Tuesday, December 20, 2005
Favorite Kannada poetic numbers in movies!
One of the most favorite topics, when it comes to film music, is the discussions on the poetic songs opted for the movies. It indeed takes a lot of diligent effort on the part of the director to find an extremely good poem, written by a poet, and also tailor make a scene just for that purpose. Puttanna Kanagal, I feel was one such director, with supreme ability to conjure situations and scenes, that were a visual imagery of the poems used. The early morning song "Mudala maneya muttina neerina" in the movie "Belli Moda", "haaDu haLeyadAdarEnu bhAva nava navIna" for the movie "Maanasa Sarovara", "uttara dhruvadin dakshina dhruvaku" from the movie "Sharapanjara" are but a few testimonies for his impeccable talents and skills. A lot of the directors time and again, have given prominence to not only include the poems as songs, but also the novels written by famed writers as the plot for the movies. Anyways, right now, here is a list of my favorite songs based on the poems written by renowned poets of Karnataka.
- Teredide mane O bA atithi - composed by Kuvempu adopted in the movie "Hosa belaku" sung by S Janaki and Vani Jayaram. This is my most favorite composition, not just because of its lyrical/verbal beauty, but also because of the depth in its philosophical significance. It is a pleasure to listen to the song sung by 2 stalwarts of the Kannada Film Music.
- Moodala Maneya Muttina Neerina - composed by da.ra. bendre, adopted in the movie "Belli Moda" sung by S Janaki. This song is my mom's most favorite song. It beautifully captures the beauty of the early morning, and helps the listener visualize the perfect morning crispness in each of its words! I'd say, if you miss out on the early morning sunrise, listen to this song, and you will see the sun rise once again!
- Doni Saagali Munde Hogali - composed by Kuvempu, adopted in the movie "Miss Leelavathi", sung by S Janaki. Like other of Kuvempu's compositions, it is rich in words, and philosophy - ninne ninnege iMdu iMdige iraLi naaLeyu naaLege, brings about the wanton abandon of a person who wants to just go on a long boat ride, in the dancing water waves.
- Uttara dhruvadin dakshina dhruvaku - composed by da.ra.bendre, adopted in the movie "Sharapanjara" sung by S Janaki, and P B Srinivos. Another beautiful and titillating number filled with tongue twisting words that add an elegance to the song - akshi nimIlana maaDada nakshatrada gaNa gaganadi haaradide.... one can clearly see the sheer genius of bendre at play here! (thanks to Sushma for the correct lyrics)
- Nesara Nodu Nesara Nodu - composed by P Lankesh, and adopted in the movie "Kaakana Kote". I guess this song was sung by Smt. Sulochana. The movie by itself was wonderful, picturesque and visually rich in its camera work, the song augments this and has been brilliantly shot.
- Aa Bettadalli Beladingalalli sulidaada - composed by Siddalingaiah, and adopted in the movie "Baa nalle Madhuchandrake", this song has been brilliantly sung by SPB. The music score being my Hamsalekha has added an extra lustre, that seems to only be shadowed by the immensely forgettable hero and heroine. But that apart, the song is extremely romantic and makes for an ideal honeymoon song! ;)
- Deepavu ninnade gaaliyu ninnade - composed by K S Narasimha swamy, and adopted in the movie "Mysooru Mallige", sung by S Janaki. This movie was based on the collection of poems by Sri KSN's book of the same title. It is difficult to mention just one song among the ones adopted, as each of the songs are different and extremely wonderful in their own level. It is sheer pleasure to listen to the variety of songs filled with love, romance, devotion and innocence.
- Nammoora Mandaara Hoove - composed by Doddarange gowda, adopted in the movie "Alemane" - sung by SPB. Sincerely speaking, I'd put this song, way above in the top 5. But it took me a long time to finally decide that though he composed this song for the movie, I would still like to call this a poem. This is one of the most romantic songs ever composed, with such a panache of romance that it seems supremely wasted on the heroine! She waltzes around as if shez a drunkard! It is a crime to picturize such wonderful songs, on such unworthy lead females.
