Saluri Rajeswara Rao - The Legend

Author: Vicky Iyengar

A Diversion - Taste of Nectar from a Composer - Saluri Rajeswara Rao

REMEMBERING SALURI!

                                                                  

Listen to These Two Great Masterpieces in the Composer's Voice!

"Challa Galilo Yamuna Thatipai Syamasundaruni Murali" & "Paata Paduma Krishna" - The Master of Swaras

Acclaimed Telugu Film Composer S Rajeswara Rao Garu's Sahithyam. A child prodigy like Susarla Dakshinamurthy, he could identify the Carnatic music ragams at the tender age of four and by the time he was seven, he started giving stage performances. He met such stalwarts as Kundan Lal Saigal (Actor/Singer) and Pankaj Mullick (Composer for New Theatres, Calcultta) and became a disciple of Kundan Lal Saigal (K L Saigal) and learned Classical Hindustani music for a few months. Among the classical ragas, Bhimplas (Abheri), Karaharapriya, Sindhu Bhairavi, Kafi, Kalyani, Pahadi, and Malkauns, which influenced many of his compositions. Both Suswara Ragini Ma Saraswathi Susheelamma & Saluri Rajeswara Rao are the recipients of the prestigious "Raghupathi Venkaiah Award" by the Government of Andhra Pradesh for their outstanding contribution to Telugu Cinema.

The year 1939 saw Saluri become a full-fledged music composer for film "Jeyaprada" which was directed by Chitrapu Narasimha Rao. In the 1940's these are called "Private Paatas" or "Private Recordings" and the stage poetry was metamorphasizing into modern lyric. Apart from the mentioned song, "Thummeda Oka saari", "Kopamela Radha", "Podarintilona", "Rave Rave Koyila", "Paata Paduma Krishna" all of which were written by his father Sanyasi Raju.

From the 60's they are also called "Lalitha Sangeetham". This immortal recording showcases the composer's vocal throw and his astute grasp of the Bhavams, Swarams and Sangadhis and this training he imparted to Mata Saraswathi Susheelamma that shaped her renditions in Telugu Cinema and hence became immortal.

Look at the Bhrigas "Yamunaaa..Thatipai"...It is ethereal. His Alaaps (Challa Gaalilo...) & "Murali..." in Preludes and interludes transports you to another galaxy. In this song you can find the influence of the Great "K L Saigal" in Saluri's rendering.

In "Paata Paduma Krishna" you melt in "Bhakthi Rasa", after listening to this bhakthi laden evocative piece. It stabilized my mental equilibrium and redeemed my moral compass. When he crooned "Paata Paaduma....", the Alaap had such an spiritual impact on me, I kept listening to it again and again and I guess you will too.

"paata paadumaa krishna paluku tene lolukunatula maatalaadumaa mukunda manasu teeragaa"

(Oh Krishna! Sing a song like Sweetness of Nectar (amruth) flows. Talk to Me O Mukunda till my heart satisfies)

Listen to the ending - flute infused harmonium - piece in lower volume before he commences the phrase......

"Sama veda saaramu..Sangeethamu..Sahithyamegha...continuing with alaap landing" what can I say, my ears are blessed to listen to these immortal works by Saluri Garu. All I ask of this audience is to forget this "Vicious Cycle of Maya", close your eyes , immerse yourself in the "Ocean of Divinity", as Saluri takes you to the "Deliverer". Compare this with another "Private Paatu" Raavu Balasaraswathi rendition "Thalapu Theeyu" in the same meter.

Many are aware that Suswara Ragini Mata Saraswathi Susheelamma & S Rajeswara Rao Garu collaborated to produce very many immortal melodies in the Telugu Cine Prapancham. Some of the memorable films for which he composed music are: "Vikramathithan", "PremapAsam", "Paanai Pidithaval Bhagyasali", "Amaradevi", "Iru Sagotharagal", "Aval Yaar" besides "Chadralehka", "Allauddin Adbhutha Deepam", "Mangamma Sabatham", "Apoorva Sagotharaagal", "Missiamma", "Chakradhari", "Chenchu Lakshmi", "Bheesma", "BhaleRamudu", "Iddaru Mithurulu", "Kulagothralu", "Baktha Jeyadeva", "Amarasilpi Jakkannachari", "Baktha Prahalatha", "Rangula Ratnam", "Vipranarayana", "Dr Chakravarthy", and "Chitti Chellalu", "Chandrelekha" and "Nishan" (Aboorva Sahodarargal).
Saluri was a trendsetter of light music in Telugu. Some Immortal Compositions in Saluri - Mata Saraswathi Susheelamma's collaboration are - "Niluvuma Niluvuma" (Amara Silpi Jakkana), "Paadavela Radhika (Iddaru Mitrulu), Ee Musi Musi Navvula (Iddaru Mitralu), "Kila Kila Navvula (Chaduvukunna Ammayilu), "Amma Bangaru Talli ( Palnati Yuddham), "Andala Rupamu" (Bhale Ammiyulu), 'Balanura Madana" (Missamma), "Ekkada Dachavoi" (Rani Ratnaprabha), "Palakadalipai" (Chenchulakshmi), "Chelikadu Ninne" (Kulagothralu), "Kalam Kani Kalamlo" (Appu Chesi Pappu Koodu), "Mahadeva Shambo" (Bheeshma) to name a few.

Note: After leaving Gemini as its Resident Composer (Mangamma Sapatham,Chandralekha, Aboorva Sahodarargal), he did unite for a Telugu Classic with B Nagi Reddy (Vijaya -Vauhini) titled "Malleswari" (1951) starring N T Rama Rao & P Bhanumathi. It was a sensational musical chartbuster. Especially listen to "Pilichina Bhiguvatara" which was crooned by Paluvayi Bhanumathi. Then came "Vipranarayana", "Missiamma" and other musical hits, in 100s - Tamil and Telugu and a few in Kannada. Some of the films might have failed at the box office, but his music has never let down cine-goers and it lingered in their thoughts well after their departure and such was the impact that his compositions had on laymen. When "Missiamma" was made into "Miss Mary" - in Hindi, Hemanth Kumar was brought in as the composer. He composed mostly original tunes for the Hindi flick, but retained one - "Brindavanamum Nandakumaranum" which Hemanth liked so much that Saluri magnanimously let Hemanth retain it in the Hindi version.

