Apoorva Raagangal (Rare melodies) released on 15th August 1975, was written and directed by K. Balachander. It stars Kamal Haasan, Sundarrajan, Srividya and Jayasudha, while Nagesh and Rajinikanth, in his feature film debut, play supporting roles. The film revolves around Prasanna (Haasan) who falls in love with the much older Bhairavi (Srividya) while Bhairavi's daughter Ranjani (Jayasudha) is drawn to Prasanna's father Mahendran (Sundarrajan).
Apoorva Raagangal's theme was based on a riddle featured in the Indian folktale collection Vetala Panchavimshati about a king marrying a woman and his son marrying her mother, and Vetala, the riddler asking Vikramaditya what would be their kinship relations if these couples were to beget children.
The film featured the debut of Superstar Rajinikanth. His entry scene was shot on 27 March 1975, the same day that Balachander gave Rajinikanth his name.
The Music of Apoorva Raagangal
(music Mellisai Mannar MS Viswanathan, lyrics Kaviarasu Kannadasan)
'Yezhu Svarangalukku' - Vani Jairam
The song that won Vani Jayaram several accolades. This ragamalika piece begins
majestically in Pantuvarali and the highlight of this song is the akara traversal from
lower Gandhara to the upper octave Gandhara seamlessly. To add magic, this phrase is
also decorated with frills laid out gracefully over the framework of the raga. A
remarkable piece that fully satisfies the die-hard classical music fan. Ragas Pantuvarali, Ranjani, Sindhubhairvai, and Kambhoji are expertly utilised by MSV.
'Athisaya Raagam' - KJ Yesudas
Starts off beautifully in Mahati raga and in the stanza
that begins with ‘Oru Puram Paarthaal’, suddenly shifts to Bhairavi. KJ Yesudas breathes life into these lines and the noteworthy phrase in this stanza is ‘Maru
Puram Paarthaal Kaaviri…’ — the twisty sangati connecting the dhaivata-nishadashadja deserves special mention. The anecdote goes, that MSV, wanting a novel start to the song, used a rather different scale, then on consulting legendary musician Dr Balamuralikrishna, was informed the raga in question was Mahathi.
'Kelviyin Nayakane' - Vani Jairam
A moving situational song, and the slight hint of pathos that this raga
brings out is cleverly used to build up the dramatic quotient in the movie. The bright
opening in the upper-octave Gandhara and the subsequent traversal to the Suddha
Dhaivata are stiking.
'Kai kotti siripaargal' - AR Sheikh Mohammed
An expertly crafted song, with mocking laughter interwoven, sung with great impact by AR Sheikh Mohammed. The expert picturisation by the legendary director K Balachander imparts a heightened dramatic intensity.
My latest movie song, based on ragas Mukhari and Hamirkalyani Movie: Thirumanam Enum Nikkah Starcast: Jai, Nazriya Nazim Director: Anis Composer: Ghibran Singer: Charulatha Mani, Vijay Prakash, Sadhana Sargam, , Dr.R.Ganesh Lyricist: Parvathy Producer: Aascar Ravichandran Banner: Aascar Films Pvt Ltd Label: Think Music Related Content: Notes of Peace - Raga Mukhari Joy of Hamirkalyani Charulatha's Film Songs - YouTube Playlist: Also, in "A Raga's Journey": Atana for Inspiring Valour Full of surprises - Ragas Vasantabhairavi and Begada Soothing the Senses - Raga Nilambari A Rare Treat - Raga Saramati Morning Ragas - Ramapriya and Rishabhapriya Pious Notes - Ragas Nasikabhushani and Vagadeeshwari Priya Principle - Ragas Rasikapriya and Ratipatipriya Versatile Nattai Positively Tranquil - Raga Harikambhoji Catchy and Classical - Raga Sankarabharanam Of Love and Longing - Chandrakauns and Surya Godly Gowrimanohari Kedaragowla’s Many Moods The Royal Durba...
Vaidehi Kathirunthal is a 1984 film written and directed by R. Sundarrajan, starring Vijayakanth and Revathi. The story was developed based on songs that Ilaiyaraaja had composed earlier. Released on 23 October 1984, it became a commercial success and emerged a breakthrough in 'Captain' Vijayakanth's career. The film is memorable to this day for its evergreen raga-based music by the maestro Ilaiyaraja. Abhogi ragam: T he evergreen classic ' Indraikku en indha anandame ' is an example of how a classical raga may be adapted to silver screen seamlessly and uncompromisingly. This composition of Ilayaraja is set in tisra nadai, the beat progressing in threes, making for lively listening. The singers Vani Jayaram and Jayachandran, both classically adept, cleverly navigate through the sangatis in “kanavugalin suyamvaramo”, gently swaying the Gandhara towards Madhyama and back. Chandrakauns ragam: Ilaiyaraaja has explored this raga to its fullest in ‘ Azhagu Malar ...
Dear Rasika, The wonderful thing about Ragas in the Indian Classical music system is that they are unique, and each one of them have something that is typically only associated with them, that which is irreplaceable. It is easy to fool an average listener in a little game of "Identify the raga" in a post-dinner Carnatic music party, and chuckle as he identifies a Sri raga as a Madhyamavati or a Pharas as a Mayamalavagowla..but how many of us self-confessed aficionados of this great system really have a fool-proof method of unambiguously identifying, each time, every time, the raga correctly? I doubt very many of us do, and this includes the smug critic or the know-it-all mama-mami duo next door. Lets face it - there are many factors that go into identifying a raga - the musical intelligence of the person who is playing or singing in the specimen recording, the level of sophistication of the music system, the extent of deafness of the listener or the lack of it, peer pressur...
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