanu (Marana Mrudangam)
Malayalam : Janmangal Varum Tharum (Kaaveri)
Kannada : Oh Prema Devathe (Gulaabi)
Hindi : Rimjhim (Mahadev)

4) One song of Ilaiyaraaja that you consider rare and think a song that many people should have known but don't.

Kadhalil mattamal (Parvathi Ennai Paaradi) - aaha Saaranga! short but sweet.

5) Lets keep the last one simple. Raaja's number that you are hearing right now/ most recently heard?

Kaaveri aaru (Themmangu Pattukkaran)

Note: All the songs mentioned here are my top of the mind and there are many, many more I can add to each category.

40. Love songs

2007-02-15T08:55:00.001+04:00

Dear friends,

Sorry for the looong hiatus, which was due to personal and official work. Today being St. Valentine’s Day, I wish my friends here ‘a happy valentine’. Let us have a tête-à-tête with Maestro, in his own, inimitable way, of singing love. So here it is:

1. Adichen Kadhal – Ponmana Selvan

This is a cute duet in folk. Maestro blazes his trail as usual in the orchestration. ‘maalayil Ilayaraja kachery’ brings a smile from us. Flutes and tabla rule this song.

http://rapidshare.com/files/16396727/Adichen_kadhal.wma.html

2. Enga ooru kadhalai – Pudhu Pattu

Amazing duet and so effortlessly and joyfully sung by Raja. Asha’s pronunciation is cute and suits the heroine of the movie very well (a foreign-return). The movie also has a love poem in German, which has vocal counterpoints in Tamil (don’t think Thiruvasakam is the first attempt in this style). This song also has fabulous interludes in WCM.

http://rapidshare.com/files/16396728/Enga_ooru_kadhalai.wma.html

3. Kadhal un leelai – Japanil Kalyanaraman

I am hosting this song again, I like it sooo much. Really, really romantic voice.

http://rapidshare.com/files/16396729/Kadhal_un.wma.html

4. Kadhala Kadhala – Thaikku Oru Thalattu

The song starts with sweet whisperings between the lovers, kind of night effect. The interludes give a different dimension to the song. Maestro leaves many clues for the picturisation – temple bell, stream by the wayside, etc. Keyboards and strings in the 2nd interlude take us to a dreamy world and that pregnant pause before the 2nd charanam! I like the phrase-singing ‘deviye deviye enna kelvi ketkiraai’ and Raja’s humming towards the end.

http://rapidshare.com/files/16396730/Kadhala_kadhala.wma.html

5. Kadhalin Deepam ondru – Thambikku Endha Ooru

When talking about love songs, how can I ignore this one? Great singing by SPB. In those days, the prelude of the song was used for some TV ad (Dyanora?). Most of you will know about the unique circumstance under which this song was recorded (Raja was hospitalized and had to give the song for shooting). He whistled the song over phone to the singers and gave the notations to the players from the bed.

http://rapidshare.com/files/16396731/Kadhalin_deepam.wma.html

6. Kannale Kadhal - Aathma

Velvety voice of Yesudas opens the song and the serene music takes us through the song – with good support of tabla and keyboard. But the song climaxes with great strings in background.

http://rapidshare.com/files/16414140/Kannale_kadhal.wma.html

7. Kattaya Kadhal – Thozhar Pandian

A great song in Sivaranjani raga – a deviation from the normal usage of the raga. The rhythm in the 2nd interlude seem to be complicated. The lyrics could have been better.

http://rapidshare.com/files/16414141/Kattaya_kadhal.wma.html

8. Kannamma Kadhal – Vanna Vanna Pookkal

Another great, great song, the highlight being the string instrument used here. It takes us to the lover’s paradise straight away.

http://rapidshare.com/files/16414142/Kannamma_kadhal.wma.html

9. Kadhal Mayakkam - Pudhumaippen

Everything is great in this song – lyrics of Vairamuthu, music (Sudha Saveri raga usage) and singing.

http://rapidshare.com/files/16414145/Oru_kadhal_mayakkam.wma.html

10. Vaanin kadhal - Kasthoorimaan

For the modern day lovers – we don’t know when and how the love bug will bite ;) Better be careful.

http://rapidshare.com/files/16414146/Vaanin_kadhal.wma.html

Have a blast on this Valentine’s Day.

39. Maestro's old avtars!

2006-12-04T16:20:00.001+04:00

The old version of Prema Yatralaku song from Gundamma Katha (Telugu):

http://rapidshare.com/files/6009830/Prema_yatralaku-new.wma.html

Maestro's version from Detective Narada. This forerunner to current day remixes is very innovative and creative in the sense he has added another layer of melody to the existing song with new interludes.

http://rapidshare.com/files/6009831/Prema_yatralaku-old.wma.html

Then sindudhe vanam (music: GK Venkatesh, with Raja as assistant). Maestro has spoken a lot about this song in his recent concert.

http://rapidshare.com/files/6009832/Then_sindudhe_vaanam.wma.html

Dr Rajkumar's debut song from Sampathige Savaal (music: GK Venkatesh, with Raja as assistant). Refer to my Post # 13 here:

http://rapidshare.com/files/6009833/Yaare_koogadali.wma.html

(I got some of these songs from CoolToad, thanks to them!)

38. Describe these songs!

2006-10-10T09:20:00.001+04:00

Dear friends,

Following are the songs I wanted to share with you this week:

1) Aararo aararo from Aanand
http://rapidshare.de/files/36173394/Aararo_aararo.wma.html

2) Chamaku chamaku cham from Konda Veeti Donga
http://rapidshare.de/files/36173395/Chamaku_chamaku_cham.wma.html

3) Endrendrum anandhame from Kadal Meengal
http://rapidshare.de/files/36173396/Endrendrum_anandhame.wma.html

4) Oh prema devathe from Gulaabi
http://rapidshare.de/files/36173397/Oh_prema_devathe.wma.html

5) Vezhambal kezhum from Olangal
http://rapidshare.de/files/36173398/Vezhambal_kezhum.wma.html

I want to announce a small contest now. Please send me your views about the songs. I will reward suitably for the best entry. Following points to be noted:

· The entry can be for any or all songs and one can send any number of write ups.
· It can describe the beauty of lyrics, situation, orchestration, emotional/technical merits of the songs.
· The language should be English or Tamil (in Tamil fonts only)
· Please mail the response to crvenky2006@yahoo.co.in.
· Last date for receiving your mail is 10th November 2006.

All the best to you!

37. Raga of the month: MMG-5

2006-10-03T11:00:00.000+04:00

The concluding week of Mayamalava Gowlai songs:

1. Gratefulness – Film name: Udanpirappu:

Sathyaraj marries Suganya to save her from some challenging circumstances and gives her a new lease of life. Raja’s trademark orchestration with violins, tabla, flute and keyboard doesn’t disappoint us. The orchestra takes us through a graceful trip. The female lead is hesitant while SPB’s voice is very reassuring.

http://rapidshare.de/files/35308660/Nandri_sollave_unakku.wma.html

2. Playful duet – Film name: Chinnavar:

This film is against a fisherman backdrop. The sangathis (naayanam, kekkudhu, vaattudhu, etc) in the singing of pallavi is very nice. The interludes are just great. Tabla nadai is different in pallavi while its supportive in charanams.

http://rapidshare.de/files/35308658/Kottukkali_kottu.wma.html

3. Grand prelude – Film name: Mundhanai mudichu:

The very grand opening with piano counterpoints and military band drums give a magnificent start, very suitable for grand romantic dream sequences. Bhagyaraj has also picturized well with the leads in chariot etc wearing jazzy costumes. Second interlude is again piano and guitar fanfare, ending with some great strings. The main contributor of the song is the chorus which creates a haunting effect. Mirudhangam plays majestic in the charanams. Overall, a beautiful blend of Western classical and Carnatic all through.

http://rapidshare.de/files/35308657/Andhi_varum_neram.wma.html

4. Orphan’s song – Film name: Panakkaran:

Raja gives the voice for the singing soul of an orphan. The orchestration is mild with more of calm tabla beats. The interludes reflect the past life of the hero and why he became like that. This is one rare song where Raja has lent his voice to Rajini with one more song from the same movie (is there any other song in IR voice for Rajini?). His voice is very soulful and intriguing.

http://rapidshare.de/files/35308659/Naan_ullukkulle.wma.html

Well, that’s all for this series. I have left out some famous songs in MMG like Poogadhave, Poova eduthu oru maalai, Rama namam oru vedhame, etc. The readers can unearth more compositions. The recent stunners are – Enga ooru laila (Karagattakkaran), Oru chiri kandal (Ponmudi puzhayorathu), Enge sendralum (Guru Ramana geetham), etc.

Maestro has done several more MMG songs with so many different shades. And he still has something to offer in each of his new MMG songs coming out. Let us salute the genius for his contribution to the Carnatic field!

36. Raga of the Month: MMG-4

2006-09-26T12:24:00.000+04:00

The next instalment of Mayamalava Gowlai songs for this week:

1. Fun times – Film name: Kanna Unai Thedugiren:

Somebody mocking the girl who is going to get married soon. The song starts with some folk type instrument and chorus. The rhythm and bassline is very interesting and catchy as also the refrain ‘taku mukku tiku thalam’. First interlude has a brief march-like rhythm, maybe specific to the story. The flute in the second interlude is reminiscent of a flute piece in Bach composition.

http://rapidshare.de/files/34484936/Rasathi_rasathi.wma.html

2. An orchestral delight – Film name: Mudhal Iravu:

One more blinder of a song from vintage Ilaiyaraaja. Starts energetically with a train journey to be joined by later by hero-heroine in some garden for further dance sequence. The composition is again very Bach like in the first interlude (strings) which suddenly changes to accordion-like instrument. The charanams have good dulcimer tone. Second interlude is again a Bach style flute (like the first song above) and strings. Again the interlude deviates and joins back effortlessly to 2nd charanam. All through this, the train rhythm is maintained seamlessly.

http://rapidshare.de/files/34484934/Manjal_nilavukku.wma.html

3. Mysteriously sad – Film name: Kakkai Chiraginile:

Maestro weaves his magic with some mysterious rhythm and a repeating theme in mandolin like instrument. Its sung by a nomadic girl. The lyrics are reflective of the uncertain life. She is looking for somebody to lead her. Can you hear her soul? The voice adds to the beauty.

http://rapidshare.de/files/34484935/Oor_oora_pogum.wma.html

4. A Flute/Tabla duet – Film name: Unna Nenachen Pattu Padichen:

Somewhat similar to Madurai marikkozhundu vaasam (another MMG). There is a beautiful support by flutes all through. Tabla rhythm in the charanams are joyously jumping with lead. 2nd interlude is characterized by temple bells, chorus voices and strings moving through effortlessly. The voices (SPB & SJ) are a treat to hear.

http://rapidshare.de/files/34484933/Maanam_idi_idikka.wma.html

5. Light hearted– Film name: Kili Pechu Ketkavaa:

A nice, funny song dappanguthu beats. Its amazing to note the mix of a hardcore carnatic raga and dance beats. Mammuty has given some funny steps. The chranams have intermittent, clap-like rhythm. Bass guitar brings out the raga nuances every now and then. Janaki’s singing is the best, as usual.

http://rapidshare.de/files/34484937/Sivagami_nenappinile.wma.html

We will be concluding this MMG series with the coming week.