Enjoy!

Nannu Dochu Konduvate - Gulebagavali Katha

Telugu Thalli Ma Saraswathi Susheelammagariki Satha Koti Pranamulu! I see lot of Manchi Paatalu & great renditions ikkada. Idhi Aa Ammavarike Saadhyam! She is an "Encyclopedia of Music". Ee prapanchamlo Aa Voice Evariki Ledhu. Idhi Mana Abhipraayam! Aavida Paatentae Naaku Chaala Praanam. Ammavaru eko paatuku "gave life". Even while singing duets, she would overpower her male co-singer. Antha Divine, Celestial & Powerful voice Ammavaridhi.

"Andhravaariki Oka Varam Susheelammagaari Swaram". 

There is a saying in Telugu "Mana Aavakayalu, Mana Godavari, Mana Padhya Naatakam & Mana Susheela". The mentioned four are very special to the people of Andhra. How true!!!. As Lyricist C Narayana Reddy garu aptly said she is a "Suswara Raagini Sangeetha Saraswathi". Aa Pata "Nannu Dochu Konduvate Vannela Dorasani", Gana Saraswathi Susheelammagari Swaramlo "Heavenly". Edhe Mana First post Song Dedicated to my Telugu Thalli Gana Saraswathi Susheelamma Garu.

I pray God for Ammavari's Ayurarroghyam!!

T.V Raju Sangeethamalo shrustinchina oka "Immortal Song". C Narayana Reddy's sahithyam. Great Poet and Lyricist. Especially Ee Verses Gana Saraswathi Susheelammagari Swaramlo: Aanimuthyalu!!!

tariyintunu ne challani charanammula nedalona(2)
puladandavole karpura kalikavole karpura kalikavole

na madiye mandiramai neve oka devatavai(2)
velasinavu nalo ne kalisipodu nelo kalisipodu nelo

As always, Susheelamma Meeku Shathakoti Pranamulu. What would Teluguvaari Life be without your golden voice. You are part of our everyday life.

Vicky Iyengar

Chollu Sakhi Chollu - Sree Rama Pattabishekam

Author: Vicky Iyengar

Composition Extraordinaire & Voice Immortal

Series - 8

"Chollu Sakhi Chollu” (Sree Rama Pattabhishekam - 1962), Voice: P Susheela & Composed by Brother Lakshmanan

“Nayanar Kurichi’s Poetic Dialogue & Nightingale’s Stunning Vibrant Rendition (Admiration of Sri Rama - Voice of Sita)

Producer and Director P.Subramanyam was the owner of the second film studio of Kerala, namely 'Merryland Studios' in Thiruvananthapuram. Film productions were done under the banner 'Neela Productions'. P.Subramanyam was a person who was loved and respected by all. He became the Mayor of Trivandrum Corporation during the period 1942-43. He produced 69 films and directed 59 of them. Most of them were successful box office hits. The films directed by P.Subramanyam were mostly social or mythological films including “Snapaka Yohanan, Manthravadi, Bhatha Kuchela, Kumarasambhavam, Kattu Mallika, Bhaktha Kuchela, Hotel High Range, Urangatha Sundari, Devi Kanya Kumari & Swami Ayyappan.

Two successful Malayalam films of the 1960’s were Kunchacko’s “Seetha” (1960) with Prem Nazir and Kusalakumari in the lead and P. Subramanyam’s “Sree Rama Pattabhishekam” (1962) with Prem Nazir and Vasantha (of Madapura fame)as Rama and Seetha. Both these films were dubbe from the originals Ram Rajya (1942)and Bharat Milap (1943) respectively. “Sreerama Pattabhishekam” was also Hindu mythological film based on the story of Sri Rama (Epic - Ramayana). P. Subramanyam’s narration of the Epic was quite effective and the film was a Box Office success.

There were 12 songs in the film penned by Thirunayanar Kurichi Madhavan Nair. The tunes were composed by Brother Lakshmanan and some of them became huge hits. The music composed by Brother Lakshmanan was based on Carnatic Classical Ragas to suit the theme of the movie. Singers S Janaki, Kamukara Purushothaman, P Leela, P B Srinivos, K J Yesudas and our own P. Susheelamma provided the playback. The hit songs were “Chollu Sakhi” (P Susheela), “Mohini Njaan” (S Janaki), “Pookatha Kaadugale” (K J Yesudas), “Parannu Parannu” (P Susheela & Kamukara). All of them were Brother Lakshmanan’s original compositions. One may recall that the Fifth Kamukara Award for “Lifetime Achievement” in Malayalam Cinema was presented to P Susheelamma in 2002 by the Kamukara Foundation.

Brother Lakshmanan composed music for 22 Malayalam Films (CID, Baalya Sakhi, Atom Bomb, Jail Puli, Poothali, Bhaktha Kuchela, Kattu Maina, Snapaka Yohanan, Harischandra to name a few) in his career spanning 14 years & collaborated with Director P. Subramanyam often in the 1950’s and early 60’s. His first movie was “Athma Sakhi (1952) and his last known film was “Priyathama” (1966). Amma had sung a handful of popular immortal masterpieces for Brother Lakshmanan and some rare unheard not so popular tunes too. Some of Susheelamma – Brother Lakshmanan repertoire includes – “Vaa Vaa Vanarajave”, “Kattu Kurinji”(Kattu Maina 1963), “Neeradam”, “Yoodaya Varu” (Snapaka Yohanan 1963), “Daivame” (Atom Bomb 1964), “Kanavil Vannen” (Priyathama 1966).