- Kempaadavo ella kempaadavo - another composition of P Lankesh, adopted in the movie "ellindalo bandavaru" sung again by SPB.
One can easily see the moments when the poems have been adopted. They either sing of the brilliance of nature, or that of the various human relations - be it love, hatred, betrayal or devotion. I am sure that there is a vast repertoire of equally brilliant compositions waiting to be discovered amidst the myriad works of so many accomplished writers, and poets. But do we have the diligent directors, who are ready to put in their time for this? Now, that is a billion dollar question!
Monday, December 19, 2005
Jaspal Singh: Geet Gaata Chal
A few posts ago, I had mentioned about several singers, who though did not make it to the big limelight, have contributed some of the ever green songs, that often the mind hums! To this league of sidelined singers, Jaspal Singh's addition seems a tragedy! The highlight of Jaspal Singh's voice is the innocence, and wanton abandon combined in an effective manner - there is happiness ebbing from the songs sung by him for instance in "Geet Gaata Chal", "saanchi kahe tohe aawan se", "kaun disaa mein leke", "bade badaai naa kare", etc. He is equally effective in singing devotional numbers, and is well known for singing the "dohas" of Kabir and also the verses of Tulsidas' "Ram charita Maanas".
In a career that faded away just as quickly as his shot to fame, Jaspal Singh, has given some really memorable numbers. Most of the songs were given to the kid actor of the block, Sachin. The movies though, not among the main stream, had a laid back magic to them; kinda like those small novels one reads on a travel, though not memorable, they make a good read! There are days when no song has kept me as entertained as his "geet gaata chal O raahi gun gunaata chal". The song is happiness itself worded down as lyrics; and Jaspal Singh does a justice to it, that I cannot imagine anyone else doing.
Today as I happen to listen to sing to the same song again, the gloom has lifted off, and the heart is light again, in the sound of music.
Friday, December 16, 2005
Aruna Sairam: A Miracle beyond words!!!
This is the 10th time I am replaying the Kalinga Nartana Thillana composed by Sri OOthukudi Venkatasubbiyer and sung by Aruna Sairam. To say that she is splendid would be downplaying her performance, to say she is divine, may sound hackneyed! To say that she is a match unto herself, would also not put into words my feelings.. so what can one do?! But remain silent and enjoy the bliss of pure singing! The irony is that, it is hard to remain silent too!! The heart is upbeat, floating in clouds! The feet are tapping. The whatever little bit of classical dance I had learnt is playing havoc on my senses.. they are invariably tapping to the tunes set by her, and the head sways! The lips curve involuntarily in a smile even as she goes on.. "taga jaga taga jaga diRg jaga nandam... .... .... nanda sukumaara navaneeta dadhi chora...... jaya vijayeebhava nanda kumaara.. braja jana paramaananda kishora.. " Dear Dudaas and Dudees... for heaven's sakes.. do not miss out on this rendition! You will never realize what you have missed out on in your life all the while!
You can listen to the song here. It is the last song in the list. But obviously, you can listen to the others too! But It would be a crime to miss out on this particular rendition. Ok, let's settle down.
So who is Aruna Sairam! Daughter of the famous Karnatik vocalist Rajalakshmi Sethuraman. She learnt Classical music under many note worthy gurus primarily, Sangita Kalanidhi Smt. T. Brinda, Veena Dhanammal, and her own mother. What really distinguishes her from many other artists is her clear diction and command over the raagas and swaras. The Alapana, the saahitya and bhaava are impeccable! The way her voice modulates as she passes through the various nuances is just mesmerizing!
Especially in this particular rendition, observe her unfaltering voice..even as she goes on a high pitch.. "taam dheem taranna taam..", the way her voice dips even as she passes from a mode of sangeeta to saahitya.. or prose.. "nir taka nir taka taam".. and then again.. very smoothly picks up and gains the stability, immediately picking pace on "alaka sindhoora alaka shringaara.. vadana gambheera".. and then again slows down, "jaya vijayeebhava nanda kumaara"... and all this inspite of the immensely complex words, and with perfect diction!! Whew!! The voice dips and ups as if she is swimming deftly like a fish, diving into the water, and popping up again, in a rhythmic style of (vocal) motion, especially when she comes to the point of "mandassssssssssmitakara.. " the momentary pause she gives is so tactical.. in the entire rendition that would have flown continuously till then.
