"Inba Kanavondru Naane" - Vanjikkottai Vaaliban (1958)

Author: Vicky Iyengar

Composition Extraordinaire & Voice Immortal

Series - 6

"Inba Kanavondru Naane” (Vanjikkotai Valiban - 1958), Voice: P Susheela & Composed by Chitalkar Narahar Ramachandra (C Ramachandra)

A Gypsy Composition & Ma’s Immaculate Rendering

Produced by Gemini’s S.S. Vasan, this Film needs no introduction. I am sure many of you would watched the film especially for the famed dance sequence by Actress Padmini & Vyjayanthimala song “Kannum Lannum Kalandhu” (written by Kothamangalam Subbu)choreographed by the famous Hiralal and the catch phrase “Sabash Sariyaana Potti” mouthed by Villian P.S. Veerappa is still popular today. Film Historian Randor Guy mentions that the song was regarded as the best dance sequence in Indian cinema till date. The movie is remembered for the mentioned dance sequence choregraphed by Hiralal, technical brilliance and excellent music by Chitalkar Ramachandra. The film was inspired by the famous 1844 novel “The Count of Monte Cristo” and was remade in Hindi as “Raj Tilak” with the same crew. The film was one of the successful Tamil films of 1958 along with films such as Nadodi Mannan & Uthamaputhran.

Chitalkar Ramachandra was considered a renowned music composer in the annals of Indian Cinema. How can one forget “Mere Piya Gaye Rangoon”, “Yeh Zindagi Usiki Hai”, “Kitna Haseen Hai”, “Mehfil Mein Jal Uthi”, “Dekhoji Bahr Aayi”, “Balma Bada Nadan”, “Ina Mina Dika”, “Aadha Hai Chandrama” or the very famous patriotic song “Aye Mere Watan Ke Logo” composed by him. He was widely credited for introducing Rock Rhythms, Alto Sax, Harmonica, Guitar, Oboe and Trumpet in his compositions.

The highlight of the movie was its music by Chitalkar Ramachandra with lyrical support from the famed Kothamangalam Subbu, who was a permanent staff at Gemini. The soundtrack consisted of 8+ songs and sung by P. Leela, Jikki Krishnaveni, C.S. Jayaraman, Seerkazhi Govindarajan and our own P. Susheelaamma. While P. Leela was the predominant singer, Jikki and Amma had their share too. The songs were “Amma Amma” (CSJ), “Ethanai Kelvi” (P Susheela) , “Inba Kanavondru” (P Susheela), “Raja Magal “ (P Leela), “Kannum Kannum” (P Leela & Jikki), “Vennilave Vennilave” (P Leela), “Vetrivel Veeravel” (Seerkazhi Govindarajan), All of them were Chitalkar’s original compositions.

Ma had the opportunity to sing a rare unheard piece, “Inba Kanavondru” & Ethanai Kelvi” (for Padmini) in the movie. But the songs were not as popular as “Kannum Kannum Kalandhu”. I picked one of my favoritesfrom the movie that is “Inba Kanavondru”. Believe me, not a day goes by without me thinking “Would the Kannum Kannum song be different had it been rendered by Amma and Jikki? I bet it would be. One may be aware of the song “Mannulagellam Ponnulagaga” (Padmini-Ragini) from the 1958 movie “Uthamaputhran” rendered by Jikki and Amma composed by G Ramanatha Iyer. They form quite a good pair. There is also another composition rendered by the same pair in a 1956 Telugu movie and the song is titled “Chandamama Rekkalam” composed by Susarla Dakshinamurthy.

The mentioned composition had a sort of Gypsy Eastern European flavor to it, I thought. The quality of the recording is outstanding for that period. The preludes, heavy violin interludes and the orchestration winding down with a harmonica infused conclusion were in the usual Chitalkar style. The song is so brilliantly done and makes me wonder why this piece was not quite popular. It should have been. I leave that to Chitalkar, the wizard.