In this flick, Ma had the opportunity to sing 3 songs. They were “Chollu Sakhi”, “Ponnittu Porulittu” & “Parannu Parannu” (both with Kamukara Purushothaman). The mentioned piece (Chollu Sakhi) is a rare masterpiece and was quite popular. It had a Classical flavor to it and the rendition required her to capture all the bhavams and bhrigas per Carnatic tradition. Not an easy task I suppose, but , Susheelamma was way ahead in her brilliance, capturing the tough nuances, and at times surpassing many stalwarts such as M L Vasanthakumari, Radha Jayalakshmi, P Leela and so many others who were already belting out Carnatic film tunes. It seems that Late Actress Sri Vidhya (Daughter of the Legendary M L Vasantha Kumari) once mentioned that MLV’s favorite filmi number was “Thookanam Kuruvi Koodu” (from the movie “Vanambadi” crooned by our own Susheelamma). In fact Vocalist Nithashree mentioned that D K Pattammal would cry listening to Amma’s rendition of “Sonnadhu Needhana” (from the movie “Nenjil Or Aalayam”). Even Ma acknowledged that MS Amma requested her to collaborate in a Carnatic Kutcheri during the inauguration of “Kaatrin Kural” program on Television. Probably that was one of Ma’s regrets.

Note: Many are not aware that Ma gave a full-fledged Carnatic Recital at the age of 13 in the year 1948 at Chithoor, Andhra Pradesh. This was one of Ma’s many early accomplishments.

Again the song showcases all of Ma ‘s strengths – racy bhrigas, balance, spontaneity, expressive, intensity, deliverance, phrasing, timing colorful, dramatic, breath technique, range-depth, tonal texture, infallible sense of rhythm and above all the brilliant grasp of every single note that flows out of her vocal chords with such ease naturally. Now listen to the pallavi - “chollu sakhi chollusakhi..kaananam chollu sakhi....cholluvaanavaathor ullasamarnnullam thullikkalikkunnathenthe?.....chollusakhi.....Do I need to say anything more? The micro millionth pause between “Chollu Sakhi” & “Chollu Sakhi” adds sheer beauty to the song. I have no words to describe this perfectly charming buttery vocalise.

Then comes the first charanam – “sooryanudhikkumpol thamarppovu pol charumughil kanda maamayil pol .....chitham vidarunnu nritham thudarunnu chintha thudikkunnathenthe? ....chollusakhi....Wah..Wah..Wah...One Word - Heavenly. I am devoid of words to express my appreciation. I just stare at my screen, my soul (atma) immersed in her raw vocal magic listening...listening...and listening and still cannot get quite enough. But I am enlightened.

It is the second charanam that establishes her classical brilliance and her mastery of the art of playback singing and how she refined it for successive generations (now you know why she was ahead in the rat race) - kanden kanden kaivalyaroopane kanden ...tharilam thoomandahaasam neela...thamarappoovin vilaasam...athil ayiram....sooryaprakaasham...kanive vadivay kamaneeyanganen...kaivalyaroopane kanden....kanden....kanden....kaivalyaroopane kanden.........Can any of her contemporaries come evn close to rendering “Kanden ..Kanden...” landing it again with a racy bhriga “Kanden”. Her art of phrasing expressive & dramatic – exhibited at full throttle - Pure Bliss!!!!!!

True connoisseurs’ of South Indian Film music know in their hearts - there never has been and never will be as great a singer as Susheelamma.

Koti Pranams to Ma Saraswathi Susheelamma

Sri Parvathi Devi - Kalahasthi Mahatyam

Author: Vicky Iyengar

Navarathri Special!!!!!

"Sree Parvathi Devi” (Sri Kalahasthi Mahathyam - 1954), Voice: P Susheela & Composed by R. Sudarsanam, R Govardhanam, Saluri Rajeswara Rao

                                                           

“Experience the Bhakthi Rasa in Ma Saraswathi Susheelamma’s Rendition”

Kalahasthi Mahathyam is a 1954 Telugu film produced by C R Basavaraju & Gubbi Veeranna under the AVM Banner. The Film was directed by noted H. L. N. Simha starring Kannada Kantheerava Rajkumar. This is the only non-Kannada film starring Rajkumar. It is a musical hit film with some melodious Bhakti songs written by Tholeti Venkata Reddy. The music score was provided by R. Goverdhanam and R. Sudarshanam & Saluri Rajeswara Rao. The movie is a remake of Bedara Kannappa, a popular Kannada film which also stars Rajkumar in the lead role. The movie is based on the folktale of the hunter Kannappa who proves his extreme devotion to Lord Shiva by plucking out both of his eyes. The Film met with Box Office success.

The Cast included well known actors of the 1950-56 era such as K.Malathi, Kumari, Rushyendramani, Rajasulochana, Kuchalakumari, Yellammadevi, Rajakumar, M.Lingamurthy, Padmanabham, A.V.Subbarao, H.R.Ramachandra Sastri, M.R.Dasappa, N.R.Raju, Ratan, M.R.Sanjappa, Narayana, Ramachandra, Mani Ayyar