Some of the other beautiful songs sung by her include "pillangoviya chelva krishnana", "Anandaamruthaakarshini" by Muttuswamy Dikshitar, "venkataramanane baaro" by Purandara daasa (in this she tragically pronounces "kOmalaaMga" as "kOmaLaaMga"!!wonder why its so tough for artists to maintain their diction in other languages! Waaaaaah! I am disappointed), "Kanakashaila vihaarini" by Shyaama Shaasti (she is an exponent of the composition of Sri Dikshit, and Shri Shyama Shastri), "Himagiri tanaye hemalathe" by Muttaiah Bhagavathar, and "Enagu aane ranga" by Purandara daasa. On the flip side, if she is able to maintain her diction even in other language songs, she shall be unparallelled. One of the newspapers, I guess it was the Hindu/Indian Express, had put her status on par with Smt. M S Subbulakshmi. With all due respects, I beg to differ! Aruna Sairam is a magnificient singer, but no one can ever equal M S Subbulakshmi.
Days may seem insufficient when one is constantly lost in the waves of music, flowing so affluently from such talented artists. What say you?
Thursday, December 15, 2005
More on love...!!!
While all you guyz are still reeling in the effects of the beautiful song "Alaipayuthey", here is another shot in the arm of love! It has been commonly misconceived that the daasa saahitya was full of only devotion and vairagya (asceticism, renunciation, etc). Contrary to the same, we do find innumerable compositions that celebrate the love of the gopika women with Lord Krishna. It is a pity that the daasa saahitya of kannada language has not received its due exposure and appreciation as the similar works in other languages, which indeed derived a lot of inspiration from the Haridasa movement in Karnataka. One other aspect is also the fact that the amount of credit given to the works of Purandara daasa is not given to other equally brilliant composers - Kanakadaasaru, Jagannatha daasaru, mahipati daasaru, vijayavitthala daasaru, etc.
Well matters aside, the point I am trying to make is that inspite of all these people having renounced the worldly pleasures, they were still touched by the feeling of love! Even if it was towards a divine entity! It is this feeling of intense love towards God, that enabled them to compose songs that were full of the yearning of their heart, and cries of their soul! A signal of distress for their Lord to arrive quickly and provide them the pleasure of his divine company!
One of my all time favorite songs in this genre would be "ninnanagali hogalaarevo" by Vijaya Vitthala daasaru. It has been beautifully sung by Vidyabhushana. The song is mesmerizing in its effect and fills the heart with myriad of emotions ranging from love, devotion and finally supreme submission!
Well matters aside, the point I am trying to make is that inspite of all these people having renounced the worldly pleasures, they were still touched by the feeling of love! Even if it was towards a divine entity! It is this feeling of intense love towards God, that enabled them to compose songs that were full of the yearning of their heart, and cries of their soul! A signal of distress for their Lord to arrive quickly and provide them the pleasure of his divine company!
One of my all time favorite songs in this genre would be "ninnanagali hogalaarevo" by Vijaya Vitthala daasaru. It has been beautifully sung by Vidyabhushana. The song is mesmerizing in its effect and fills the heart with myriad of emotions ranging from love, devotion and finally supreme submission!
ninnanagali hogalaarevo neerajaakSha
ninna sEri suKisabaMdevO pallavi
mannisade mamateyiMda bhinna nuDigaLADi namage
haNNu tOri kALakUTavannu koDuvarEno krishna? anupallavi
[We (the gopikas) cannot leave you O! Lotus eyed one! We came here to enjoy the bliss of your company! Whilst thou, without affectionately fulfilling our desires, are imploring us to leave! After luring one with fruits, is it just to feed them the Kaalakuta poison?! (Krishna who would have lured the gopika women with the divine sound of his flute, tempting them with the pleasure of his company is now, by asking them to leave, feeding them the terrible poison of viraha or separation!)]