35. Raga of the Month: MMG-3

2006-09-19T13:05:00.000+04:00

Shall we enjoy some more Mayamalava Gowlai songs for this week?

1. Authentic folk – Film name: Chinna Durai:

This reminds of the song Kottayai vittu from Chinna Thaayi. A situational (maybe for climax) song happening around the temple. Mostly folk instruments like urumi, thappattai, etc are used.

http://rapidshare.de/files/33648932/Neeye_gadhiyamma.wma.html

2. Folk fusion – Film name: Chinna Jameen:

Karthik who is an innocent villager is made fun of by his friends and the heroine Suganya. Nice rhythm support and the raga is more evident here. Charanams run on his usual tabla support. End of charanams are sung by Karthik himself. Interludes are great (Madurai marikkozhundu vasam flavour is there).

http://rapidshare.de/files/33648933/Onappu_thattu.wma.html

3. Another sad song – Film name: En Purushanthan Enakku Mattumthan:

This is a pathos song with some dappanguthu rhythms. Veenai bit in the 2nd interlude is surprising. The feel again reminds us of Kuyila pudichu song (another MMG number). SPB’s singing very good, especially towards the end.

http://rapidshare.de/files/33648934/Saamigale.wma.html

4. Vairagyam – Film name: Kovil Kaalai:

This orphan who is dedicated to the village temple is harassed by the unexpected turn of events. He sings about his background and the past. The thappattai rhythm carries the song throughout. Some ‘chik chik’ sound is also used continuously. This may be another song where the rarely used instrument morsing is used. Who else but Raja is emotionally suitable to such songs? The lyrics are equally profound (is it by Raja himself?).

http://rapidshare.de/files/33648935/Thaai_undu.wma.html

5. Fun & frolic – Film name: En Mana Vaanil:

Please get us married soon – so say the youngsters. The song starts with nice chorus and infectious karagam beats and we get hooked to the bass line straight away. The words ‘dandakku dandan’ ‘hey hoi’ escalates the mirth. The intermittent rhythm punches in the saranam makes us tap our feet. The flute gives great support. Chorus has played a large role in the song. Overall, a rocking song.

http://rapidshare.de/files/33648936/Vayasu_vandha.wma.html

34. Raga of the Month: MMG-2

2006-09-12T09:31:00.000+04:00

Next batch of Mayamalava Gowlai songs for this week:

1. Romance of the Legends:

This is one of the very few songs of TMS giving voice to Sivaji. Film name – Deepam released in 1977 (7th or 8th movie of Raja. Could it be his earliest song set to MMG? The orchestration is classical. The TMS – Raja – Sivaji combination is awesome.

http://rapidshare.de/files/32811790/Anthappurathil_oru_maharaani.wma.html

2. Is this Musical Breeze?:

No use of unwanted beats here as the hero sings. Just a bass guitar, flute, tabla and some keyboard strokes. That’s enough for him to cast a spell on us. A lesson to learn for other music directors. From: Manasellam (2003).

http://rapidshare.de/files/32811791/Chinna_kuyile.wma.html

3. A hard hitting sad song:

This is song is so moving - who else but Raja can bring out such intense emotions? I was lucky to watch Maestro singing this song in the One Man Show, this April. Each one of us have to ask ourselves if we are giving due importance to our mother. I do so. Shenai in the 2nd interlude gives so much of pathos. Film name: Aranmanai Kili (1993).

http://rapidshare.de/files/32811792/En_thayenum_kovilai.wma.html

4. What to sing:

The folksy song sung by an innocent bullock cart driver while on his journey. It gives a different colour to the raga. Ilaiyaraaja voice is so young and energetic. The rhythm and flow are just perfect for the song (including the noises made by bull’s bells). Nice harmonium chords in the 1st interlude.

http://rapidshare.de/files/32811793/Enna_paattu_paada.wma.html

5. Celebrating friendship:

Two girls sing about their friendship and wish to stay together all their life. But the events take a different turn in their life later. Maybe the hidden message is already embedded in this song, due to the raga selection. This is also a career-early song for him (from Vattathukkul Sadhuram), that came out in 1978. Though more of folk, the orchestration is sophisticated than the 1st song we saw earlier.

http://rapidshare.de/files/32811794/Idho_idho_en_nenjile.wma.html

6. Naughty duet:

The violin and other strings start their racing from the very beginning of the catchy prelude. The rhythm is unique again. Smooth strings form the major part of the song. Director Priyadarshan almost matched with his imaginative picturization of this unique 2nd interlude. The singing of SPB and Chitra is designed to be interactive (check the ending of the song).

http://rapidshare.de/files/32811795/Kadhal_kavithaigal.wma.html

See you next week, until then – enjoy the MMG-IR combination!

33. Raga of the Month - Mayamalava Gowlai - 1

2006-09-05T12:07:00.000+04:00

This September, you can hear only songs set to Mayamalava Gowlai, which seems to be Maestro’s one of favourite ragas. He has used it for almost all emotions – romance, happy, sad, fun, devotional – you name it, he has done everything.

The history of Carnatic music says that the system of Mayamalava Gowlai was introduced by the blessed musician, Purandaradasar. This raga has the potency to neutralise the toxins in our body. Practising this raga in the early hours of the morning, in the midst of nature, will enhance the strength of the vocal chords.

This is said to be the mother of all ragas, because the music students are initiated with this raga only, to the basics of Carnatic music. I understand that this raga is simple to learn for beginners. This raga also has some affinity to Arabic music and resembles the Mosque calls. Even Maestro has used this effect in couple of his songs.

OK, lets get into the songs.

1. Inter religious Romance:

This song Allah un aanaipadi is from Chandralekha. Raja has incorporated the Islamic music in this song, to show that the hero & heroine belong to different religions. The charanams call for higher voice range and has been sung effectively by Unnikrishnan and the female lead.

http://rapidshare.de/files/32011760/Allah_un_anaipadi.wma.html

2. A historic duet:

Enge naan kanben is from Sadhanai. This is again blend of Mughal and Indian music as this is supposed to be a duet between Saleem and Anarkali. One can also remember the old gem Kallellam manikka kallaguma from this tune.

http://rapidshare.de/files/32011762/Enge_naan.wma.html

3. A Telugu duet:

I don’t know the situation for this song from Aalapana – I feel it like a dream love song but with a sad touch.

http://rapidshare.de/files/32011763/Kalise_prathi_sandhyalo.wma.html

4. ‘Oru shokkana’ song from Chennai:

How would a typical rickshaw-puller in Chennai sing a duet with his wife? Maestro demonstrates here with his impeccable Chennai lingo. Listen to Machi mannaru from En uyir thozhan with a smile on your face.

http://rapidshare.de/files/32011764/Machi_mannaru.wma.html

5. A sad song (his final moments):

Uyire uyire urugadhe is from Oruvar vazhum alayam. Sivakumar (a classical singer) is televised for singing this song. He gets some kind of heart attack and is joined by his daughter for second charanam. But, he dies at the end leaving the song incomplete. Jesudas has expressed the emotions very beautifully.

http://rapidshare.de/files/32011765/Uyire_uyire_urugadhe.wma.html

Relish the top notch orchestration in the songs. We will see some more MMG songs next week.

32. Telugu <-> Tamil tunes - 2

2006-08-29T08:45:00.000+04:00

This week continues with Telugu <-> Tamil tunes.

1. Chalti ka naam (Chettukinda pleader)

This tune is taken from Chinnamani kuyile (Amman kovil kizhakkale), with same tune and interludes.

http://rapidshare.de/files/31066693/Chalti_ka_naam.wma.html

2. Endhirayyo (Shivashankar)

The famous Manguyile from Karagattakkaran. Even before Raja amazed us with alternate tunes for this song during the recent One Man Show program, he has done it in this Telugu version.

http://rapidshare.de/files/31066694/Endhirayyo.wma.html

3. Neethone danka (Stuartpuram police station)

Vadi en kappa kizhange (Alaigal oyvadhillai) given a melodious twist. SPB’s singing adds more zeal to it.

http://rapidshare.de/files/31066695/Neethone_danka.wma.html

4. Vana mayuri kulike (Kirathakudu)

Kavidhai padu kuyile (Thendrale ennai thodu). This song is almost the same as original.

http://rapidshare.de/files/31066697/Vana_mayuri_kulike.wma.html

5. Eenadu vidiponi (Sri Kanakamahalakshmi Record Dance Troupe)

This is another classic example of how Maestro can make a song out of the BGM. This song is based on a BGM theme from Swati Mutyam (Sippikkul Muthu). This request came from Vamsy, again through the K Viswanath connection. The raga mostly sounds like Chakravakam. I wish he used this tune in Tamil.

http://rapidshare.de/files/31146255/Eenadu_vidi_poni.wma.html

31. Telugu <-> Tamil tunes - 1

2006-08-22T11:25:00.000+04:00

I am sure lot of you would have been amazed at the reworked / rearranged songs of Shiva 2006 (Hindi), which has a different soul from the original. But this is nothing new to Maestro. He has done many such songs in Telugu which have been reused from Tamil. We shall hear some of these, this and next week.