The soundtrack consisted of 18 songs with lyrics penned by Tholeti Venkata Reddy. The tunes were composed by R. Sudarsanam, R. Govardhanam & Saluri Rajeswara Rao and some of them became huge hits. Noted singers Ghantasala Venkateswara Rao, A. M. Rajah, M. L. Vasantha Kumari, T. S. Bhagavathi, and our own P. Susheelamma provided the playback. “Aasale Minukulai Tunakalai” (T S Bhagavathi), Chaalu Chaalu Navamohanaa (M L Vasanthakumari), Chekonavayya Mamsamide(Ghantasala Venkateswara Rao), “Chemmachekka Laadudaam” (A M Raja & T S Bhagavathi), “Choochi Choochi Naa” (M L Vasanthakumari), “Devaa Sevakulanna” (Ghantasala), “Jayajaya Mahaadeva” (Ghantasala), “Maayaajaalamuna Munigevu” (A M Raja), “Madhuramu Sivamantramu” (Ghantasala), “Om Namassivaayaa,Mahesaa” (Ghantasala), “Paahee Sankaraa Maampaahee” (Ghantasala), “Paradhanamula Paravanitala” (Padmanabham), “Phalinche Naa Poojaa” (T S Bhagavathi), “Sree Paarvateedevi Chekove” (P Susheela), “Sri Kalahasteeswara” (A M Raja), “Swaamee Chanchalamaina” (Ghnatasala)

In this flick, Ma had the opportunity to contribute one song “Sree Parvathi Devi”. The mentioned piece is a rare masterpiece and was quite popular. Listen to her beautiful and distinctive tone, flawless vocal dynamics in this Bhakthi laden song. The song has a mysterious aura to it (cinematography).

An excellent beginning, especially in the phrase “Maa Pooja Le Thalli Gowri Shankari”, she incorporates such a divine feeling. Close your eyes and you will feel the depth of divinity. Only Ma could render a song like this. In “Naaku Neeve Paapa Haari Padma Pathra Nethri, the songstress holds her notes, neatly paces, and pleads with goddess Himavahini/Kathyayani to grant her some relief, very expressive indeed that cuts through your heart.

The Second Charanam, “Ninne Nambinanu Thalli Annapoorna Devi”...”Palimpa Ravamma Parameshwari”...the voice squeezing the nectar of Bhakthi is unequaled. I call this astonishing purity!!!!. Ma is inherently blessed with such incredible control, range, and expression that her contemporaries craved for. Ma has created such a distinguished legacy for successive generations to hear

What can I say the 50’s musical era itself was fabulous.

Koti Pranams to Ma Saraswathi Susheelamma

Chinna Arumbu malarum - Pangaligal

Author: Vicky Iyengar

Composition Extraordinaire & Voice Immortal

Series - 9

"Chinna Arumbu Malarum” (Pangaaligal - 1961), Voice: P Susheela & Composed by Susarla Dakshinamurthy (S Dakshinamurthy)

Susarla’s Neo-Light Classical Grandeur - Ma Saraswathi Susheelamma’s “Mezmerizing, Soothing & Impressive Lullaby “

A lullaby is a soothing piece of music, usually played or sung to young children before they go to sleep, with the intention of aiding that process. As a result, the music is often simple and repetitive. Lullabies can be found in many countries, and have existed since ancient times. Tonally, most lullabies are simple, often merely alternating tonic and dominant harmonies.(Oxford University Press, 2nd Edition, Pg 6). Lullabies are usually in triple metre or 6/8 time, giving them a "characteristic swinging or rocking motion," says Sally Goddard Blythe of The Institute for Neuro-Physiological Psychology.

Produced by Irish Films the casting included Gemini Ganesan, E V Saroja, Anjali Devi, M R Radha, P S Gnanam, Devika, K Malathi, S V Ranga Rao, T S Durairaj, Sarangapani, & Sairam. Story and Dialogues were written by M S Solaimalai & the musical score was composed by Susarla Dakshinamurthy. K N Dandayudhapani Pillai & A K Chopra were in charge of Choreography while V Ramamoorthi was the lens man at Vijaya-Vauhini studios where the movie was shot. The film was directed by G Ramakrishnan (a former Assistant to L V Prasad).

Composer Susarla Dakshinamurthy hailed from Peddakallepalli village in Krishna District, Andhra Pradesh. He was also a Playback Singer (Lakshmamma Katha-1950 “Haayiga Venula Vindhugha” a duet with P Leela), Producer and an Eminent Carnatic Musician. His paternal grandfather was Susarala Dakshinamurthy, a classical music pioneer. Susarla was a child prodigy, who at the age of 9 played the violin with great finesse accompanying all the singers during the nine day Navarathri Celebration at Machilipatnam. He also worked in the All India Radio (AIR) and joined the film industry as an assistant to great music director Bheemavarapu Narasimha Rao. Later he became an assistant (providing playback as well) to the famed C R Subburaman (Laila Majnu, Chenchulakshmi, Swapna Sundari, Devadas, Velaikari) . During the early 50’s he also collaborated with the legendary G Ramanathan and Sinhalese Composer Ananda Samarakoon. Beginning his career with Narada Naradi in 1949, he scored music for Samsaram (1950), Sarvadhikari (1951 – Modern Theatres), Valayapathi (1952 – Modern Theatres), Kalyani (1952), Sujatha (1953), Dasi (1953), “Mangaiyar Thilakam” (1955), Santanam (1955), Ilavelpu (1956), Alibabavum 40 Thirudargalum (1957), Yaar Paiyan (1957), Bhagyavathi (1957) & Krishna Leelalu (1959), Annapurna (1960), “Narthanasala (1963), Aasaha Sundari (1960), Srimad Virata Parvam (1983), Sreemad Virat Veerabrahmendra Swamy Charitra (1984) to name a few. He was also credited for introducing Lata Mangeshkar in the 1955 Telugu Film “Santhanam” (Nidura Pora Thamuda), again for a Lullaby. He lived a full life (92 years).

The highlight of the movie was its music by Susarla Dakshinamurthy with lyrical support from Marudhakasi, Kannadasan & lesser known K M Krishnan. The soundtrack consisted of 6+ songs and sung by T M Soundararajan, Tiruchi Loganathan, P B Srinivos, K Jamuna Rani and our own P. Susheelaamma. From my memory, the songs I could recollect were “Kannum Manamum” (T M Soundararajan), “Chinna Vayasil Anbu” (P Susheela, Jamuna Rani), “Chinna Araumbu Malarum” (P Susheela), “Chinna Arumbu Malarum” (Tiruchi Loganathan), “Nee Ariyayo” (P Susheela, P B Srinivos). All of them were Susarla’s original compositions. One may recall his other famous lullaby “Neela Vanna Kanna” from Mangaiyar Thilakam (1955) rendered by Ravvu Balasaraswathi.