ariyuvudake shakyavallada apramEya
Adi puruSha amara sannuta
shreeta namma kaiya biDade aadarisabEku
pararAdarEnu ninna charaNa dAsaraada mEle biDuvuduMTe? 1
[Thou art the one immesurable and unfathomable by the human mind (Aprameya), the primal being, and the one devotedly worshipped by the Gods. O! benevolent one, do not abandon us. We may be strangers to you, but having taken shelter under your lotus feet, can you now desert us?]
baMdhu vargavannu biDuvudu
strIyarige viMdyaveMdu shaastra pELvudu
eMdigeMdigemage neene baMdhuveMdu baMdihevo
siMdhu shayana emmanyaake iMdu pOgireMbe neenu? 2
[It is instructed in the shaastras (sacred scriptures) that women must not leave their relatives and family. We have now come to you, thinking of you as our relative for now and ever! O the one who sleeps on the mighty ocean, why do you ask us to leave you now? (The gopikas very cleaverly maneovre the argument using the scriptures too that have asked them not to leave one's family and relatives! They regard Krishna as their family and relative, and hence refuse to leave him!]
shama damAdi guNagaLiMdali sajjanaru
kramadi ninna mUrti manadali
mamateyiMda pUjisutta gamanisuvaro ninna purake
namage mAtra patisutAdya ramita suKava koDuvarEno? 3
[The blessed people worship you with various attributes having established your form deep within their heart! Having worshipped you with such devotion they attain your abode! Whilst you give us such an ephemeral pleasure! (The gopikas point out the bias that they feel the Lord is doing to them. Compared to the other blessed individuals who worship him in the depths of their heart, who are immediately taken to his supreme abode and enjoy his constant company, the gopikas (who ardently long for him) are being given only a momentary audience by Lord Krishna!)]
mOkSha icceyiMda ninnanu bhajipa janara
pakSha vahisidaMte nammanu rakShisade
biDuvare kaTaakShadiMda eekShisade
lakShmi dEvi ninage bahaLa necceyiMda bOdhisidaLe? 4
[The way you rush to the side of the people who sing your praises for the attainment of salvation, why don't you protect us too by looking at us with your most benevolent sight? Is this something that Godess Lakshmi has taught you with much fervor? (The gopikas go further in imploring Krishna, suspecting that he is being a puppet in the hands of his wife, and doing her behest! The call upon him to come to their aid the way he does for his devotees, the ones who wish of salvation from his hands! They feel that it is his wife Lakshmi who has with great warmth taught him not to entertain other women!)]
anagha ninna nODi mOhisi aMtarAtma
tanuvu manavu ninage arpisi
janana maraNadiMda janaru daNivareno kAMta
namma manasinaMte olidu salaho vanaja nAbha vijaya vittahala 5
[O faultless one, we have fallen in love with you at the mere sight of yours, and have devoted our mind, body and soul to you! The mundane people suffer from the pains of birth and death! Why don't you fulfill our wishes the way we want and protect us O thou who bore a lotus in your naabhi!]
Isn't this such a beautiful composition that has encircles the various emotions of the gopikas deprived of their love and longing for it! The plead, they accuse, they suspect, and finally in full submission call upon their Lord, to fulfill their desires! The epitome of devotion is supremely visible in the compositions! Wonder how many more such gems are yet to be explored and realized to the modern man!
Monday, December 12, 2005
Lost in the celestial music...