What was Ma’s contribution in this breezy Gypsy number? Listen carefully and one can figure this out quickly, it is the unique amazing control of vocals, beautifully expressive - putting the required feelings for her mysterious man without overdoing it. You can really feel every word “Ennenavo Seivatheno Nenjam” in this song and for Padmini as well. She really tells the story of that song. Not everyone can accomplish that. The phrase “jamtharijam” - usually phrases like these are mouthed by the background choir singers. But Chitalkar for unknown reasons to us had Ma deliver that particular portion initially and later on backed by the choir. The choir behind her is just beautiful. Isn’t it rare?

In the first charanam “Nesathinale En Nenjai Izhandhen” she gets higher, she goes right into her head voice with no problems. Then she gets down into her lower dramatic voice “Adi Ennennavo Seivatheno Nenjam”. It is absolutely pure bliss. I must admit Chitalkar’s interpretation and Amma’s infallible sense of rhythm and tempo left a marked impression on me. This is the only song I listen to from this movie.

The second chranam - “Paal Pol Nila Veesee Kaayum En Mele..Pasum Thendral Puli pole Paayum En Mele” – Literally, no one can match her spellbinding ability to convey emotion and capture the listener. In the phrase “Kannum Kannum Pesi Ondraavadhale” - She never takes her eyes off the goal-the quality of production and vocal integrity. Look at the pacing, the way she spins the phrases without abusing it or showing of her vocal techniques unlike her contemporaries. People who are familiar with her repertoire will admit that she interprets the lyrics dramatically and no one can come close to her.

No other word to describe this song, except it is amazing and quite pleasing to the ear – “A voice without Parallel”.

Koti Pranams to Ma Saraswathi Susheelamma

Ethanai Kelvi

"Andha Chandala Gani" - Anarkali (1955)

Author: Vicky Iyengar

Composition Extraordinaire & Voice Immortal

Series - 5

"Andha Chandhala Gani” (Anarkali - 1955), Voice: P Susheela & Composed by Penupathruni Adinarayana Rao

The Seduction Begins & Ma’s Shruthi Perfect Rendition

Anarkali (Produced by Anjali Pictures) is a 1955 Telugu romance film based on the love story between Prince Salim and Anarkali courtesan in Moghul emperor, Akbar. Anjali Devi as Anarkali, ANR as Salim, S.V. Rangarao (Akbar), Kannamba (Jodhabai) and Nagaiah (Raja Mansingh) gave dignified portrayals. Surabhi Balasaraswati played Gulnar. The Film was directed by veteran Vedantam Raghavaiah. The movie was a box office success.

Penupatruni Adinarayana Rao (1915–1991), also known as P. Adinarayana Rao was a Telugu music director, film producer, lyricist and play writer. He and noted Film Actor S. V. Ranga Rao, made their debut into the film industry with the film “Varudhini” in 1946. Adinarayana Rao wrote lyrics and composed music for two songs in that film. He wrote lyrics and composed music for two more films. Then a huge break came with the film Gollabhama (1947) directed by Chittajallu Pullaiah, in which his wife Anjali Devi made her debut. With film “Palleturi Pilla” (1950) he became a well-known and full-fledged musical director in the Telugu film industry. He was versatile in composing music, writing lyrics and stories for films, and producing movies in Telugu, Tamil, Marathi, and Hindi under 'Anjali Pictures'. Later day Composers like Satyam, T V Raju and Lakshmikant Pyarelal worked under him as Assistants.

The highlight of the movie was its music by Adinarayana Rao apart from the cast and excellent technical crew. He scored 10 songs for the movie that includes “Andha Chaandala Gani” (Susheelamma), “Jeevitame Saphalamu (Jikki) – Yeh Zindagi Usiki, “Kalise Nelaraju (Jikki/Ghantasala), “Nanu Kanugonuma” (Jikki),”Rajashekara Nee Pai” (Jikki/Ghantasala), “Ninugana Sambharana” (Jikki), “Prema Janga” (Jikki), “Anandame” (Jikki), “Ravoyi Sakha” (Jikki). Except “Ravoyi Sakha” and “Jeevitame” which were borrowed from Chitalkar Ramachandra, the rest were all Maestro’s original compositions.