1. Paavurama (Aa okati adagaku)

This is Shenbagame Shenbagame (Enga ooru pattukkaran) with more pathos.

http://rapidshare.de/files/30304625/Paavurama.wma.html

2. Kinnerasani (Sitara)

This an extended version of Kaviri mangai vandhalamma (postlude of Nadha vinodhangal song from Salangai oli). As Vamsi had worked as asst director under K.Viswanath at that time, later when he became a director, he requested Maestro to use this tune as pallavi and weave a song around it.

http://rapidshare.de/files/30304026/Kinnerasani.wma.html

3. Ee chaitra veena (Preminchu pelladu)

This song’s original tune is Oh vennilave in Anandha kummi.

http://rapidshare.de/files/30303592/Ee_chaitra_veena.wma.html

4. Chukkalu themmanna (April okati viduthala)

This is the tune of Sithira chevvanam from Katril varum geetham. But the fisherman song feel has been replaced with a romantic feel, that’s Raja for you.

http://rapidshare.de/files/30303094/Chukkalu_themmanna.wma.html

30. Long Live Independence!

2006-08-15T08:51:00.000+04:00

It has been 59 years since we got our independence. I dedicate this week to the countless martyrs who fought for our freedom and who are fighting out the enemies at the borders. This week celebrates Maestro’s music under this topic. Each song is of top notch and bears his trademark orchestration for such songs – use of brass, chorus, etc.

1. Idhu thaai pirandha (Siraichaalai)

The song is very patriotic and brings goose bumps every time I hear it. The situation in the movie is very moving one, with horrible scenes depicting heaps of dead bodies of freedom fighters who get killed in Andaman jail. I must remember all of them tearfully at this time. I don’t know the lyricist but kudos to him for penning such thoughtful lyrics.

http://rapidshare.de/files/29337309/01_Idhu_thaai_pirandha.wma.html

2. Senthamizh naadu (Kamaraj)

This song celebrates the various stride made during a benevolent leader in Tamilnadu; its none other than Kamaraj. The song is written by Mahakavi Bharathi but the last charanam is by our own Raja, which fits the theme of the movie to a T. Lets hope for such a great leader to be born again.

http://rapidshare.de/files/29337870/02_Senthamizh_Nadu.wma.html

3. Ezhai jaadhi (Ezhai jaadhi)

Even after so many years of achieving independence, still poverty is there. Why is this so? This song analyzes it. Again profound lyrics.

http://rapidshare.de/files/29340912/03_Ezhai_jaathi.wma.html

4. Ulagame nee (Ivan)

I wanted to include this song in the wake of current situation of mindless violence. When will be free from all this and live in a peaceful world?

http://rapidshare.de/files/29342163/04_Ulagame_nee.wma.html

5. En kanavinai kel (Desiya geetham)

This is the wish-list of every one of us too. I will be happy even if few of this is realized.

http://rapidshare.de/files/29343830/05_En_Kanavinai.wma.html

6. Jai jawan (Rajasthan)

‘Jai Jawan Jai Kisan’ was the slogan coined by Lal Bahadur Shastri. Lets salute the soldiers at the borders who are guarding us against all odds and weather. Lets salute the power of knowledge too!

http://rapidshare.de/files/29344370/06_Jai_jawan.wma.html

I wish all my fellow citizens Happy Independence!

29. Instrumentals - 2

2006-08-13T11:05:00.000+04:00

In the next part of the instrumentals, we shall see the instrumental version of the songs found only in the cassettes/CDs.

1. Ila manadhu (Selvi)

This is a fantastic song shot very trivially by Ramanarayanan. The instrumental version in the sax/trumpet is great to hear.

http://www.filefactory.com/file/820b38/

2. Nilaviniley (Manasellam)

A hip song and melodious too. Solo violin has replaced the vocals.

http://www.filefactory.com/file/84455f/

3. Mudhal mutham (Illam)

This tune has bee reused by Raja. Original comes from an old Kanada song Sihi Mutha needi (I don’t know the film name). Kannada version had better singing and orchestration. The instrumental uses keyboards prominently.

http://www.filefactory.com/file/de3f23/

4. Madhura naada (Gulaabi)

Madhura naadha meetidhe is a good melody, which comes in 2 versions in the movie (Chitra and Arunmozhi) and also the instrumental is included in the album. The tone (like dulcimer) used is very nice and soothing.

http://www.filefactory.com/file/558324/

28. Instrumentals - 1

2006-08-05T10:33:00.000+04:00

Today, I am hosting some unknown instrumental pieces of Maestro.

1. Chinna Kuyil Padudhu:

This orchestral piece is found in the original album. Short but sweet one.

http://www.filefactory.com/file/e5ace5/

2. Japanil Kalyanaraman:

This is titled as Dance music in the album. Starts with Kalyani and then becomes jazzy as it goes. Some chenda music of Kerala is thrown in between. Overall, a good fusion.

http://www.filefactory.com/file/dd6c0e/

3. Kadai veedhi Instrumental:

This is the title music of Amman Kovil Kizhakkale. Flute and shenai replace vocals.

http://www.filefactory.com/file/09da17/

4. Padha kolusu Instrumental:

This is the title music of Thirumathi Pazhanichamy. While the song itself is melodious, this version is more melodious.

http://www.filefactory.com/file/a302a3/

27. Unique beats

2006-07-30T09:30:00.000+04:00

Today’s picks are taken randomly. Here we go.

1. Aavaram poovai thottu (Manamagale vaa)

This song captivated me those days for some unique rhythm structure. A nice melody.

http://www.filefactory.com/file/404ef6/

2. Valattum oorkuruvi (Ennai vittu pogadhe)

Again some nice beats. The prelude of the song is superb.

http://www.filefactory.com/file/519c25/

3. Pakku konda (Sakkarai thevan)

Its sung by Raghavendar in full vigour. Interludes remind of Aattama therottama song. It has a unique beat. A nice climax type song.

http://www.filefactory.com/file/08c49a/

4. Therke veesum (Kolangal)

I heard this song recently and instantly hooked to it. Great tune, great singing (many twists and turns) and above all, fantastic western classical interludes. Any guesses on the raga?

http://www.filefactory.com/file/c1a3d5/

26. Three Decades of Music

2006-07-24T09:28:00.000+04:00

Today’s selection is Raja’s sentimental songs from 1976, 1986, 1996 and 2006.

1. Oadugiraal (Bhadrakali)

This is supposed to be the only song Seergazhi Govindarajan has sung for Maestro. I have not seen the movie, looks like climax song.

http://www.filefactory.com/file/1d68d1/

2. Poove nee (Kannukku Mai Ezhudhu)

Soothing tune, sung softly by Raja.

http://www.filefactory.com/file/9ff482/

3. Vande matharam (Kaalapani)

When I saw the movie for the 1st time, could not control my tears at the backdrop of the song with heaps of dead bodies killed by the British. A moving tribute to millions of martyrs who sacrificed for our independence.

http://www.filefactory.com/file/049aba/

4. Background score of Pachakuthira (Malayalam)

Actor Dileep has acted as an autistic adult in the movie. The scene is where he meets his playmate (nicknamed Butterfly) after a long time.

http://www.filefactory.com/file/04f591/

25. Missed out songs

2006-07-16T08:58:00.000+04:00

Strangely, Kamal’s films have songs missed out in the film. Some of them can be heard today:

1. Ammava naan (Aboorva Sagotharargal, 1989)

I understand that the story of this film was changed drastically half way through the shooting. Hence, we don’t know where this song will find a place in the movie. This is a very folksy song. ‘kattazhaga pottazhaga onna pola..’ phrase is very catchy. Kamal’s socialistic message comes in the 2nd charanam (Guruvayoor…).

http://www.filefactory.com/?494e35

2. Engeyum engeyum (Sathya, 1988)

I think this might have been cut from the film for editorial purposes (length, proximity to another song, pace of the movie, etc) but 2nd interlude suggests that some adventurous situation happens towards end of the song. A beautiful song by Lata Mangeshkar. The piano counterpoints in the prelude and 2nd interlude are great. Another highlight is that the pallavi and charanams are of the same tune.

http://www.filefactory.com/?b4d7df

3. Aadi pattam thedi (Michael Madhana Kamarajan, 1987)

Maybe there was a Kamal with village background, for whom this song was recorded. This is too melodious and doesn’t gel with the revised story of the movie.

http://www.filefactory.com/?a73e6d

4. Sippikkul oru muthu (Vikram, 1986)

This situation can be guessed very easily that Vanithamani replaced this song, as the situation also warrants a suspenseful score. Writer Sujatha had mentioned in Kumudam long back that Raja didn’t like this song and hence dropped it.

http://www.filefactory.com/?ec76d3

I wish he used these songs in other movies, so that it became famous.

24. His first tune for Cinema!

2006-07-12T09:31:00.000+04:00

Maestro speaks here about his first tune for cinema. This happened before Raja entered cinema. There was a song already recorded by MSV. The producer wanted to test Raja and asked him to provide an alternate tune for the same lyrics and Raja did it perfectly. Both lyrics (describing a child) and tune are amazing. Listen to it here.

http://www.filefactory.com/?9cf82e

Surprisingly, he used it years later, in 1992, for the movie Endrum Anbudan. Here, the hero sings about the orphaned child brought up by another woman. Song is here:

http://www.filefactory.com/?393409

23. Thendral varum!

2006-07-11T09:27:00.000+04:00

All melodies featured today starts with ‘Thendral varum’. They will indeed bring breeze to your soul.

1. Thendral varum – Dharmaseelan (1993)

Flowing melody, Maestro’s quintessential tabla style.

http://www.filefactory.com/?8fe976

2. Thendral varum – Friends (2000)

Nice beats, captivated me on the 1st hearing itself.

http://www.filefactory.com/?89075b

3. Thendral varum – Paaru Paaru Pattanam Paaru (1986)

Great piano prelude and interludes.

http://www.filefactory.com/?2c88d5

4. Thendral varum – Thanga Manasukkaran (1992)

A great melody.

http://www.filefactory.com/?e09fc2

5. Thendral varum – Thendral Varum Theru (1994)

Kavignar Mu. Mehta’s home production. A different melody, orchestration sounds majestic.

http://www.filefactory.com/?60b5bc

Song of the day - 9 July

2006-07-09T09:18:00.000+04:00

Song: Idho oru premai
Film name: Sambhavam

This film is dubbed from Nirnayam (Telugu). The song is set in Madhyamavati. SPB's singing is very interesting.

http://www.filefactory.com/?8f0ba7

22. Raga: Dharmavathi

2006-07-02T10:54:00.000+04:00

Readers, Dharmavathi is a great raga, which has been used by Raja to depict moods ranging from seduction, romance to a confused state of mind. Today’s selection contains eight songs tuned by him in this raga. Hope you all would enjoy this.

