![who sang aayiram malargale malarungal who sang aayiram malargale malarungal](https://i.ytimg.com/vi/xiUBqvjzEAM/maxresdefault.jpg)
I add the male and female versions to purely impress on the difference in orchestrations in both the songs ?Īs you would now notice from Raaja’s live demo in 1986 from Singapore and the versions themselves here, tune wise, Vaa Vennila is not earth flatteringly different from Vaan Meedhile. End digression.īack to our topic of Vaan Meedhile and Vaa Vennila. * He is connected because he used the tune in his private album on Ramana Maharishi, Ramana Aaram in 2013, as a tribute to CRS and wrote and rendered the song himself:Įnd digression to digression. I am linking Chinnachiru Kiliye below in this blog, though Raaja is not connected to it, because a) he’d be proud, b) he is connected.* So we have a song which was exported from cinema to classical music. That is the version of Chinnanchiru Kiliye we hear sung in Carnatic concerts today. He will be remembered for quite a long time in history as the artiste who composed Bharathiyar’s Chinnanchiru Kiliye Kannamma (rendered by ML Vasanthakumari), for the film Manamagal, in 1951. CR Subburaman also happens to be among Ilaiyaraaja’s most favorite composers. But importantly for this post, CRS is also credited as a composer for Chandi Rani along with MSV and TKR, meaning all 3 had composed songs for the film, MSV and TKR after CRS’s untimely death.ĭigression to the above digression. It was indeed the first of a couple of unforgettable partnerships which has produced some high art for Tamil fans. So the seeds were sown by CRS and MSV-TKR’s first film together, incidentally Sivaji Ganesan’s second film, was Panam in 1952, where he was paired for the first time with Padmini (incidentally directed by NS Krishnan, the famous comedian (that’s what he is famous for. He was committed to a number of films, which his assistants MS Viswanathan and TK Ramamoorthy would finish for him, and as history would record, notch up a partnership soon which would alter the way cine music was being composed and appreciated in Tamil Nadu. Raaja confusing Vaan Meedhile with CR Subburaman does make sense. He connects Vaan Meedhile from Chandi Rani, 1953, with Vaa Vennila from MTK, saying how he wanted a song like Vaan Meedhile and MSV composed just that, a song like Vaan Meedhile, which Raaja orchestrated.ĭigression.
![who sang aayiram malargale malarungal who sang aayiram malargale malarungal](https://i.ytimg.com/vi/xp4HZf8CfYM/hq720.jpg)
Now that you’ve watched it, you would’ve seen that the piece de resistance of that video, as its title suggests, is him speaking of his partnership with MSV in Mella Thirandhadhu Kadhavu.
![who sang aayiram malargale malarungal who sang aayiram malargale malarungal](https://i.ytimg.com/vi/5OXMhU77GxU/hqdefault.jpg)
He does so with astounding irreverence which comes with nuance, making me find it enjoyable. He speaks of his views on ragas, being a musician and how he approaches a song from a contrarian view which, inexplicably for us, churns out beautiful art. Ilaiyaraaja is with Gangai Amaran in a concert. Read on.įirst is a video from 1986 Singapore. For those who have, you may enjoy connecting the dots. For those who have not seen these videos, it would be interesting. This post shall list a few videos, my take on each one of them and a few objective observations on each. As Kapalesvara, he resides in Kadamba forest. Great Lord Somasundaresa showers nectar of compassion. PS: As I was looking up stuff online, I came across a composition of Muthuswami Dikshitar in Sudha Dhanyasi (there is no Youtube of the kriti in Shudha Dhanyasi): called Somasundareswaram, Now Raaga_Suresh was telling me that they have discussed on TFM long back on Khilte Hain being a possible inspiration for Maalaiyil Yaaro. Now neither Raaja nor GVM mention this but my mind was already mapping the scale to Maalaiyil Yaaro Manadhodu Pesa. Sang the scales of the raga (Shudha Dhanyasi) and gave another revelation that the raga is best suited for the nature of a forest and its associated climes! Where is Khilte Hain Gul Yahan set? In a forest of course! Raaja’s tone of reverence is to be seen. Nirdayi Pritam has Shakuntala writing a letter to her lover on a lotus leaf and setting it afloat in the river in a forest. He touched on Stree’s (1961) O Nirdayi Pritam, composed by C Ramachandra, as being the inspiration for SDB’s Khilte Hain. Touched on SD Burman’s mastery of tune composition and quoted Khilte Hain Gul Yahan (Sharmilee, 1971), and went further. The second one was more interesting for me in the sense of what it threw out. But unless Raaja mentioned it, it wouldn’t be so obvious. One the revelation about Aathirambile’s source being Poovarasampoo Poothaachu. My takeaways from the interview were two. The interview is available online and one may look it up. This is about the interview between Gautam Vasudev Menon and Ilaiyaraaja.