As you can see Ma got to sing only “Andha Chadhala Gani”(for Surabhi Balasaraswathi) in the movie. She was entering the field like a gale force wind. But undoubtedly that song became a hit and Penupathrani was able to extract a gem from her. The composition has a Marathi flavor to it. Now to the beauty of Ma’s rendering. What can I say? Is it Ma’s Shruthi Perfect Rendition, Ease of Glide to Higher Octaves, Retention of Bhavam, Immaculate Landings or Penupathruni’s Simple Orchestration? I might be biased in rendering my judgment. So I will let the Cognoscenti decide.

This song is technically demanding. I particularly love the spontaneity of the music making (percussion section). Ma’s ability to capture the declamatory nature of much older native style regional-based music suits her perfectly. Again her manner of conveying the meaning of the words especially when singing in Telugu is simply unrivalled in this situation. “Kulasala Sarasala Kuripinchura Kushiga Vilasala” and the “Alaap” entering into “Andha Chandhala Gani Aaadharinchu” the spontaneity, the sheer magic of the moment - it is all a sheer delight from start to finish. “Andhala Anandam Andhuko Na Raja” – the recitation feels like very intimate – something to be desired. In the first charanam “ Rangaru Singaramula Rasaleela..Kongaru Sangeethamula..Natyala Bala” entering into “Chengu Chengani” phrase, experience the required tenderness and gracefulness without overdoing it. I call this the “Science of Playback”. That’s her hallmark. Enough Said.

Susheelamma has the ability to support the longest of phrases (especially the Virutham portions) on the back of a single breath all while varying the tone color, mood, equilibrium and dynamic level. Singing seems as effortless as breathing while capturing the drama and mood. In second charanam “Ranga Rangeliga Lalimpara....Kongu Bangaaruga”, I was particularly impressed with her vocal range. I replayed it at least a 100 times. She obviously possesses an extraordinarily flexible vocal instrument, an incredibly rich tone and a fluidly high range required of a Soprano.

Opera Legend, Maria Callas once said "It is not enough to have a beautiful voice. First, you must learn the music exactly as written, note for note. Then you must take the music and your voice and set to work on every phrase as if a new voice was required for each role". How true a statement.

Ma’s great gift was her ability to change her vocal color and rendition style to suit not only certain regional music be it Marathi, Oriya, Malayalam or Tulu but to get under the skin of the individual characters that is being portrayed in the celluloid. And this characteristic is amply evident here.

Finally I have never heard a voice this beautiful and if you are Amma’s fan, don’t miss out on this piece. Try once, at least for my sake. You won’t regret.

Koti Pranams to Ma Saraswathi Susheelamma

"Devi Vijaya Bhavani" - Chittoor Rani Padmini (1963)

Author: Vicky Iyengar

Navarathri Special!!!!!

"Devi Vijaya Bhavani” (Chithoor Rani Padmini - 1963), Voice: P Susheela & Composed by Gopalsamy Ramanatha Iyer (G Ramanathan)

                                    

"A Unknown Masterpiece & Breathtaking Rendition - The Legends Collaborate"   

Chithoor Rani Padmini is a 1963 Tamil historical fiction written by C. V. Sridhar & Elangovan (Kannagi, Sivakavi) and directed by Chitrapu Narayana Murthy (Ethirparadhadu, Annayin Aaanai, Bhaktha Prahalada). The film starred Sivaji Ganesan and Vyjayanthimala in the lead roles with K. A. Thangavelu, M. N. Nambiar, T. S. Balaiah, T. P. Muthulakshmi and Kumari Kamala in supporting cast. It was produced by R. M. Ramanathan of Uma Pictures. The film's soundtrack was composed by the late Isai Medhai G. Ramanathan.

