"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!

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!