I am not a connoisseur of music! I probably am not a layman in terms of it too, and hence, can feel a good song, when I hear one! Transcending the boundaries of language is probably the greatest achievement of music! Albeit, in the current scenario, the negative elements seem to have gained momentum in defeating this purpose too, for die hard romanticists like me, there still seems to be some hope. Some of my favorite composers in Karnatik music, are varied - ranging from our very own kannada composers to tamil and telugu. One such composer of divine songs is Oothukadu Venkatasubbiyer. His compositions were predominantly in Tamil, as well as in Sanskrit. They were written on Lord Krishna, celebrating his childhood pranks, and divine deeds. One such song that has always held me enraptured by its sheer brilliance of expression and grandeuse of composition is "Alaipayuthey". This song was also featured in the movie by Maniratnam of the same name, under the efficient music direction of ARR. The chorus effect on the song is what renders it a celestial magic, quite different than when one hears it in a solo voice. Some of the renditions that I really enjoy are from Maharajapuram Santhanam, Bombay Jayashree, and Anuradha Sriram. After a lot of patient hearing, and some research on the web, I was able to zero in on what I feel is a rather accurate presentation of the song, and one can really see the sheer devotion and love oozing out of its lyrics, the eagerness of the lover to be encompassed by the divine music of Lord Krishna's flute, as if it were a burst of the morning dew waiting to be sucked up by the flowers and convert to nectar, or as the moonlit drops of the swati rain, waiting to be transformed into radiant pearls! It is the sheer magic of music, at work in this song, and hence is my most favorite of his compositions.
alaipaayudhe kaNNaa en manam alaipaayudhae
aanandha mohana veNu gaanamadhil
alaipaayudhe kaNNaa en manam alaipaayudhae
[O Lord Krishna, my mind is wandering, lost in the divine transcendental music of your flute]
nilaipeyaRaadhu silaipolave ninRu (2)
neramaavadhaRiyaamalae miga vinodhamaana muraLeedharaa
en manam alaipaayudhae kaNNaa aaaa
[Without moving, I stood rooted and transfixed like a statue. I did not realize nor care for the passing of time, for lost I was in the enigmatic music emmanating from your flute. My mind is aflutter.. O Krishna.. ]
theLindha nilavu pattappagal pol eriyudhe (2)
dhikkai nokki en puruvam neRiyudhe
kanindha un veNugaanam kaatRil varugudhe (2)
kaNgal sorugi oru vidhamaay varugudhe (2)
[In this radiant moonlight that has made a day of the night, I strain my eyes and look in your direction. Even as the transcendetal tunes of your flute come floating unto me in the cool breeze, my eyes close in ecstasy and a new feeling envelopes my heart.]
kadhiththa manaththil oruththi padhaththai enakku aLiththu magizhththavaa (2)
oru thaniththa manaththil aNaiththu enakku uNarchchi koduththu mugizhththavaa (2)
[Mould my tender heart as you wish, filling it completely with love for you and joyous feeling of your company. Carry me off to a remote, lonely grove and release on me, the flood of the ecstatic emotions of love making and celestial union with you.]
kaNai kadal alaiyinil kadhiravan oLiyena iNaiyiru kazhalena kaLiththavaa
kadhaRi manamurugi naan azhaikkavoa idhara maadharudan nee kaLikkavo (2)
idhu thagumo idhu muRaiyo idhu dharmam thaanoa (2)
kuzhaloodhidum pozhudhu aadigum kuzhaigaL poalavae manadhu vaedhanai migavodu
[Aren't you the one dancing on the waves on which the rays of the sun too are dancing! Here I am pleading with you, with a bleeding heart, endlessly, while you there you are making merry with other women! Is this right on your part? Is this a proper conduct for you? Is this what you call dharma? Yet, at the sight of the dance of your ear rings to the tunes of your flute, my pained heart rises in joy and happiness]
alaipaayudhae kaNNaa en manam alaipaayudhae
un aanandha moagana vaeNu gaanamadhil
alaipaayudhae kaNNaa aaaa
[My mind is afloat, O Krishna, in the joyous, enchanting music of your flute, my mind is afloat]
It is hard for me to imagine a being that wouldn't be touched by the ardent pleadings and arduous pains suffered by the bereft lover, burning in the anguish of viraha! Do not hear the song, but listen to it, closing your eyes, and opening the sight of your heart! And trust me, when I say that the overwhelming emotions, shall water down your eyes! Such is the magic of music! Let's get enchanted!