While cinematography was handled by R Sampath, the dance sequences were choreographed by the famous Nattuvanar V. Muthuswami Pillai. Some of his filmography includes Devadasi (1948), Vethala Ulagam (1948), Inbavalli (1949), Rattakkanner (1954), Malaikkallan (1954), Akki Ramudu (Telugu, 1954), Koondukkili (1954), Doctor Savitri (1954-55), Marma Veeran (1956), New Delhi (Hindi, 1956), President Panchaksharam (1959), Kann Thirandadu (1958), Parthiban Kanavu (1960), Irumbuthirai (1960), Baghdad Thirudan (1960).

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.

Drawn from personal memory, a few compositions I could remember from this movie are “Parthukondirunthale Pothum” & “Oho Nila Rani” (Seergazhi Govindarajan), “Chittu Sirathathu Pole (Seerkazhi Govindarajan & P Susheela), “Devi Vijaya Bhavani” (P Susheela). Please refer to the film’s title cards for information about other additional singers, if one happens to get hold of the movie. In this flick, Ma had the opportunity to contribute 2-3 songs (my assumption) “Chittu Sirithadhu Pole” and the mentioned song which is a rare masterpiece and was not quite popular.

“Devi Vijaya Bhavani”, brought back many memories of discovery, visual aspects (choreography) of performance by Vyjayanthimala (Navarasa Bhavam) astonishment and divinely pleasure. Two genius(s)collaborated in this masterpiece. The uncanny brilliant orchestration that circumbulates Ma ‘s vocals, especially the percussion portions in prelude and interludes makes you awestruck. An extraordinary continuum of musical pattern emerges as it nicely intertwines with Ma’s heavenly bhrigas. Another gem by G Ramanatha Iyer that Ma Saraswathi Susheelamma only could sing. Enough said.

Now let us begin to enjoy the song and its nuances. When Ma starts the pallavi “Devi Vijaya Bhavani......Characharam Thozhum Thaye Kalyani”, you know that she becomes the sole saviour of this song and does the heavy-lifting for G Ramanatha Iyer’s soulful tune. That is what a singer is supposed to do and not otherwise (vocal casualty). See how dutifully she executes that line as taught by the one and only Isai Medhai (a great rapport between the teacher and the taught).

Then comes the first Charanam with extended bhrigas and perfect landings. “Nenjil Kovil Kondai..Unayae Naan Thanjamaagha Adainthen.” Listen to her God-blessed voice; just how she is able to achieve those vocal lines that are nearly impossible with ease is perhaps god's gift to her. Again Ma’s beautiful and distinctive tone, flawless vocal dynamics in this Bhakthi laden song is at full phenomenal display. “Malargindra Vaazhvile Nilayana Sowbaghyam....Pongave Kulam Vilangave..” Her voice soars, floats, paces and radiates divine brilliance. Sometimes, Ma reminds me of the Norwegian Kirsten Flagstad (a great Wagnarian Soprano).

The second Charnam establishes her superiority over her contemporaries, with her diction intact-simply superb. “Bhuvanam yaavum Bhoga Vaazhvu Perave...Himaya Raajan Madi Meethilethavaznthu Paramporuludan Inainthhu Leelai Purindhe”. It demands every combination of vocal skills. Besides having a voice that is supreme in beauty and clarity second to none, she has such mastery over the Carnatic Raga "Subhapantuvarali". There is no better display of ravishing tone, lightening fast bhrigas, and a magnificent rendition than this line.

“Kaliyaagi Mahishanin Udal Pilandhu Vijaya Narthanam Aadiye..Uyirgelellam panindhu Thudhi paadave....Aadai Thangiye Karu Valarthidum Amara Mangala Nayagi.” The technique to jump two octaves like that and she doesn't even have to slide.

“Un Thiruvadi Ninaindhorku Kurai Yedhamma”(bhriga extension),... my eyes became moist especially with the ending “Sakala Sidhiyum Manam Kanindhu Arul Uma Maheswarai” (bhakthi).

I call this voice “highest magnitude of transcendental beauty”. I don’t think in our lifetime, we will ever hear a perfect voice like this.