But this rare mesmerizing one by our Ma Saraswathi Susheelamma is a “class” in itself and could be rated as one of her Top 15 in the annals of Tamil Filmography. Amma had sung a few popular immortal masterpieces for Susarla “Thandhai Yaao” (Yaar Paiyan), “Sakhiya Vivarinchave” & “Janani Sivakamini” (Narthanasala), “Challani Raja“ (Ilavelpu), “Manasemito” (Annapurna), “Saagi Baa Raja”, “Akalala Neenendu” (Asha Sundari).

In this flick, Ma had the opportunity to sing 3 songs. Incidentally both the lullabies “Neela Vanna Kanna” & “Chinna Arumbu Malrum” were penned by Marudhakasi and they remain immortal till date. Kavignar Marudhakasi was born in Melakudikadu (Trichirapalli) in February 13, 1920. He was inspired by the works of great poets Udumalai Narayanakavi, Arunachala Kavirayar & Gopalakrishna Bharathi. Marudhakasi wrote his first film song for Modern Theatres production Mayavathi (1949) under G Ramanatha Iyer’s baton. He went on to write lyrics in almost every film that was released in the 1950s and became the busiest and most sought after lyricist of that decade. He passed away in 1989.

Though Ma’s repertoire under Susarla’s music direction is about less than 30 songs – the collaboration still lives in our memories. The song showcases all of Ma ‘s strengths –Recorded at her Prime –Balance, Range & Depth, Tonal Texture, Infallible sense of Rhythm and Tempo. The 60’s represent the peak of her accomplishments in South Indian Cinema. Included in the orchestral make-up were violin, mandolin and woodwind (clarinet). Susarla lays the needed foundation with a violin preludes while Ma drifts through with her beautiful prelude humming and right before every charanam as well. A music connoisseur could also find traces of Hindustani “Bhimplasi” weaved into this composition. Susarla’s orchestral treatment of Marudhakasi’s verses are quite interesting (compare it with “Neela Vanna Kanna” or Thandhai Yaaro”)

The pallavi begins (A Good Potrayal by Anjali Devi) with “Chinna Arumbu Malarum..Sirripai Sindhi Valarum” with Ma carefully negotiating “Chi” and “Si” brilliantly with her “ornamentation” (bhavam)” intact (no wonder she is the “Queen of Diction”). Very Impressive feat Indeed! “Kangal Andha Katchi Kandu.... Kalikkum Naal Varum, the culminating notes precisely hit (neatly enunciating “hope”& “inspiration”). There is also that overwhelming feel of “heaviness of life” that Ma captures so vividly (Unmatched Involvement to the Lyrics).

In first charanam, “Mannil Ulavum Nilave..En Vayitril Udhitha Kaniye” “Vazhvu unnal Sezhithe (the trill) ...Naan Maghizhum Naal Varum” (expressing that the child is her only hope), the voice has a beguiling freshness and warmth to it and how nicely she interprets Marudhakasi’s lyrics breathing life into the song with her “phrasing” extracting sympathy from her audience. Incredibly Pure Tone!

In second & third charanam, “Unadhu Maaman Varuvaan..Anaithu Inbam Peruvaan...Urimaiyellam Tharuvaan ..Sugam Perugam Naal Varum”. She displays melodramatic power, emotional delivery and vocal grace in equal parts. Her voice melds perfectly with the woodwind instrument. “Ezhai Kanda Kanave..Manam Ilaga Seyum Azhage..Vazhai Kuruthu Pole Nee Valarum Naal Varum..Sugam Thazhaikum Naal Varum is an example of her virtuosity. See, how she closes the song with a technically brilliant improvised solo passage (a cadenza sort of) much to the amazement of the Composer himself. A heart-rending vocal, this song seems meant for her like many others before it.

If you are not a great fan of “lullabies”, you will after hearing Ma's voice.

Koti Pranams to Ma Saraswathi Susheelamma

Attached are the photos of the great lyricist Marudhakasi & the Composer Susarla Dakshinamurthy.

"Ennaippol Pennallavo" - Vanangamudi (1957)

Author: Vicky Iyengar

Navarathri Special!!!!! (Last in the Series)

"Ennai Pol Pennallavo” (Vanangamudi - 1957), Voice: P Susheela & Composed by Gopalsamy Ramanatha Iyer (G Ramanathan)

“Ma Saraswathi Susheelamma and Her Majestic Thodi - Rendered with Such Finesse”

Directed by the veteran P. Pullaiah (earlier was associated with Dada Saheb Phalke) and Produced by Saravanabhava-Unity Pictures, “Vananagamudi” was huge Box Office success when it was released on April 12, 1957. The star cast included Sivaji Ganesan, Savithri, Kannamba, M K Radha, M N Nambiar, K A Thangavelu, Chithoor V. Nagiah, Rajasulochana & M Saroja. Story and Screenplay was handled by Director Pulliah with the dialogues written by A K Velan. The famous Nattuvanar K. N Dandayudhapani Pillai (sizzling Dance number by Helen) was in charge of Choreography and P Ramaswamy handled the Cinematography. The highlight of the movie was its Soundtrack ably composed by Isai Medhai G Ramanatha Iyer with support from the acclaimed Lyricist Thanjai N Ramiah Doss.