1. Dhoorathil naan kanda (Nizhalgal, 1980)

http://www.filefactory.com/?6436f9

2. Em debba theesavura (Aswamedham, 1992)

http://www.filefactory.com/?5967a3

3. Vanaville vanaville (Ramana, 2002)

http://www.filefactory.com/?7d03e5

4. Poove pani poove (Nilavu Suduvadhillai, 1984)

http://www.filefactory.com/?8109ba

5. Ilancholai poothadha (Unakkagave Vazhgiren, 1986)

http://www.filefactory.com/?498ef9

6. Meendum meendum vaa (Vikram, 1986)

http://www.filefactory.com/?5da943

7. Vazhve mayama (Gayathri, 1977)

http://www.filefactory.com/?6dda39

8. Ennullil engo (Rosappoo Ravikkaikkari, 1979)

http://www.filefactory.com/?eec249

There is a notable non-IR song in this raga – Thathithom from Azhagan (music: Maragathamani).

Gnana thangame!

2006-06-28T09:52:00.000+04:00

We have been imagining all these days how Raja would compose and record a song and what would be the sort of interactions going between him and his team of players. CS Ramasami who had attended many of his recordings those days had managed to record the proceedings way back in 1984/85.
He has hosted the clippings here : http://isai-alias-raja.blogspot.com/
Song name: Gnana thangame
Film name: Raaja Gopuram
I wish to thank him for this invaluable treasure.

21. Some rare melodies

2006-06-25T09:39:00.001+04:00

Here are some rare melodies from various languages.

1. Akashadinda jaari (Janma Janmadha Anubandha, 1980)

Beautiful song, beautiful chorus and beautiful instrumentation. The movie story was later adopted in Tamil for Enakkul Oruvan. One of Maestro’s evergreen score for Kannada films (all melodies). I liked the chorus at the end of the song.

http://www.filefactory.com/?ae6135

2. Kalyan Raman (Karayellam Shenbagappoo, 1981)

This movie was based on Sujatha’s novel of the same name. It has superb songs like Eriyile elandhamaram, Kadellam pichipoovu, etc. This song probably is sung on heroine’s request, who returns from abroad. It’s a perfect marriage between Folk and Western. Guitar in the song is a treat to hear.

http://www.filefactory.com/?725c7a

3. Mallale podagana (Sri Kanakamahalakshmi Dance Troupe, 1988)

A superhit from Vamsi-IR team, a melody with Folk and Carnatic elements. The trademark IR orchestration with strings/flute/tabla/keyboard. Unfortunately, this was not used in Tamil.

http://www.filefactory.com/?2d49d8

4. Nisha manohari (Pinnilavu, 1983)

A different melody from the Maestro, in Malayalam. I think it’s for a night club scene, but it’s melodious and somewhat Carnatic at the same time. KJY sings it with ease.

http://www.filefactory.com/?00514f

5. Thendrale nee pesu (Kadavul Amaitha Medai, 1979)

This is supposedly the only song sung by PB Srinivas, under Maestro. PBS has written couple of Hindi songs for IR. This song moves at a Ghazalish pace and style.

http://www.filefactory.com/?e0b790

6. Gnana thangame (Raaja Gopuram, 1985)

A great song, scored for a non-descript, flop movie. I think Pandian was the hero of the movie. The lyrics are philosophical. Raja’s singing gives the song its life. The modulation he has done for an old man’s voice is notable. There is a surprise awaiting the readers about this song, which I will write later.

http://www.filefactory.com/?3fd5de

20. Melodies

2006-06-18T10:41:00.000+04:00

Melody is Raja’s forte. Hear to some of his melodies which captivated me too.

1. Kurinji malaril (Azhage unnai aradhikkiren)

What a beautiful melody for this Sridhar’s movie! It blasts out with a Mozartian start with some 70s keyboard sounds and flowing violin interludes. The pallavi emulates the violin melody. Vani Jayaram and SPB capture the mood beautifully and perfectly.

http://www.filefactory.com/?358b7c

2. Uravugal thodargadhai (Aval appadithan)

Another great, but a different melody sung by KJY. The interludes are slightly longer. Starting guitar sounds like Devan thiruchabai song.

http://www.filefactory.com/?1eb3ff

3. Kadhal oviyam kanden (Kavikkuyil)

One of the early Carnatic-WCM fusions of Maestro. This is based on Khamas ragam (in parts). The other song Chinna kannan from this movie stole the attention. As was customary those days, this song has three paragraphs. Its sung by Sujatha (probably 14 year old at that time).

http://www.filefactory.com/?9600ec

4. Ponnil vaanam (Villupattukkaran)

This is another song set to Khamas ragam. It praises about nature. The orchestration is as usual great with violins, keyboard and a nice touch is given by morsing for the pallavi.

http://www.filefactory.com/?67284c

5. Ketkavillaya (Madhu) - Instrumental

This latest song again proves why Maestro is incomparable in melody. This instrumental version is used for the title score of the movie. As you might have guessed, the song is played during the crucial moment of the movie and repeated in the BGM many times. This version is scored to a full-scale western classical setting.

http://www.filefactory.com/?87e264

19. Rhythms & Melodies

2006-06-12T09:49:00.000+04:00

1. Dasarathanin:

Film name: Devi Sridevi

Maestro takes us through various styles of music. The journey starts as a Carnatic melody, typical Raja melody and goes pop, disco, then with African sounds and ends with funny drama type music of olden days (last portion sung by Gangai Amaran). Amazingly, he has woven everything into a single song. Maybe one of his longest songs.

http://www.filefactory.com/?64a9a9

2. Ennanne nattukkulle:

Film name: Themmangu Pattukkaran

The name indicates that this is a Ramarajan movie. This is a Qawwali type song and Harmonium is the hero in this song. The song is about poverty and shortage of foodgrains. There is another excellent song on this theme – Oh indha ezhai geetham from Devan.

http://www.filefactory.com/?e4541e

3. Gaana kuyile:

This is from the unreleased movie Pooncholai, directed by Gangai Amaran. There is another happy version of this song, with slightly changed interludes and tempo. This song is set in Maestro’s another favourite Hamsanandhi.

http://www.filefactory.com/?37bcf4

4. Kai thaalam:

Film name: Naan Sonnadhe Sattam

This is another gem I discovered from Project GEM. Typically orchestrated in 1990s, the song should take place in villain’s den. The rhythm change taking place in the 2nd interlude and continuing through the charanam amazed and captivated me (also reminds of Rajadhi raja un from Mannan). Asha Bhosle’s pronunciation gives more catchiness to the song. All the songs in this film are sung by Asha.

http://www.filefactory.com/?f37370

5. Sevvarali thottathile:

Film name: Bhagavathipuram Railway Gate

This vintage song is a rustic duet between Raja and Susheela. Nice hummings and flowing orchestration throughout the song.

http://www.filefactory.com/?184b8d

18. Message to Fans

2006-06-04T12:32:00.000+04:00

Let us wish Maestro Ilaiyaraaja a Happy Birthday & many more happy returns for the years to come. Let us hear some of his songs where he conveys a message to his fans.

1. Pattale buthi sonnar (Karagattakkaran - 1989)

We all know how his title songs used to prop up the movie to greater heights. Not long ago, film poojas invariably started with Raja lighting the lamp and recording the title song. Producers and director Gangai Amaran here request Raja to sing the title song and he gladly obliges. As he says in this song, what a variety of songs for various moods / situations he has produced for every film!

“I have my leaders and fans. As long as they wish, I shall provide them the (music) feast.”

http://www.filefactory.com/?506fd5

2. Ennai oruvan paada sonnan (Kumbakkarai Thangayya - 1991)

This is another title song featuring both the brothers – Raja & Amar. Journey from Pannaipuram to Chennai is a long one. This song is set in Kalyani.

“Music provides relief to all humans after hard toil, stress and worries. God made me sing, I am singing.”

http://www.filefactory.com/?194feb

3. Indha Rasavai (Pongi Varum Kaveri - 1989)

Raja has given a new lease of life to many producers and directors (though some of them ditched him later). He sings about how he struggled in life and came up. Now people throng him for support.

“Nobody who came to me has been disappointed.” He also sings a bit about the current social situation.

http://www.filefactory.com/?aeed76

4. Summa nee suthadhe (Periya Veettu Pannakkaran - 1990)

Maestro at his best with tabla rhythm, flute, keyboard and violins. The song stresses the greatness of hard work and says true labour never goes waste, with the world at your feet. Who else but Raja’s life can be the best example for this?

“Brief waving of his hand or just a glance (at musicians) can produce divine music
even a killer will surrender to your music
he (Raja) came up with his hard work
he is Tamizh’s gift to us”

http://www.filefactory.com/?123486

5. Enga ooru pattukkaran (Enga Ooru Pattukkaran - 1987)

Though it’s for Ramarajan, indirectly enga ooru pattukkaran refers to Ilaiyaraaja. “His songs will reach all the countryside. His music has reached even the remotest places, where even a bullock cart could not reach.”

http://www.filefactory.com/?d66ab4

6. Rasigane en arugil vaa (Rusi Kanda Poonai - 1980)

This is a pop song sung by a singer on stage (in film’s story) for which the song is being recorded (song ends with a ‘take ok’). This is a different song from Raja with some voice gimmicks too.

“I give whatever I know, with mix of folk tunes. Some hearts may oppose it and they may secretly enjoy too.”

http://www.filefactory.com/?7b5f5d

7. Madai thirandhu (Nizhalgal - 1980)

How can I miss out this beautiful, bubbly, energetic song? SPB has lent his voice to Raja. He sings for an aspiring composer who wants to make it big in the cine world. I have given below the video of the song to enjoy seeing a young Raja on the studio.

“I will create a separate kingdom for my fans. As I create new songs/moods, I am also like god.” – this is the character’s feeling.

http://www.filefactory.com/?04270f

17. Maestro speaks!

2006-05-31T10:36:00.001+04:00

There was Malayalam program in Amrita TV called Hrudaya Ragangalude Raja in 2005. After 8 episodes, the program was stopped for reasons not known. I am posting here two audio clippings from this.

1) Raja talks about how a music should be:

http://www.filefactory.com/?8ddc2e

Gist of the speech: Music is God’s property; we should not misuse it to spoil our mind and body. Avoid using ready-to-use, sequenced music and use your own creativity. Only when a composer makes his own contribution to a song, he can claim it to be his own. Legends like Devarajan, Dakshinamurthi, etc can compose without instruments. Now for everything, we resort to computers. He likens the situation to earlier days when there were no hospitals or medical facilities, people used to be healthy; nowadays with so much of advancements in medicine and technology, we are just living with so many diseases. We should not compose music which will spoil the ether.