Koti Pranams to Ma Saraswathi Susheelamma

"Kondagali Thirigindhi Gunde" - Uyyala Jampala (1960)

Author: Vicky Iyengar

Composition Extraordinaire & Voice Immortal

Series 11

“Kondagaali Thirigindhi Gunde” – (Uyyala Jampala - 1960), Voice: P Susheela & Ghantasala Venkateswara Rao & Composed by Pendyala Nageswara Rao

In the Waters Vast Expanse, Arudra’s Poetic Verses! - An Aphoristic Melody with Ghantasala & Legendary Vocal Remnants of Ma Saraswathi Susheelamma!

Uyyala Jampala (1960) was a Melodrama produced by Anupama Films – G Veerabhadra Rao and had Kongara Jaggaiah & Krishnakumari as the main lead with Gummadi & Chalam in supporting roles. The Musical Score was composed by Pendyala Nageswara Rao with lyrical support from Arudra & Kosaraju. Hailing from Vanukuru, Vijayawada in Andhra Pradesh, Pendyala learnt to play the “Harmonium”, while accompanying his father, Sitaramiah to Stage Dramas. In the early 1930’s he played the characters of Jambavathi, Rukmini & Narada “Tulabaram” a mythological stage play along with Jonnavithula Seshagiri, Rushyendramani, Lakshmirajyam and got rave reviews.

It was the yesteryear actress, the legendary Pasupuleti Kannamba’s Producer-Director husband Kadaru Nagabhushanam who spotted the young Pendyala’s talent and asked him to join his orchestral team as an Assistant headed by S. V. Venkataraman (“Meera”, “Manohara”, “Singari”, “Kodeeswaran”, “Irumbuthirai”) & S. B. Dinakar Rao (“Tingu Ranga”), the duo were then composing the musical score for the Telugu Film “Thalli Prema (1941). Later he was hired by Gudavalli Ramabrahmam to work for “Mayalokam” (1945) as Harmonist & Arranger under the lesser known composer Gali Penchala Narasimha Rao. However, it was the acclaimed Director, Producer & Cinematographer Kovelamudi Surya Prakash Rao (K. S. Prakash Rao) who signed the young and promising Pendyala as a Independent Composer for his film “Drohi” (1948). Thus began the illustrious career of Pendyala, who went on to score music for 100 films (Modhati Rathri, Kannathalli, Jyothi, Menarikam, Donga Ramudu, Muddu Bidda, Bhagya Rekha, M.L.A, Sri Krishna Garadi, Jayabheri, Uyyala Jampala, Bhatti Vikramarka, Mahakavi Kalidasu, Sri Venkateswara Mahathmyam, Vagdanam, Mahamanthri Thimmarasu, Kula Gothralu, Sri Krishnaarjuna Yuddham, Ramudu Bheemudu, Sri Krishna Thulabaram, Bandipotu Dongalu, Ananda Nilayam, Bhoomikosam, Deeksha, Suprabhatham, Chanakya Chandragupta & Priya Bhandavi to name a few) over a span of 21 years and gave some memorable hits including the mentioned song.

Composer Pendyala was also officially credited (in 1952) for introducing our own Susheelamma as a playback singer for the Telugu film “Kanna Thalli”which was also incidentally directed by K.S. Prakash Rao. But evidence indicate that our Gana Saraswathi Susheelamma had already recorded a duet “Jaya Jaya Sri Malvaraja Kulamani” with A V Saraswathi for the film “Adhrusta Deepudu” (1950 – HMV/Columbia N28781) & in “Sri Lakshmamma Katha” (1950 – A Short Verse) for the legendary C. R. Subburaman which was confirmed by Susheelamma in an interview to the National Daily “The Hindu” a few years back.

The soundtrack consisted of 9 songs voiced by Mangalampalli Balamuralikrishna, Ghantasala, P Leela, B Gopalam (Azhagar Malai Kalvan), Jamuna Rani & P Susheela. The songs are “Etaloni Keratalu” (M Balamuralikrishna), “Nilone Ughe”(P Susheela), “Amdala Ramudu” (P Leela), “Umgaral Juttu Vadu” (P Susheela), “Rukminamma”(P Susheela), “Kondagali Tirigindhi” (P Susheela/Ghantasala), “Dachina Dagudu Valapu” (P Susheela & Ghantasala), “O Poye Poye” (Ghantasala), “Kayam Dadu” (Jamuna Rani/B Gopalam).

