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1963 ITHAYATHIL NEE -CHITHIRA POOVIZHI VAASALILE  

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M.R.Vijayakrishnan
(@v-k)
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Joined: 2 years ago
Posts: 133
21/12/2020 6:16 pm  

Dear friends
Given below is the discussion in one of the WA groups on this song .
Members can enjoy the discussion and share your comments too
S D SHANKAR
This song from Idayathil Nee probably had the best ever flute interlude in film music. Yes I do refer to PS- LRE duet Chithira poo vizhi vasalile vanthu yaar ninravoro. The Mukta film with nondescript story though a failure had memorable MSV Music with songs like PBS Poovaraiyum, odivathu pol, Yaar sirithal enna(Vaali's debut) and PS Uravu endoru. But this PS-LRE Duet is the crowning one. The scene is typical - - Two girls in a river shore. Devika and her friend the latter teasing the Heroine of her lover. The song situation is ordinary. Composition extraordinary. The song starts in husky voice of LRE without intstrument only with Sodakku. Then follows a breezy flute like a brook. Then song shifts gear. What follows is question and answer in unbelievable MSV coiling and uncoiling as GS Mani often wondered. I hope coined the right term. After pallavi question PS enters with a lilting anupallavi 'Thenral azhaithu vara and further spooling and finally linking to pallavi'. Vanthavar ennavare'.
Before moving to charanam I must pay compliments to the lyrics of Mayavanathan of high literal value . Has the lyrics set to the tune or vice versa. Either way it is tough. Charanam 'Kattazhazhagan magan kamban... Otti irundhavaro. etc. goes on sweetly. After successive winding the tune unwinds in kalai mutrm arinthavaro kaathal mattum arinthavoro (with corresponding no and yes conveyed gracefully by Devika) and links it back to the pallavi ohaho... in a remarkable artistry of MSV. How he conceives such a charanam and unique Anupallavi is beyond our imagination. Camera work towards the end of the song is also impressive . In entirety the song appears as a gorgeous fabric woven with Mayvanathan's silky yarns. The flute interludes like golden zari enriches the work. It is incomprehensible how such an ordinary scene elicits such a tune from MSV. But it is a very tough composition... Folding and unfolding. Just like Japanese Origami art.. You get finally beautiful flower emerging with its petals
Again I repeat I have requested this song to hear again the best Flute ever.
My objective is to share the recall pleasure with all devoted MSVIARS.. It is over to three Vs
Dr C Venkatasan:
Dr C Venkatesan
Shankar sir, your choice is yet another classic ! It is surprising that even so-called jnanis have the guts (or ignorance) to say that MSV composed simple four line tunes ! And the other surprise is that this is also a four-line tune, but how complex! Pallavi and charanam both have almost the same structure : while pallavi has two long lines followed by two concluding short phrases, charanam has four lines, each taking a meandering course, followed by the same couple of short phrases to finish with ! As you say, if the tune was first, the lyricist would have had a tough time ! But I suspect that, had the lyrics been written first, mannar would have enjoyed the challenge of composing such a convoluted tune !

The other aspect is the rhythm/percussion : as usual, MSV has several lines running at the same time - tabla, triangle, guitar/double bass and probably claves, as also xylo, all simultaneously keeping time, each at a different tempo ! The subtle changes in tabla rhythm for each line of charanam, made out better in the first, is typical MSV ! The guitar chords on and off are amazing - someone with the required special knowledge can describe them !

The other details have been meticulously brought in your excellent write-up. The way MSV completes the loop after taking the charanam on a circuitous route will remain in the mind forever ! Thank you sir !
Dr C Venkatasan:
I think Vaali's debut with MSV was பூ வரையும் பூங்கொடியே...I am open to correction.
S R SHANKAR:
Dr. CV thanks for the audio response as well as discerning follow up writing covering the unique instrumentation and song pattern which is real value addition to the analysis. As I am more captivated by everlasting flute and for the sake of brevity I left other instrumentation which you have lighted up. As regards Vaali's debut I have bracketed all three PBS songs, it could be any one. It is a pleasure of sort to recall MSV Song before resigning to bed every night. Such a pleasure is doubled when it finds resonance from elite listener like you(whose view I value more than that of Gnani's.) Thanks for the same again
SOUNDARARAJAN
Sh.Sankar &Dr Cv
Thanks for the insightful fillings on my favourite song Chithira Poovizhi.While at college myself and my cousin used to juxtapose this song with another chorus of PS-LRE from mannar's earlier composition Neelappattadai Katti from Veerathirumagan.What a contrast!Almost same gati but how different an approach.Fewer instrumental frills but a splurge of sangathis.As far as my little understanding goes Mannar showed a particular verve whenever he composed a number for this particular duo.Ofcourse story situations where twosome singing was required to be a bit more presentational but mannar was unique in fully using the range of these two gaayikas.I don't want to particularly mention any number these two together sang for others precisely not offend gnanis

This topic was modified 3 weeks ago by M.R.Vijayakrishnan

best Regards
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