2) Unplugged version of Mathu Bhuteshwari from Guru Ramana Geetham:

Guru Ramana Geetham (for samples: http://www.agimusic.com/guru.html) released in 2005 has not been actively discussed even among Raja fans. I didn’t see any discussion on the songs in any forum. It has 10 beautiful songs (9 in Tamil & 1 in Sanskrit) written and orchestrated by Maestro. Lyrics are deeply philosophical and meaningful:

1. Chinna payyan (about incidents in Bhagavan Ramana Maharishi’s life)
2. Ennai kavarndhu (beautiful Desh raga song about His presence in Thiruvannamalai)
3. Indroru naal (short but sweet song about another day passing without doing anything worthwhile)
4. Annamalaiyar (he lists about 20-30 saints who served Bhagavan and the Lord in Thiruvannamalai)
5. Enge sendralum (Maestro’s favourite Mayamalava Gowlai, says Bhagavan is always with him)
6. En ooru Sivapuram (famous and often sung by Raja in programs, he laments about worldly life and how to get back to the Lord)
7. Ippirappil (“I’ve not done anything in this life”)
8. Arunachala (Raja ‘complains’ to Lord about non-attention of Bhagavan on him and wants Bhagavan’s benevolent vision on him)
9. Arul thavazhum (guest-sung by Unnikrishnan, extolling Lord Annamalaiyar’s virtues, raga: Kalyani)

The last song in the album Maathru Bhuteshwari (raga: Saranga Tharangini, seems to be a rare raga) is the highlight. He says Bhagavan has inscribed the words ‘Mathru Bhuteshwari’ on the Linga kept on His mother’s samadhi in Thiruvannamalai. That word inspired him to write this Sanskrit song. He says the thought and words came to him in 5 minutes!!!

http://www.filefactory.com/?fa27c3

In the album, it’s sung by Bombay Jayashree but hear it in Master’s own voice here. He sings this song to the Malayalam singer (and interviewer) MG Sreekumar and teaches him also. As MGS says, the song contains majestically beautiful and musically tough gamakas / phrases to sing.

It’s a treat watching this in video - Raja playing his harmonium and singing and his troupe playing the instruments.

Note: Please correct me if there are any translation errors in the above.

16. Know the ragam: Chakravakam

2006-05-28T09:11:00.000+04:00

Today, we will see songs in Chakravakam raga. This ragam is said to evoke karuna or pity. Its also closely related to Aahir Bhairav in Hindustani.

Maestro has several songs to his credit in his raga – right from his most discussed Salakku salakku selai (from Chembaruthi), Nee pathi naan pathi (from Keladi Kanmani), etc. Lets hear some not-often-heard Chakravakam songs.

Alli sundaravalli:

This is from the movie Kangalin varthaigal (dubbed from Nammoora mandhara hoove). The movie was a super duper hit in Kannada. This song has an amazing chorus. The orchestration is trendy.

http://www.filefactory.com/?f369ae

Kelisade prema veda:

This song from Gulaabi (Kannada) is sung by Maestro (prelude) and SPB continues. This was another hit in Karnataka. The tune and orchestration gives a nostalgic feeling. There is a nice touch added by bells in the 2nd interlude. SPB’s singing is par excellence. Chitra as usual excels in her part towards end of the song.

http://www.filefactory.com/?a93c22

Iniya malargal malarum:

This is a beautiful melody from the movie Poonthottam (*ing Murali & Devayani). The beautiful singing of Raja gives this song a different dimension. The sax interludes are very pleasant to hear. I like how comes down from high to low pitch where he ends the saranams.

http://www.filefactory.com/?ab4931

Other MD's efforts:

No one can forget the beautiful song in Karnan – Ullathil nalla ullam (music: MSV & TKR). Rahman has tuned a beautiful song in Muthu – Vidukathaiya indha vazhkkai. The BGM portions for old Rajini in the movie also used this ragam.

15. Various Moods - Part 2

2006-05-22T10:34:00.000+04:00

Here are some more songs set to different moods:

1. Mockery:

Adikkira kottam / Indran Chandran
I have not seen this movie, understand the oldie Kamal acts as a womanizer. This song is picturised on him. The orchestration is unique and fascinating with bits of Bengali type lyrics (sung by Mayilsami?), strains of Chinese sounds like xylophone, rhythm using wooden blocks, etc. SPB sings in a bass voice.
http://www.filefactory.com/?53a515

2. Happiness:

Ival oru ilankuruvi / Brahmma
Initially this song didn’t catch my attention compared to Engirundho ilankuyilin. That’s a more serious version with 2nd interlude telling the whole story. This song, eulogizing the nature, has a bubbly music with Maestro’s forte flute (1st interlude) and violins (2nd interlude) weaving the magic.
http://www.filefactory.com/?56800c

3. Karunai:

Kadavul ullame / Anbulla Rajinikanth
Directed by Rajini’s friend Nataraj (villain actor), this film centers around the girl Meena in an orphanage and her uniting with her mother through Rajini’s character. The title song sung by Latha Rajini is very touching. It details the children’s situation in an orphanage.
http://www.filefactory.com/?6d0dfe

4. Hatred:

Mothu mothunnu / Magalir mattum
The three female characters (Urvasi, Rohini & Revathi) dream about torturing their boss Nasser, who is constantly trying to seduce them. Each one thinks about a different way torture. Janaki’s singing is amazing with voice modulation for all 3 ladies (Brahmin lingo in Carnatic, Chennai style & modern girl respectively).
http://www.filefactory.com/?a63e73

5. Sorrow:

Muthu muthu medai / Nadodi pattukkaran
This song is a standard temple of Tamil movies – hero & heroine sing sadly when they are forced to live apart, thinking about the happy times they had. The sad violin tells us the story effectively.
http://www.filefactory.com/?656454

6. Title song:

Enga ooru pattukkaran / Enga ooru pattukkaran
The title song as a genre was made famous by Maestro only. It was considered lucky to have his voice for title cards. This song in his rustic voice fits like a T to the theme of the movie.
http://www.filefactory.com/?8521c2

14. Various Moods - Part 1

2006-05-15T13:21:00.000+04:00

Here are some of my favourite songs set to different emotions.

1. Motherhood:

Unai naane azhaithene / Chinna kuyil padudhu
Parents are divorced and living apart. The song depicts mother’s anguish to meet the child. I think the raga used here is Gambeera Nattai. The yearning of the mother is brought out very well. The orchestration is of highest quality as usual, pulls a string in your heart.
http://www.filefactory.com/?618a1f

2. Romance:

Pootha malligai / Echil iravugal
Though this is a love song, it contains an inexplicable sadness written all over, an art mastered by our only Maestro. Shenoy in the 1st interlude and humming in the 2nd interlude gives a ‘ruralness’ of the song.
http://www.filefactory.com/?9adc21

3. Fun & Frolic:

Thottukko kattikko / Getti melam
An infectiously joyous song. Orchestration and voices are very funny – brings a smile in your face. Shows why Raja is still incomparable in all genres of music.
http://www.filefactory.com/?cd89ab

4. Viraham:

Malliyappoo kattilile / Enna petha rasa
Are there many songs in TFM with viraga dhabam feeling? I don’t know. But this one is amazing. The amazingly emotive voice (when she sings keranga vechan) belongs to P.Susheela.
http://www.filefactory.com/?63c1a2

5. Seduction:

Jinkan jinukku dhan / Veetle viseshanga
With the lyrics, no more details required for this song. This is a Bhagyaraj movie. Despite the quality of lyrics, the orchestration is very interesting with nice bass lines and unique rhythm. Is it Swarnalatha?
http://www.filefactory.com/?83d274

13. Dr. Rajkumar & Ilaiyaraaja combination

2006-04-16T09:46:00.001+04:00

I want to make this week a Dr. Rajkumar special, with the passing of a Legend of the Indian cinema. Maestro was very close with him, as a budding music director, when working as assistant under GK Venkatesh (GKV was a famous Kannada MD and the MD for many of Rajkumar movies). They had a so close relationship that when Rajkumar was kidnapped by Veerappan, Ilaiyaraaja had been mentioned in the press as stating that he is willing to even sacrifice his life for getting him back from Veerappan.

Following details are found in Maestro’s interview to Kalyan (Kannada film lyricist).

“GKV has scored music for Sampathige Savaal. Ilaiyaraaja was his assistant. PB Srinivas was supposed to have sung for Dr Rajkumar in that movie. But GKV’s assistant didn’t prefer the song ‘yare koogadale, oore horadali’ to be sung by PB Srinivas. He had told his guru GKV about this. Then they both discussed and decided that it should be sung by Dr Rajkumar only. That laid the base for Dr Rajkumar to become one of the best playback singers in Kannada field. Are you surprised that the credit for this should go to Ilaiyaraaja? But then, that is history.

Once a song was to be sung by PB Srinivas. That film was Sampathige Savaal. I told GKV ‘anna, this song would be very soft if sung by PB Srinivas. It would be nice to have this in a bold and bright voice.’

He asked who can sing it then. ‘Shall we ask Muthuraj to sing?’ I asked. Muthuraj means Dr Rajkumar sir. I asked GKV if he could sing. ‘hey, he has worked in the drama company, he can sing excellently even without a mike. He is the best choice, let us have this sung by him.’ I was very happy. He asked ‘but why PB Srinivas should not sing this?’ I said PB Srinivas is singing all the songs in the movie. I feel this song will come out nice if sung by PB Srinivas.

He said ‘if Muthuraj said ok, I don’t have any objection.’ Next scene, Dr Rajkumar has come to the recording theatre. As per situation, I had to teach him the song. GKV used to forget the tune often. I used to remind him ‘anna, this is not like this, like that’ etc. He said ‘then you yourself shall tech this song to Dr Rajkumar.’ He was a senior artist. I was a small boy. He just looked at me, I couldn’t go a step near him. He was a great soul and had a charisma. With mutual rapport between us, the recording went on well. ‘yare koogadale, oore horadali, ninna nimmadhige bhanga illa’ – this song was picturised on Dr Rajkumar, sitting on a buffalo and singing. You all know how well it clicked. It started the practice of his singing in his films. There is another evergreen song in my heart ‘thamma manuvu indhu nandhayithu’.”

Today, I am presenting three songs from Nee Nanna Gellalaare.