Hailing from Nellore (this writer’s ancestral hometown as well) and Winner (both Pulliah & Ma) of Raghupathi Venkaiah Award (For Lifetime Contribution to Telugu Cinema) P. Pulliah, was an acclaimed Director in both Tamil & Telugu (35 Films). He was also married to veteran actress P. Shanthakumari and produced movies under the Banner “Padmasree Pictures”. He was remembered for the Magnum Opus movie “Sri Venkateswara Mahathmyam” (1960) which was directed by him. Many of his films were huge hits (Dharmapatni -1941), (Maya Machindra – 1945), (Macha Rekhai - 1950), (Dharma Devata - 1952), (Manampola Mangalyam – 1953), (Rechukkka - 1953), (Kanya Sulkam -1955), (Ardhangi – 1955), (Pennin Perumai – 1956), (Illarame Nallaram – 1958), (Jayabheri – 1959), (Murali Krishna – 1964) to name a few. Mahanati Savithri & Sivaji Ganesan needs no introduction and played their parts well. I am not going to waste space as to how great they were.

Considered the “The Founding Father of Tamil Film Melodies”, Gopalsamy Ramanatha Iyer needs no introduction. Film Historians and his Crew including his Playback Singers fondly remember him as “Isai Medhai”. Though he never had proper training in music except through “Kelvi Gnanam” (through listening), his passion for Carnatic music drove him to incorporate many classical ragas into his compositions. He gave shape to the celebrated early melodies in Tamil Cinema. Well-known singers of that era such as M. L. Vasanthakumari, Jikki, P. Leela, T. M. Soundararajan, Sirgazhi Govindarajan, A. M. Raja, T. V. Ratnam, S. C. Krishnan and our own Susheelamma lent their voices to the songs. The title song “Rajayogame” (P Susheela), “Malaiye Un Nilai” ( Sirkazhi Govindarajan), “Pattum Bharathamum” (T M Soundararajan), “Ennai Pol Pennalavo” (P Susheela), “Siramathil Thigazhvathu ( M L Vasanthakumari), “Kattazhagu Mama” (P Leela), “Mohana Punnagai” (P Susheela , T M Soundararajan), “Aatchiyin” (Sirkazhi Govindarajan), “Kumukukumma Goyya – Filmed on Helen” (Jikki Krishnaveni), “Vazhvinile Vazhvinile” (A M Raja, P Susheela), “Eeraindhu Madhame” ( T M Soundararajan).

In this flick, Ma had the opportunity to contribute 4 songs for Mahanati (2 Duets and 2 Solos). All the mentioned songs by Susheelamma were huge hits and quite popular. The chosen song in the Carnatic raga ‘Thodi', ‘Ennai Pol Pennallvo' filmed on Savithri (Ma & Mahanati combo produced many a immortal songs in Telugu and Tamil) and rendered stunningly by Ma Sarswathi Susheelamma with such finesse attracted attention, especially from non-filmi quarters. Even Carnatic Legends & Stalwarts considered it the best ever film song composed in the Majestic or Towering Carnatic Raga “Thodi”. “Hanumathodi” or “Thodi” is the 8th Melakarta Ragam (parent scale) in the 72 melakarta rāgam system. This is sung very often in concerts. It is known to be a difficult rāgam to perform in owing to its complexity in prayoga (phrases of notes and intonation) and stunning bhrigas. Some call it “Janatodi” as well. The equivalent of Carnatic “Thodi” in Hindustani Classical is “Bhairavi Thaat”. “Thaye Yashoda” by Oothukkadu Venkatakavi is a popular composition in “Thodi”.

A “gem” by G Ramanatha Iyer that Ma Saraswathi Susheelamma vocals only could do justice to Mahanati’s expressions on screen. Let us pause for a second here. What prompted Isai Medhai to award this particular tough piece in “Thodi” to Ma (a 6 year veteran by then)? Her contemporaries P Leela and M L Vasanthakumari were still available for sure (recall a pure classical piece “Ellam Inba Mayam” by C R Subburaman in “Manamagal”). For that, one has to get into the mind of the Isai Medhai himself. The answer is perhaps “times were changing” or Ma’s “bhavam laden silken voice” or “amazing control” or “consistency and expressiveness”, “deliverance” or “phrasing” or “sense of timing” “colorful-dramatic”, “impressive breath technique”, “range-depth”, “tonal texture” and most importantly Leela’s voice (who has previously sung many a songs for Mahanati) was losing lustre incapable of handling the complex bhrigas and the required “Bhavam” itself (just singing in carnatic style without emoting won’t do any good, the need of the hour & the upcoming golden 60’s era is a “coloratura” – which Ma was). This song established with full force that Ma could handle complex Carnatic ragas with such ease and cinematic brilliance, let alone had the ability to crush her contemporaries or adversaries. May be you are born with it or you don’t.

Now let us immerse in the young (she was 22 then) Ma’s indescribably gorgeous rendition and its nuances. When Ma starts the pallavi “Ennai Pol Pennallavo” (panchama establishes the grandoise “Thodi”) & the repetition “Nee Ennai Pol Pennallavo”.....”Ulaga Irul Neengum Kannallavo Devi” (ending with racy bhrigas)- you know that Ma dutifully & successfully reproduced what was asked of her by Ramanatha Iyer.

In the first charanam “Ponnodu Porul Yaavaum Irundhalum...Thaye (the scale & the heavenly brigha and its extension executed with mathematical precision).....”Naan Minnadha Sudar Pola Vazhendhenamma” (she releases her bhrigas in split second)...you know that Ma is into your soul already creating light tremors. “Kurayai Sonnalum Puriyadha Ulagathile” (the size of her voice especially at the top)..En Vazhvil Unaiandri Thunai Yedhamma (firstly the difficulty & ultimate surrender to the Omnipotent makes Ma beyond comparison). Given the technicalities, it is very difficult for any mortal to come close to this rendition. It is my ultimate belief - Ma’s impressive vocals and compelling rendition that Mahanati self consciously absorbed and invested the required expression on screen. In around 3 minutes she comprehensively covered the intricacies of the raga and I am awestruck by her technical brilliance.