Pendyala, the mystical composer unhesitatingly chose his favorite songstress during the golden era to render these solo-duet compositions knowing that he would reap the benefits of her repertory – melodic nuance, deep haunting vocals, sterling musicianship and dedicated performance.

One of the finest songs with aphoristic tinge, Arudra’s vivid poetic imagination takes us on minimalist musical ride in a “Padava” (boat) – an astonishing scenic journey to the coastal waters of the Andhra Pradesh and quaint country towns. We get to smell the aromatic and intoxicating fragrances of “Mogali”(Kerwa Flower) & “Naagamalli” (Long Stem Jasmine), have a glimpse of “Pallupitta” (the Indian Blue Jay), and witness the nearness of the distant moon on a daylight sky (Patta Pagalu Siri Vennala Bharatha Natyam Aadindhi).

Though, the weight of the song undisputedly rests on Ghantasala’s vocals, it is the foundational & mesmerising trance-like alaaps of Susheelamma (especially the vibrato portions) that ably support the interludel woodwind columns sways us to explore the sub-continental coastal landscape. Now you know why Pendyala cherry-picked her – the sheer radiance in her voice! Comparisons in a Duet can be interesting – sometimes...

Let us Begin the Ride.....

Kondagaali Thirigindhi, Gunde Uusulaadindhi
Godaavari Varada Laaga Korika Chelaregindhi...aaaaa

Puttamiidha Paalapitta Pongipoyi Kurikindhi
Gattu Meedha Kanne Ledhi Ghamntu Lesi Aadindhi
Patta Pagalu Siri Vennela Bharata Naatyam Maadindhi..aaaa..oooo...aaaaa
Patta Raani Letha Valapu Paravasinchi Paadindhi

In both the first & second verse of the Poem, the melodic part starts incrementally, combining atmospheric vocals of Ghantasala and high pitched melodic sound (Alaap) of Susheelamma for the most part - intertwined for a woodwind pattern. Hear Susheelamma’s short progressive (flute-like melody sort of overtone) vocal dance in “Patta Pagalu Siri Vennela Bharata Naatyam Maadindhi..aaaa..oooo...aaaaa” that captures the essence of Arudra’s verse!

Kondagaali Thirigindhi, Gunde Uusulaadindhi
Godaavari Varada Laaga Korika Chelaregindhi ...aaaaa...aaaaa..aaaa..

Mogali Puulu Vaasanatho Jagathii Murisi Poyindhi
Naagamalli Puulatho Nallani Jada Navvindhi...ahhhh...ahhhh....ahhh
Paduchu Dhanam Amdhaaniki Taambuulamichindhi....aaaaaa.....aaaaa....aaaaa (ending with Susheelamma's vibrato)
Praapta Munna Theeraaniki Padava Saagi Poyindhi

What makes this song so valuable – Firstly, profound, well-balanced & innovative composition and Secondly, is the singing of Susheelamma – resplendent & beautiful. Unfortunately for us, voices like this just aren't around any longer!

Kondagaali Thirigindhi, Gunde Uusulaadindhi
Godaavari Varada Laaga Korika Chelaregindhi....aaaa....aaaaa.....aaaaa

Susheelamma sculpts this song like a master craftsman each time ending in unison with Ghantasala’s vocals. In the end, it was Susheelamma’s voice that made the Indian Blue Jay jealous of her: clean, pure, with perfect intonation and just enough interpretive Alaap to make the composer’s message ring true. And the composers—all of them—loved her. Susheelamma respected the lyric in its true naked sense. Susheelamma—this graceful, legendary professional artist—sang so, so beautifully. See and hear for yourself via this clip. It speaks volumes of her vocal properties & unsurpassed interpretations.

Koti Paranams to Ma Saraswathi Susheelamma!