Anuraga Enaaythu:

This is a pathos-mixed romance song. Dr. Rajkumar has a very unique voice, well utilized by Maestro.

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Jeeva Hoovagide:

A beautiful duet with a nice female chorus. The prelude humming reminds me of Engengo sellum song from Pattakathi Bhairavan.

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Music Magazine has analysed this song very well here.
http://www.themusicmagazine.com/drrajlegends.html

Rajkumar has been the leading hero in Kannada cinema for five decades, but he emerged as a singer only mid-way in his career, when he sang the energetic and wildly popular Yaare koogadali in the 1974 film Sampatthige Sawal. Legends presents this song in Volume 1.

Ilaiyaraja made the music for one Rajkumar film, Nee Nanna Gellalaare, and Legends features two songs from it -- Anuraga enaaythu and Jeeva hoovayithu. Both are notable for their unorthodox tunes and interludes. In the second song, Ilaiyaraja gets Rajkumar to sing on parallel tracks and achieves a warm, fugue-like effect, with the voices beginning at unexpected points and overlapping one another like waves.

Nanna Neenu Gellalare:

The situation here is a song competition between hero and heroine. Maestro has used Shrutibhedam concept, with various ragas.

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This excerpt is from an article by Chaya Rao in www.raaja.com, which will help you to understand the song very well.

“A song in Kannada called Nanna neenu Gellalare (Movie - Nee Nanna Gellalare), he has used this range for the Shruthibhedham. It fits very well to the mood of the song. The subject in the song is that the hero and the heroine are competing with each other, arguing who amongst them has higher music knowledge. The song starts in Hindola and stays that way. In the second interlude the singers (S. Janaki & Dr. Rajkumar) start the swara alapanas.

S. Janaki Starts this sanchara - Sa Ga2 Ma1 Ga2 (Pure Hindola),
Dr.Rajkumar Replies - Pa Ni2 Sa1. Ni2 (Pure Shuddha Dhanyasi),

It goes on like this -

S. Janaki : Sa Ga2 Ma1 Dha1
Dr. Rajkumar: Pa Ni2 Sa Ga2 S
Janaki : Sa Ga2 Ga2 Ma1 Ma1 Dha1 Dha1 Sa Ni2 Ni2 Ni2
Dr.Rajkumar: Pa Ni2 Ni2 Sa Sa Ga2 Ga2 Pa Ma1 Ma1 Ma1
S. Janaki : Ga2 Ma1 Dha1 Ni2 Ni2 Sa Ni2 Dha1
Dr.Rajkumar : Ni2 Sa Ga2 Ma1 Ma1 .Pa Ma1 Ga2
and it goes on and on.

After which Dr. Rajkumar sings the Mohana swaras (Sa Ri2 Ga3 Pa Dha2 Sa) - Hindola equivalent (Dha1 Ni2 Sa Ga2 Ma1 Dha1), Madhyamavathi Swaras (Sa Ri2 Ma1 Pa Ni2 Sa) - Hindola equivalent (Ni2 Sa Ga2 Ma1 Dha Ni2), then Hindola swaras, followed by Suddha Saveri (Sa1 Ri2 Ma1 pa Dha2 Sa) - Hindola equivalent (Ga2 Ma1 Dha1 Ni2 Sa Ga2) and finishes with Suddha Dhanyasi Swaras. Brilliant composition! who else but Raaja can do something this good!. "

12. Composer Partnerships

2006-04-10T10:52:00.000+04:00

This week’s choices are some of Maestro’s work with other music directors.

Annai illai: Sri Ramana Naadha Amudham (MS Viswanathan)

Beautiful melody typical of Mellisar Mannar in praise of Sri Ramana Maharishi. Maestro’s voice and children’s chorus lift it to different heights.

http://www.filefactory.com/?aa4288

Natpu natpu: Unnai Saran Adaindhen (SP Balasubramaniam)

Rare treat of three doyens singing together. Lets celebrate the comraderie of 3 stalwarts – MSV, Raja and SPB. Though music is by SPB, lot of MSV influence is there. The lyrics also praises friendship.

http://www.filefactory.com/?52f13a

Neela lohitha: Kaveri (1998) (Malayalam)

This is again Maestro’s partnership with Sri V Dhakshinamurthy Swamigal, a renowned MD in Malayalam. The song is set in Amruthavarshini ragam and sung by Balamurali Krishna. The BGMs of the movie are amazing.

http://www.filefactory.com/?2d12c5

Vandhara vazha vekkum: Singara Chennai (Karthik Raja)

Maestro sings nostalgic about Chennai and how it fulfills everybody’s hope in life. A fun filled song.

http://www.filefactory.com/?347709

This Mortal Coil: India 24 Hours (Maestro Ilaiyaraaja)

“‘punarapi jananam punarapi maranam punarapi jananí jathare sayanam” Raja sings from Sri Adi Shankaracharya’s Bhajagovindam. (meaning: Born again, dead again and back again to the womb of the mother). The flute piece and the chorus ‘ram naam satya hare’ at the end is mysterious and whispers something about the secrets of life. The visuals (available in VCD) show the burning of dead bodies (both claimed and orphaned) in the Holy Ganges, Banares.
Punarapi Jananam Punarapi Maranam Punarapi Janane Jathare Shayanam,
Idam Samsare Bahu Dustare, Krupaya Pare Pahi Murare

http://www.filefactory.com/?40e30e

11. Pleasant raagas

2006-04-02T18:01:00.000+04:00

I wanted to highlight two of the pleasant/happy ragas this time – Brindavana Saranga and Ananda Bhairavi. Raja has used Brindavana Saranga to represent the mental happiness and Ananda Bhairavi for functions like marriage, valaikappu, thalattu, etc. I understand there is only one note difference between these two ragas on arohanam, avarohanam is the same. Within these parameters, he has given us many, many memorable songs. Surprisingly, all are in female voice.

First, let us hear Brindavana Saranga.

Konjum kuyil pattu – Kanna unai thedugiren
The two female voices (one Bhava) is awesome with their harmonious singing. Classical instrumentation.

http://www.filefactory.com/get/f.php?f=4d5be339544abd601b2c1247

Manathil ore oru – En purushanthan Enakku mattum dhan
I discovered this song also only recently. Sung by P.Susheela. Very lilting tune, epecially the pallavi.

http://www.filefactory.com/get/f.php?f=27f08add538f7d9ce567201f

Poongatre theendadhe - Kunguma chimizh
I don’t remember the film and situation. In many places, Tabla tarang and shenai will give you goose pimples.

http://www.filefactory.com/get/f.php?f=a3dc5b9d8cd6bdd36d6989d1

There are few other good song in this raga – Kannukkulle vandha eeram enna from Manidhanin marupakkam. Beautiful orchestration. And then, Thanga nilavukkul nilavondru from Rikshaw Mama, with a nice chorus with classical arrangements.

Next comes Ananda Bhairavi.

Chittu pole – Iniya uravu poothadhu
This is obviously a valaikappu song, before completion of pregnancy. The rhythm in the beginning of 2nd interlude fascinated me very much. Nice chorus. “Than potta thottathil poo pootha santhosham” – great lines! Raga name is also there in the lyrics.

http://www.filefactory.com/get/f.php?f=4e8d5436390b122f9eb4f935

Parthale theriyadho – Sri Raghavendrar
I think this song didn’t feature in the movie. The saint’s wife gets mocked by her friends after her consummation. Manorama and chorus have sung this song. I think gottu vadhyam is used in many places, which is mainly used for sad situations.

http://www.filefactory.com/get/f.php?f=62bd7c2f38e543b17b19949c

Ananda Bhairavi in BGMs:

Ananda Bhairavi was used very aptly for the following situations in the movie background score.

1. Scene: Seetha Kalyanam – Movie: Rajarishi
When Lord Rama breaks the bow, this music follows, to signify finalizing of Rama’s marriage with Seetha. Just brings the scene in front of our eyes.

http://www.filefactory.com/get/f.php?f=0ec0e418e78435ab40412d0e

2. Scene: Wife enters her husband’s house, Movie: Ammal kovil kizhakkale
Radha deserts her father and comes to stay with Vijayakanth. All his friends are surprised at her sudden entry. Very nicely done, underscoring the comedy element in the proceedings.

http://www.filefactory.com/get/f.php?f=70d3b3a7286cc7b45b7141d6

Nobdoy attempted to guess last week’s mini quiz. The answers are here: All the movies were produced by yesteryear movie personalities.

a) Pudhiya Ragam – Jayachitra
b) Pudhiya Swarangal – Vijayan (of Uthiripookkal fame)
c) Nee Sirithal Deepavali – Malaysia Vasudevan
d) Kannukku Mai Ezhudhu – Late P. Bhanumathi (she also produced Periyamma)
e) Krishnan Vandhan – Thengai Sreenivasan (this movie had couple of beautiful songs, I don’t have them)

For all these movies, Maestro helped them his best by contributing beautiful songs and receiving no / lesser remuneration. His magnanimity is truly marvellous.

10. Songs from 90s

2006-03-26T09:40:00.000+04:00

Today's songs have a commonality. If anybody can guess it, please post here.

Malligai maalai katti:
This song is from Pudhiya Ragam (1991). Leading pair of the movie was Jayachitra and Raghuvaran. Raghu acted as a cruel husband who tortures his wife at every opportunity. This is a great song poignantly sung by Raja summarizes her plight and the story of the movie. Raja’s humming is also very nice. The violins (imitating the melody) in the middle of charanams is beautiful.
http://www.filefactory.com/get/f.php?f=18a22be146cfbeb438326cac

Oh vaanam ulla:
This is from Pudhiya Swarangal (1992). I don’t know the cast and story. This song sung by Yesudas and Uma Ramanan has a pathos version also. The song flows as usual with beautiful melody lines with the help of his tabla.
http://www.filefactory.com/get/f.php?f=5af8eb7144e6728cd25aca47

Sindhumani punnagayil:
This song is from Nee Sirithal Deepavali (1990) starring new faces (I think Harish and Soniya). I have seen it long back in some channel but don’t remember the other songs in this movie. The violins in the charanam creates musical tension and reflects the mental feelings of a separated lover. Good singing by Yesudas.
http://www.filefactory.com/get/f.php?f=5fc9aa574ee88b8bc8e8eb31

Vaada malliye:
This is from the movie Kannukku Mai Ezhudhu (1986), sung by Late P.Bhanumathi. I don’t know about the movie and story. If anybody knows, please mail me. Don’t know why, this song reminded me of Kai veenai endhum kalaivaniye from Vietnam Colony; maybe because both these songs sound Hindustani to me.
http://www.filefactory.com/get/f.php?f=e54f914db1dcf2e4225df650

9. Rare non-Film Songs

2006-03-19T13:19:00.000+04:00

This week, we shall hear some of the rare songs (outside film scores), all sung by Maestro.