In the second charanam, “Malarodu Manam Sera Nilai Venduma”..”Malai Pondra Idartheera Gathiyaramma”.. (Ma’s agility speed, and rock-solid techniques again at full display) Matha Un Arul Thandhu Kurai Theeramma ..Jaganmatha Un Arul Thandhu Kurai Theeramma. Her voice had many special characteristics which can be heard in this song. Her control of the timbre ensured her vocal tone was never stressed beyond limits. Ma is a genuine vocal phenomenon, a formidable force to reckon with. This “Thodi” piece has long been cherished as a standard in cine classical music. Marvelous technique, impeccable style, and convincing expressions are the hallmarks of Ma Saraswathi Susheelamma’s voice.

I call this “Stunningly Intense & Ravishing”. A voice that defined "feminism" in South Indian Cinema for sure. Due to the limit (the length of the post), I have to abort my thoughts at this point.

Koti Pranams to Ma Saraswathi Susheelamma!

"Chinna Ponnu Singari" - Paasavalai (1956)

Author: Vicky Iyengar

Composition Extraordinaire & Voice Immortal

Series - 3

"Chinna Ponnu Singaari” (Paasavalai - 1956), Voice: P Susheela & Composed by Viswanathan-Ramamurthy

  

A Racy Number by VR Duo Coupled with Ma’s Incredible Vocals.

It was a Saturday night (One of those Harsh Canadian Winter) a few months ago and I decided to watch an old flick under the covers. The first flick that came to my mind was "Paasavalai". I always heard good reviews about Modern Theatres “Paasavalai” (MK Radha, Gopalakrishnan, Rajamani, G Varalakshmi) including the musical score of Duo Viswanathan Ramamurthy. I was quite familiar with “Anbinale Undaagum” by the great poet Pattukottai and sung very graciously by C S Jayaraman from the same movie. Jikki had her chance too in the form of “Lol Lol Lol”.

Since our beloved Ma was given Title Credits, I swear I was not aware of her songs in “Paasavalai”. As Amma's devotee, how did I ever miss this masterpiece?. I should not be forgiven for this slack.

Curiosity brimming and almost half way into the movie, a pretty woman (Rajamani) showed up on the screen lipping the mentioned song. The song lasted approximately 3+ minutes are so. I was glued the entire duration with amazement. The song was immortalized in my mind and heart.

It took me a few minutes to figure out this racy composition and VR’s genius, let alone Ma’s incredible babyish vocals (reminds of early Lata's renderings for Anil Biswas). She is in glorious voice with a golden throat and ease of vocalism - getting more refined to handle complex pieces later in her long musical innings. Foot Note: No one today can soar as confidently into high Cs with as much gorgeous tone as our Ma Saraswathi Susheelamma. (Paal Polave).

This song is almost 60 years old now. Ma was probably in her early tees (21 to be precise) when she rendered this particular piece. She also sang another one “Mathippu Ketta Mama”. The other songs were by Jikki, Jamunarani and probably A P Komala. No one knows why the Composer chose Amma for this racy number. Usually Jikki sings racy and vampy numbers in those days and some good melodies were given to Vasanthakumari and Leela and we all know how it turned out. Listen to “Koovamal Koovum Kokilam” from Vairamalai – MLV/TLN/VR and draw your own conclusions. Would the song be any different had Amma collaborated? I bet it would be.

The initial Waltzy humming by Amma (Soprano) tells you that the Pallavi & Charanams are going to be impressive as well. Due credit is to be given to the orchestration here especially the woodwind & violin interludes (operatic) that bridges the Pallavi and first Charanam - are mind-blowing. I see the brilliant handprints of the great Violinist T K Ramamurthy here. Ma’s voice is pure, innocent, mischiefy, clear and light floating up in the higher notes.

You can almost visualize her as she places the notes in her throat and sets them out in the air to vibrate – "Anna Nadai Azhagodu Aadi Paadum Alangaari" “Ennai Nee Paarayo..Aruginil Vaarayo..Mannava Naam Magizhndhu Vaazhvom Idhayam Kalandhu” with her millionth of a second signature pause. That is the high point of the song, VR & Ma mesmerizes you.

Believe it or not, I just froze and melted and replayed it god knows how many times – those lines alone. phrasing, color, dynamics, language – she did it with perfection. Kudos to Maruthakasi as well. Look at the rare speed (bhrigas) she gets into when she recites "Alangaari". She alone and only she alone can get this job done.

Again the VR duo bridge the second charanam (slightly different meter) with Ma’s alaap and interludes only worthy of them. The orchestra plays magnificently, making you feel as if you are in attendance at your favorite Ma’s recording. “Minnidum Kangal Maththappu..Kannam Irandum Rojapoo…Ennum Pothe Inbamalikkum Kanni Endhan Santhippu”. Listen to how Ma lands the sound “ppu”. These Tamil words should be blessed to pass through Ma's Vocal Chords. Diction & Clarity are the hallmarks of Ma’s repertoire. Who can compete with her?

In the second charanam Amma asks "Thanimayil Endrum Inimai Thaan Edhu - Samayam Un Vaazhvile Meendume Varaadhu.. But, listening to your masterpeices alone behind closed doors is a captured blissful experience in itself......Amma.

This composition is a classic, passionate and an addictive number. It would be almost a sin to allow this piece to become stale and tired. Finally, I loved every minute of it and saw the song sequence several times over and over.

If, like me, you have heard Ma’s several thousand stellar renderings/compositions, give this one a try. It may not turn this into one of your favorite songs, but it will change the way you think of Ma Saraswathi Susheelamma, the Legend.