alaipaayudhe kaNNaa en manam alaipaayudhae
aanandha mohana veNu gaanamadhil
alaipaayudhe kaNNaa en manam alaipaayudhae
[O Lord Krishna, my mind is wandering, lost in the divine transcendental music of your flute]
nilaipeyaRaadhu silaipolave ninRu (2)
neramaavadhaRiyaamalae miga vinodhamaana muraLeedharaa
en manam alaipaayudhae kaNNaa aaaa
[Without moving, I stood rooted and transfixed like a statue. I did not realize nor care for the passing of time, for lost I was in the enigmatic music emmanating from your flute. My mind is aflutter.. O Krishna.. ]
theLindha nilavu pattappagal pol eriyudhe (2)
dhikkai nokki en puruvam neRiyudhe
kanindha un veNugaanam kaatRil varugudhe (2)
kaNgal sorugi oru vidhamaay varugudhe (2)
[In this radiant moonlight that has made a day of the night, I strain my eyes and look in your direction. Even as the transcendetal tunes of your flute come floating unto me in the cool breeze, my eyes close in ecstasy and a new feeling envelopes my heart.]
kadhiththa manaththil oruththi padhaththai enakku aLiththu magizhththavaa (2)
oru thaniththa manaththil aNaiththu enakku uNarchchi koduththu mugizhththavaa (2)
[Mould my tender heart as you wish, filling it completely with love for you and joyous feeling of your company. Carry me off to a remote, lonely grove and release on me, the flood of the ecstatic emotions of love making and celestial union with you.]
kaNai kadal alaiyinil kadhiravan oLiyena iNaiyiru kazhalena kaLiththavaa
kadhaRi manamurugi naan azhaikkavoa idhara maadharudan nee kaLikkavo (2)
idhu thagumo idhu muRaiyo idhu dharmam thaanoa (2)
kuzhaloodhidum pozhudhu aadigum kuzhaigaL poalavae manadhu vaedhanai migavodu
[Aren't you the one dancing on the waves on which the rays of the sun too are dancing! Here I am pleading with you, with a bleeding heart, endlessly, while you there you are making merry with other women! Is this right on your part? Is this a proper conduct for you? Is this what you call dharma? Yet, at the sight of the dance of your ear rings to the tunes of your flute, my pained heart rises in joy and happiness]
alaipaayudhae kaNNaa en manam alaipaayudhae
un aanandha moagana vaeNu gaanamadhil
alaipaayudhae kaNNaa aaaa
[My mind is afloat, O Krishna, in the joyous, enchanting music of your flute, my mind is afloat]
It is hard for me to imagine a being that wouldn't be touched by the ardent pleadings and arduous pains suffered by the bereft lover, burning in the anguish of viraha! Do not hear the song, but listen to it, closing your eyes, and opening the sight of your heart! And trust me, when I say that the overwhelming emotions, shall water down your eyes! Such is the magic of music! Let's get enchanted!
Friday, December 09, 2005
Man kyon beheka re beheka!!!!
Lata and Asha are undoubtedly the 2 divas of Hindi Film Music. Both of them equally accomplished and versatile! So when these two sing songs together, one can easily expect magic!! The first instance of this happened in 1951 for the movie Daman (I don't know what song it was). There were from then on, a series of songs, that they sang together that has left an indelible print on the mind of the listeners such as "Aplam.. chaplam.. chapalaayi re.. duniya ko chod tere gali.. aayi re aayi re .. aayi re", from the movie Kohinoor; "main chali main chali" from Padosan, "Ai kash kisi deewane ko" from Aaye din bahaar ke, etc.
Due to Asha's romantic life and Lata's comments on OP Nayyar and Asha, a chasm developed between them, and hopefully the time has healed it. It is said that those who like one another very much, are the ones whom we would hate the most if circumstances would change. This seems true in the case of Lata and Asha. I don't know if it did good to either of them, but we certainly lost some of the best possible female duets that they could have rendered!