1. Thenpandichingamada - Thenpandi Singam (TV serial)

This TV serial was written by Kalaignar Karunanidhi and telecast in Sun TV during 1996. Starring Nasser and Geetha in the lead roles, it used to be telecast at 6pm daily. Due to office timing, I could watch only couple of episodes. I don’t remember much about the BGMs now. The title song by Maestro was awesome. Lyrics are by Karunanidhi. I think it was based on Mu.Ka’s Ponnar Sankar story, which used to come in Kungumam magazine. All other songs are in carnatic ragas like Ananda Bhairavi, Shanmugapriya, Kalyani, etc. This song praises the hero and his efforts to remove British from the Indian soil. Some discussions are found here:

http://www.tfmpage.com/forum/7746.27001.21:24:10.html

http://www.filefactory.com/get/f.php?f=56bfd85ae53c28b3931b449c

2. En paava kanakkukku – Geetha Vazhipadu (devotional)

Though this is found in Echo’s Ilayarajavin Geetha Vazhipadu album, it used to be broadcast in All India Radio sometimes. You might remember Kamal referring to this in Guna composing talk which was in the Guna audio cassette (while composing Appanendrum ammayendrum song). Here, Raja laments about sins committed by humans. http://www.filefactory.com/get/f.php?f=59eb4ae0f79e1054fc0cb34c

3. Naadi vandha selvam – Krishna Gaanam (devotional) – music MSV

Krishna Gaanam? Yeah, you are right. It’s the same devotional album by MS Viswanathan, which has great songs like Aayarpadi maligayil, Pullanguzhal kodutha moongilgale, etc. That album was re-released few years later, with some additional songs. In this, Maestro has sung a song in MSV’s music. This song has great interludes. Especially the guitar bit reminds me of the prelude of Kamban yemandhan song. Superb singing by Raja. http://www.filefactory.com/get/f.php?f=aa7f11e5d6dabb083894d4ee

Bonus song:

En maname, en maname – Vishwa Thulasi

This great song featured in the music cassette of Vishwa Thulasi, but was not used in the movie. Its my favorite song in the movie and deserves a special mention here. Lyrics and music by our Maestro, sung by Tippu & Poornima. The rhythm captivated my attention on the first hearing itself.
http://www.filefactory.com/get/f.php?f=093b4f74a6034b837c4dc05a

8. The Master's Voice

2006-03-12T09:24:00.000+04:00

I always liked the alternate version of the songs in Maestro’s voice, which comes in the audio of the film. Most of the times, its not picturized, but Raja’s voice adds a new dimension to the song compared to the original singer. Some such songs are presented today.

1. Engirundho azhaikkum – En jeevan padudhu. Happy version was sung by Lata Mangeshkar. This is the pathos version. As usual, Raja weaves his magic with flutes and violins.

2. Thalattu mariponadhe – Unnai naan sandhithen. The interludes are different from the original female version. Raja voice is emotional. Flutes and strings are really a thalattu.

3. Oor urangum nerathil – Kanna unai thedugiren. Another flopped movie with all excellent songs . This song has a jazzy orchestration. Maestro’s voice is very youthful and romantic. There is another version by Hariharan.

4. Padichu ennatha – Ore oru gramathile. Song requested by Mrs Usha Sankar. The film is about a forward caste lady (Lakshmi) who becomes a Collector, with a fake caste certificate. Film was released after it won a National award. This song emphasizes literacy for downtrodden – as if a cobbler and his son sing. Reflective lyrics (I think by Vaali). Raja’s style of singing like a typical father brings a smile in our face.

7. Raja raagam

2006-03-05T09:49:00.001+04:00

I was refreshing myself with the ragas list of Ilaiyaraaja’s songs here. Going into the nitty-gritty’s of ragas is always bewildering for me. But, Raja has used many ‘light’ ragas which are very easy to identify. For anybody to start with raga identification, this study would be interesting and easy to follow.

Ragas like Arabhi, Amruthavarshini, Ananda Bhairavi, Chandrakouns, Desh, Darbari Kaanada, Hamsanadham, Hamsadhwani, Hindolam, Madhyamavathi, Mayamalava Gowlai, Reethi Gowlai, etc are very easy identify. We have few songs of Maestro in each of these ragas. Let us get to know some Hamsanadham songs.

Though this raga sounds serious in other Raja songs like Isayil thodanguthamma (Hey Ram), Minnaram manathu (Guru – Malayalam) and Guna theme BGM tracks, he has used it for duets and lighter situations like Sorgame endralum.

First clipping Zindabad prema is from a Telugu movie – Stuartpuram Police Station (I think 1988). Though it’s a duet, the orchestration is full of fun and frolic (reminded me of Mamavukku kuduma – Punnagai Mannan).

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Second song Kanni ponnu is from Ninaivellam Nithya. The situation is a wedding function which is prevalent in tribal groups which has some peculiar moments. Its amazing to see how Maestro has blended the tribal kind of beats and chorus in this hardcore song in Hamsanadham. He has also used some unique wind instruments.

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6. Other language songs

2006-02-28T13:06:00.001+04:00

This week, I want you to relish some of Maestro’s melodies outside Tamil. There are so many good songs he has given in Kannada, Malayalam and Telugu that we are not mostly aware of.

The first song is from Kannada. Geetha (1998) is considered a classic in music by Kannada music lovers. The songs are considered to be ever green in Kannada film music. Each song from this movie is really a GEM, believe me. Ene kelu koduve ninage is sung by SPB and female voice may be Janaki or Manjula (not sure). The song starts with a romantic dialogue which sets the tone for the song. Heroine is going to Ooty for some work and it appears she is joined by hero (Anantnag?) in the dream sequence. The song and interludes flow so smoothly. The charanams have some interesting rhythm like pingpong ball and then nice guitar towards at the end.

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Next is a Malayalam song. There was an interview last year with MG Sreekumar, in Amrita TV. He told about how he used to wait in front of Raja’s recording theatre to get a glimpse of him for a singing chance. Maestro will just smile at him and go in. This has been happening for couple of years! Sometimes, he will ask him ‘how are you’ then say ‘ok, lets see’ and move on. Suddenly, one day he called MGS and gave him a song for Atharvam (1998). The song is Poovai virinju. MGS was very happy that he finally got a chance and went back home after recording. When he sang this song to his brother MG Radhakrishnan (a famous MD in Malayalam) he immediately said this song has the essence of Keeravani and none other than Ilaiyaraaja on earth could have composed such a song. I am happy to present this song for those who haven’t heard this. The song is picturised on Charuhaasan and a young Mohanlal.

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This is a song from Rajkumar (Telugu). I don’t know about the year of release and other details about the movie. This song Janaki kalaganaledhu is set to Suddha Saveri ragam. So it reminds us of other songs like Radha nee enge, Kadhal mayakkam, Sithakathi pookkale, etc. But surely this is an enjoyable song with great orchestration.

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5. My current favourites

2006-02-21T11:09:00.001+04:00

Veerathalattu was a 1998 release, which was an average hit, I think. There were 3 beautiful songs in the movie – Padikkattuma (very nicely sung by SJ) and Kadha pola thonum (very emotionally sung by Ilaiyaraaja). While Kadha pola song was publicized through movie trailers, Aala pirandha (sung by Ilaiyaraaja & Chitra) is another sung not noticed much. This is a very sweet lullaby coupled with a the situation of impending danger (like Mannava mannava song from Walter Vetrivel), which is like eating ‘halwa’ for our Maestro. Rajkiran and Radhika dream about bringing up their small kid, not knowing that the food served to Rajkiran has been poisoned. The villain manages to kill Rajkiran in the ensuing fight and Radhika escapes with the child somehow. The interludes portray the situation and is (lot of classical stuff) melodious at the same time.

This is a song from Archanai Pookkal – Kaviriye kaviriye (sung by SPB & SJ). I don’t know about the film (1982 release) and story. But, this is a nice village type duet. The prelude and bass lines are interesting. SPB’s singing (with laughs in between) is very romantic. I have heard 2 more good songs from this movie – Vazhimel is set to Amirthavarshini ragam and Naduchamam sung rustically by Malaysia Vasudevan. Its about the failed love, sync'ing with natural sounds like dog barking. If you get hold of the audio, enjoy these two.

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I discovered this recent gem from Maestro, thanks to Project Gem, which is continuously on my playlist. Japanil Kalyanaraman (1985), which is a sequel to Kalyanaraman (1979), was shot in Expo 85 Japan. As usual, Maestro has composed very special songs for Kamal. Kadhal un leelaya is sung by Maestro, which didn’t grab my attention when I saw the film. Frankly, I don’t know when it comes in the movie. May be, Kamal is drunken and sings about his love. Maestro’s voice has got an inexplicable ‘vaseegaram’. Instrumentation is mild for this soft, soothing melody. Hope you will also enjoy this.

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4. Voice Range & Choral Singing

2006-02-14T18:08:00.002+04:00

In Carnatic music, voice ranges are classified like 2 kattai, 2-1/2 kattai, etc which denotes the pitch of the singer.

Something similar to this, Western Classical has classified the voices into four major categories. A typical choral arrangement divides women into higher and lower voices and men into higher or lower voices. Most voices can be assigned one of these four ranges, and this gives the composer four vocal lines to work with, which is usually enough. The four main vocal ranges are:

Soprano (or Treble) – A high female (or boy’s) voice
Alto – A low female (or boy’s) voice
Tenor – A high (adult) male voice
Bass – A low (adult) male voice

There are few subcategories too.

Arrangements for these four voices are labeled SATB (for Soprano Alto Tenor Bass). The ranges of the four voices overlap, but singers may find themselves straining or getting an unpleasant sound at the top or a weak sound at the bottom of their ranges. So although the full ranges of an alto and a soprano may look quite similar, the soprano gets a strong, clear sound on the higher notes, and the alto a strong, clear sound in the lower part of the range.