Koti Pranams to Ma Saraswathi Susheelamma

"Daliya Pookkale Chumbichu" - Nizhalattam (1970)

Author: Vicky Iyengar

Composition Extraordinaire & Voice Immortal

Series - 2

"Daaliya Pookkale Chumbichu” (Nizhalattam - 1970), Voice: P Susheela & Composed by G. Devarajan

A Rare treat to our Ears & Inner Soul. That is exactly what I would call this Composition. Though I originally decided to pick Rare Hidden Gems from the 50’s and 60’s, I couldn’t resist this extraordinary meditative/trance like number. Hereon, I will also cover Ma Saraswathi’s Telugu, Malayalam and Kannada repertoire as well. I am not quite sure as to how many of us out there are quite familiar with this silent masterpiece. I discovered this piece by accident a while ago and since then I have become addicted to this song.

A Word of Caution: The songs that I pick are based on my tastes, although a listener's personal preferences may vary. No hard feelings!!!!!

No introduction is needed on Maestro Devarajan’s body of work (Pithamaha or Grand Sire of Malayalam Cine Music), as he has widely experimented with Carnatic Ragas in his Compositions for over 300 films, a feat indeed. Our Beloved Susheelamma was his favorite singer and the two have collaborated to produce many immortal gems that still rules the heart of the masses and many modern day composers consider him their Guru. Somewhere in a reality show the Maestro's name is mouthed at least once a day. Such is the profound impact of a man who scaled the peaks of Malayalam Film Music with his sheer brilliance and command over the Carnatic Ragas. He had an uncanny knack of blending the carnatic ragas and light music thereby creating monolithic orchestral melodies. Listen to "Sravana Chandrika" when time permits.

In the mentioned song, three genius (s) are at their work meticulously sorta friendly battle- Vayalar Rama Varma, Ma Saraswathi & of course G. Devarajan.

What is that I am addicted to in this song: It's simple. Music, Voice & importantly the Lyrics with a dose/tinge of sanskritism. G. Devarajan let Amma and Vayalar play around each other with their own extraordinary abilities and there was born a hidden masterpiece.

For a veteran like G. Devarajan, he chose to keep his orchestration simple, nothing complex or out of the ordinary, but yet very creative - an atmospheric ambience. However what astonishes me is the way he had extracted the essence of nectar from our Ma’s voice word by word & syllable by syllable (audibility-diction-clarity). She carries the weight of the song on her shoulders. One is blown away, the way she croons "Mundhiri Paathramo" or "Priya Manoraadhyame" or "Hemantha Rathri" or "Kamukha Manthramo" or "Moorgha Soundaryame" or "Vidhyadhara Sthreegal" or "Maahendra Neela Ratnangalum". Oh boy, how did she get them right everytime? Once Vayalar's words passes through Ma's vocal chords, they acquire a special tonal significance (reverberations).

How can we ever repay this Ma Saraswathi for her contributions? Never.....we will always be indebted to her.

Some may argue that G. Devarajan’s measured tempi may be a little bit slow. But he shows his meticulosity in this recording by showcasing all of Vayalar’s poetry and Ma’s trance like vocals making it nothing less than magical.

At the end of last charanam, the music stops and Ma recites the pallavi - this is one of the composition’s most touching moments. Suffice it to say that Ma ultimately sings well and brings this piece to a melodic and affecting conclusion.

I don't know what else to say except that all the cosmic elements are here. Every component of the recorded cinematic experience - composer, lyricist, musicians, and a songstress with an ultimate divine voice - exercising mastery at world-class levels. If one cannot appreciate the genius (s) of these three, there is something stubborn inside us. It feels like listening to Puccini’s “La Boheme”…all over.

Now, you know what to do……..Try to recall Ma’s feelings, sincerity and intentions in her rendition.

Koti Pranams to Ma Saraswathi Susheelamma

"Malargal Nanainthana Paniyale" - Idhaya Kamalam (1965)

Author: Vicky Iyengar

Composition Extraordinaire & Voice Immortal

Series - 1

"Malargal Nanaindhana Paniyale" (Idhaya Kamalam- 1965), Voice: P Susheela & Composed by K. V. Mahadevan

                              

A Beautiful Aria with orchestral accompaniment set to tune in Raga Mohanam by Swara Brahma K V Mahadevan.

K V Mahadevan's conducting is rather on the slow side, with plenty of orchestral detail but with a good deal of dramatic drive as well. He sure does emphasize the sheer beauty of the score, but that works marvelously in tandem with Amma's signature voice - depth, clarity, balance, presence, dynamic range. In every respect,

Ma's voice suits the character with the right blend of vocal equilibrium and she is simply beyond comparison. I vividly recall this song as this one really touched my heart and relaxes my soul whenever I am down. The pallavi and charanams are wonderfully sung by Amma in her usual style and with emotional connection under KVM's baton.

Who wins in this race? Undoubtedly it is our beloved Ma Sarasawathi Susheelamma. The opening prelude sets the mood of the song with the perfect orchestration. Then comes Amma with her voice ripe, full and with vigor, right from the entrance to Pallavi and it flows like liquid sunshine. Amma's diction & Phrasing is phenomenal and makes this song truly delightful. This composition will outlive us all.

Just listen to 2nd Charanam "Iraivan Murugan Thiruveetil En Idhayathinaal oru Vilakketri" and that's where I melted like a Candle. The "eee" sound with which she ends the lines is so pronounced, it leaves you awestruck and only Amma and Amma alone can make that line memorable. You will hear her at her peak (1965) and absolute prime when those ringing high notes just take your breath away in this song and no one else not now and ever can come closer to this ultra perfect rendition.

I have to confess that once her voice stopped crooning, I could feel a hardened salty drop of tear after a few minutes. Susheelamma is a gift to Tamil Cinema as Maria Callas was to Italian Opera. She truly is a legend and an inspiration to upcoming singers. Now sit back with closed eyes and enjoy this best ever collaboration of Amma & Swara Brahma and don't bother to try to seek out blemishes....there absolutely are none.

Koti Pranams to Ma Saraswathi Susheelamma.