One absolutely beautiful and melodious song is from the ever memorable movie "Utsav". Asha and Lata revel as if they were competing with eachother over who outperforms the other, and what we get, is a master piece of a song!! The song has been penned by VasantDev, won him the best lyricst film fare award in the year 1985. The music was composed by Lakshmikant Pyarelal. The song sets the mood for the archaic times, with not just its lyrics but also the music.
The lyrics flows thus:-
man kyon behekaa ree behekaa, aadhee raat ko
belaa mehekaa ree mehekaa, aadhee raat ko
kisane bansee bajaayee, aadhee raat ko
jisane palakee churaayee, aadhee raat ko
belaa mehekaa ree mehekaa, aadhee raat ko
kisane bansee bajaayee, aadhee raat ko
jisane palakee churaayee, aadhee raat ko
jhaanjar chamke sun chamke, aadhee raat ko
usko toko na roko, roko na toko, toko na roko, aadhee raat ko
laaj laage re laage, aadhee raat ko
denaa sindoor, ke su aadhee raat ko
usko toko na roko, roko na toko, toko na roko, aadhee raat ko
laaj laage re laage, aadhee raat ko
denaa sindoor, ke su aadhee raat ko
baat kahate bani kyaa, aadhee raat ko
aankh kholegee baat aadhee raat ko
hum ne pee chandni, aadhee raat ko
chand aankhon mein aayaa, aadhee raat ko
aankh kholegee baat aadhee raat ko
hum ne pee chandni, aadhee raat ko
chand aankhon mein aayaa, aadhee raat ko
raat gunti rahegi, aadhee baat ko
aadhee baaton ke peer, aadhee raat ko
baat puree ho kaise, aadhee raat ko
raat hoti shuru hai, aadhee raat ko
aadhee baaton ke peer, aadhee raat ko
baat puree ho kaise, aadhee raat ko
raat hoti shuru hai, aadhee raat ko
Maharajapuram Santhanam: The King of Classical Music
My first foray into Karnatic Vocal happened when I was 12 yrs old. I started learning from my neighbor Mrs. Shakuntala Iyengar. It was then that I got exposed to the music of Sri Maharajapuram Santhanam. She had a huge collection of his albums that she would let us listen to, when we were free. I was not in a position to appreciate the aesthetics and nuances of his voice then. But yet, the sheer pleasantness in his voice held me in rapture, and to this day, I have continued to be mesmerized by the sheer brilliance of this maestro.
He hailed from a family of noted vocalists. His father Sri Maharajapuram Vishwanathan Iyer was himself a renowned name in the field of Karnatic Music. He was one of the very few people well versed in rendering the divine Pancharatna krithis of Shri Tyagaraja. This art, he passed on to his son, who rendered it with equal aplomb if not less! It is a pleasure to listen to his rendering of the 5 keerthanas. He was equally divine in his rendition of the Daasa krithis, be it of purandara or kanaka. His choice of songs was always one that wud fill the listener with an ethereal feeling of being among the gandharvas! One of the few known vocalists, who always sung the daasa krithis in their concerts, Sri Santhanam was much known for his renditions of complex raagas, Kalyani, Shankarabharana, Sri Raaga, Arabhi, Sivaranjani, etc.
Maharajapuram Santhanam has also composed several krithis in Sivaranjani, Hamsanandhi, Charukeshi, etc.
An accomplished and divine artist, a kala brahma, he eventually met a tragic death in a car accident and died in the year 1992.
Some of my favorite songs that are sung by Sri Maharajapuram Santhanam are:-
- The Pancharatna Krithis composed by Shri Tyagaraja
- Kelo Satcharitra composed by Shri Purandara dasa
- Kelano Hari Taalano also by Shri Purandara Daasa
- Alaipaayuthey composed by Oothukadu Venkata Subbaier
- Krishna Nee Begane Baaro by Shri Vyaasa Rayaru
- Mahaganapathim composed by Shri Muttuswamy Dikshithar
- Himaadri sute paahimaam composed by Shyama Shastri
- Vaatapi Ganapathim Bhaje composed by Shri Muttuswamy Dikshitar
- Manasa Sancharare composed by Shri Sadashiva Brahmendra
and many many more!!