Choral singing calls for lot of skills (practice, stamina and technical knowledge). There are rules involved in writing choral melodies and arranging choir to SATB format. Choral writing was at its zenith during the Baroque period of classical music (16th century), mostly for religious music in Churches. This kind of arrangement was used in Oratorios during that period. JS Bach and Handel are the foremost composers in this area. Beethoven’s last (9th) symphony is called Choral symphony, because he introduced choral voices in this symphony for the 1st time, which was a sort of revolution in his times.

Choral singing has evolved over a period and have been used a lot in Hollywood films. John Williams (who happens to be a favorite of our Raja) is a pioneer in this. You may be surprised to note the usage of Sanskrit verses in a Star Wars film by John Williams. Its from ‘The Phantom Menace’. There are several Societies which are associations of chorus singers in Europe and US for promoting the music.

A cappella is another form of music containing only voices (i.e. SATB). You may freshly remember Maestro’s a cappella section from Polla vinayen (Thiruvasagam in Oratorio, 2005).

Raja’s songs are always a healthy mix of range of voices, with SATB kind of arrangement. Hear to this song from Maya Bazar 1995 (released in that year). Naan poradhu vandadhu is for a funny situation where Urvasi is a dupe who tries to drive away the evil spirits. The whole song is done only with voices (may be a faint guitar in some places). The voices also mimic the trumpet and drum tones. Rhythm for the whole song is provided by voices only and no instruments. The chorus is just unbelievable.

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There is another obscure movie Karayellam Shenbagappoo (1981) which has good songs from our Maestro. It was based on a famous thriller novel by Sujatha (bearing same name), that I enjoyed reading during my school days. This song - Eriyile elanthamaram is again choral, fused with folk. The situation is that Prathap Pothan sings with a bunch of village children, with his guitar. The second interlude contains some beautiful rhythm usage. Listen to the song and enjoy.

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Anther notable song is Vaanam thottu pona (Thevar magan). These are just examples, but there are more songs in this category like Ooru vittu (Karagattakkaran), Megam karukkayile (Vaidehi kathirundhal), etc.

Maestro has used all sorts of choir / chorus, as instruments in his songs. Note the difference between the chorus in Tik tik tik / Moodupani songs like En iniya pon nilave (singers singing with open mouth like ‘O’), chorus in the opening of Andhi mazhai song, Madai thiranthu song in Nizhalgal, Kathum kadal song in Chinnavar, chorus in various folk songs in Ramarajan movies. Some will be Baroque, some will be Poppish and some will be pure folk (like tha na na or la la) styles.

This is a big topic to discuss and may be you can add your own examples here.

3. Two melodious songs

2006-02-08T11:26:00.001+04:00

It is well known that Raja is used to give great music even for dabba movies, as music pours out from him irrespective of film or situation. This movie Pudhupatti Ponnuthayi (1994) starring Vijayakumar, Radhika, etc was a flop but it had great songs. I thought I would present two super songs here. There are 3 more excellent songs. Just try to get hold of the original audio to enjoy all the songs.

The nagaswaram / thavil combo for two of the songs and BGM was played by the famous vidwans MPN Ponnusami & Sethuraman party (who also played for Kovil Pura). He had also used Thiruvizha Jayashankar for another film.

The 1st song – Azhagana nam paandi is sung by Ilaiyaraaja & chorus. This is again an excellent number for an insignificant situation, i.e. title song of the movie. Raja sings about the Madurai and Goddess Meenakshi. Check out how Maestro has effectively used the urumi melam in the interludes. This is one of the rare situations where Raja repeated the interludes, they are very short. Overall a pleasant sounding song to the ears.

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The next one – Maan kutti nee vaadi is a duet between Arunmozhi and a newcomer Lekha. It has a catchy rhythm and the orchestration is soothing.

I request readers to point out the ragas for these songs.

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2. Amusing music competition

2006-01-30T11:00:00.000+04:00

I read about this interesting incident, and wanted to share with you.

Maha Vaidyanatha Ayyar and Coimbatore Raghava Ayyar:

This contest took place during the reign of HH Ayilyam Maharajah of Travancore in the year 1872. Raghava Ayyar (1824 – 1878) was born in Vadaseri near Nagercoil. He was a disciple of Parameswara Bhagavatar (1815 – 1892). On account of his long stay in Coimbatore, he came to be called Coimbatore Raghava Ayyar. He was a court musician in Trivandrum and settled at Haripad.

On the day fixed for the contest, all the musicians assembled at the Ranga Vilasam Palace at 2 PM. The accompanists on the occasion were Mahadeva Bhagavatar (violin), Kalyanakrishna Bhagavatar (veena), Seturama Rao (mridangam) and Somasi Bhagavatar (mridangam).

Coimbatore Raghava Ayyar sang Sankarabharana raga elaborately and gave an admirable exposition of the pallavi Vinavayya Panchanadisa. His music lasted for three hours. The audience reassembled at 7 pm. Maha Vaidyanatha Ayyar in his turn sang the Kalyani raga and followed it up with the pallavi Taraka brahma svaroopa.

The contest was continued the next day. Thodi raga was elaborated and the pallavi Emati matladitivo Rama was expounded.

Maha Vaidyanatha Ayyar then expounded Kharaharapriya raga and sang a pallavi in it. (This raga was not quite familiar to the musicians of Trivandrum at that time). The words of the pallavi were Chakkani raja margamu lundaga.

Raghava Ayyar’s music was after the Ghanam style, while that of his opponent was after the Nayam style.

The Maharajah was equally impressed with the extraordinary skill, creative talents and high attainments of both the Vidvans. He was not able to decide as to who was the superior of the two. He ordered for presents of equal value consisting of pairs of golden bangles, laced shawls, etc. to be brought and gave the presents simultaneously to both the musicians. He held the two plates containing the costly presents one in each hand and asked the two musicians to come and stand before him. He gave the presents which he had in his right hand to Maha Vaidyanatha Ayyar and the presents which he had in his left hand to Coimbatore Raghava Ayyar. The presents were given simultaneously.

Some court musicians asked him why he gave the presents that he had in his right hand to Maha Vaidyanatha Ayyar. The Maharaja immediately remarked – “Both are equally great. But still we must show courtesy and regard to the musician who had come from outside Travancore. For this reason, I gave the presents that I had in the right hand ot Maha Vaidyanatha Ayyar and the presents that I had in the left hand to Coimbatore Raghava Ayyar. No other discrimination was sought to be made by me.”

- From History of Indian Music by Padma Bhushan P Sambamoorthy, Musicologist, 1982.

Look at the professionally competing musicians and the magnanimous behavior of Maharaja. Those were the days of great people and their humble behavior, where healthy competition existed.

1. Music is the life giver

2006-01-30T10:44:00.000+04:00

“Knowledge of the science of music conduces to bliss divine” – Thyagaraja.

Welcome to this weblog and I pray that all of you be blessed with health, wealth, peace and prosperity from now on, forever.

Let me start this post with an invocation song by my beloved, Maestro Ilaiyaraaja. One of Raja’s beautiful Kalyani songs was Janani Janani from Thai Mookambigai (1982). One can easily sense his utmost bhakthi and efforts taken to perfect the Sanskrit pronunciation. I am presenting here the concert version of this song from his Italy concert (July 2004).

I started this page basically to share with you the songs and music I enjoyed, mostly by Maestro Ilaiyaraaja. So, I thought it fit to welcome you to this page, with Raja’s own music. This was the opening song in his live concert, held in Chennai in October 2005. Let us also welcome the Maestro.

Next, we come to Raja’s favourite genre – singing praise of Mother (see photo here). The song is Amma sonna aariraro from Solla Marandha Kadhai (2002). There is a specialty in this song. Here, in the first charanam, Raja praises the sacred womanhood. In the second charanam by Vijay Yesudas, a husband sings his love for his wife who is pregnant now. Vijay’s voice resembles closely to Raja’s. I tried to pick the best lines from Raja’s own lyrics here, but failed. You hear and decide it for yourself. Maestro’s flute breezes through your nerves.

Maestro once said that Carnatic music is scientifically the most developed music system among others. Let us hear a song sung by Sudha Raghunathan. This is set to Khamboji raga (lyrics here). She sings about Kuzhaloodhi manamellam kollai konda Kannan. Let’s get immersed in the song. The lyrics are here.

No one can deny that Maestro has succeeded in taking the classical music (be it Indian or Western) to our masses. He has perfected this art to such an extent, that the fusion is so seamless in his songs, until somebody knowledgeable points it to us.

This film Ellam Inba Mayam (1981) had a situation where Kamal (hailing from a poor class) gets married to a rich girl and comes to stay in their bungalow, with all his near and dear. They naturally start singing in a folksy base and Raja cleverly bases the tune on a carnatic raga (Bilahari). The lyrics are in funny Chennai slang and brings smile in our faces. Music creates a celebratory mood. The original pallavi is from the Carnatic song Ra ra Venugopala (its also hinted at the start of the film song). Those interested to learn notes for this song can see here.

Like the Trinity in Carnatic music (Thyagayyar, Muthuswami Dhikshitar and Syama Sastri), the Trinity in the Western world could be Bach, Mozart and Beethoven). Their timelines are as below

Saint Thyagaraja (1767 – 1847) – brightest epoch in the history of Carnatic music
Muthuswami Dhikshitar (1776 – 1835) – an all rounder and great scholar
Syama Sastri (1762 – 1827) – composer in major ragas and master of laya

Johann Sebastian Bach (1685 – 1750) – devoted to religion and music
Ludwig von Beethoven (1770 – 1827) – revolutionary of his times
Wolfgang Amadeus Mozart (1756 – 1791) – what a short life for a legend!

Raja was very much inspired by these musicians. We can say one of his most favorite composers was Bach, whom he admired a lot. He has mentioned about Bach in many of his interviews. The piece you will hear now is one of the famous from Bach’s Orchestral Suite No.2 – its called Badinerie (means a light-hearted piece). This tune is now made famous through Nokia ringtone. It contains flute, strings and continuo (bass). You can feel Raja using such flute play in many of his background scores and songs, some times giving a pastoral feeling. Notable are the 2nd interlude music of Manjal nilavukku (Mudhal Iravu – 1979) and 2nd interlude of Kadhoram lolakku (Chinna Mappillai – 1993). More on these Masters, from me later.

Note: I dont know an easy way to host the songs here. So, I have created a Yahoo Groups here to save the songs. You need to get registered here and download the songs from the Files section.

2006-01-04T17:41:00.000+04:00

Dear friends,

Finally, I have my own house here, to share my interests with you.
After a lot of thinking within myself, I finally collected courage to start this in the new year. I'm not sure how this will come out. Let God be with me.