#Eelam old songs movie
#Eelam old songs pdf

#Eelam old songs movie

TMS made his debut for a successful MGR movie in 1950 – Manthiri Kumari (The Minister’s Daughter), scripted by M. The bugle voice of TMS was great for srngaram (love) and viram (heroic). Tiruchi Loganathan’s trumpet like voice was more suited for bhayanakam (horror) and raudram (fury). Sirkazhi Govindarajan’s bell-like voice also was specialized for karunyam as well as hasyam (mirth). For example, Chidambaram Jayaraman (because of his tremolo voice) came to depict karunyam (pathos) and bibhatsam (disgust) passionately. Though each of the four singers of this majestic quartet was able to express these eight rasas adeptly in any number of songs they have sung, among their fans each singer seems to have gained a speciality status in specific rasas. A rasa (Sanskrit term, which literally means ‘juice’ or ‘essence’) offers the emotional focus for an art form like song, dance and acting. Sirkazhi Govindarajan (the junior most among the four) had a voice like that of a ringing bell.Īncient Hindu performing arts recognize eight rasas. Chidambaram Jayaraman had an unusual tremolo voice. Tiruchi Loganathan (the senior most among the four) had a voice like that of a trumpet. In my subjective evaluation, I offer the following distinction. In tonal quality of their voices, all four were blessed with majesty, individuality and esthetic quality. What is common for all four among the majestic quartet was that, they were from historically recognized Hindu temple towns. Other three were identified by their native places. TMS was a Madurai native, though unlike the other three his native place name was not tagged to his name. Rather, non-Tamilians who had contributed to playback singing for Tamil movies such as S.P.Balasubramanyam, Ghantasala, and K.J. Last but not the least, for reasons known only to the authors and contributors on Tamil cinema, the authentic Encyclopedia of Indian Cinema (1999), this majestic quartet of singers have been ignored without any entries on them. As such, I have doubt that other non-Tamilian playback singers could have done justice to poet Bharathi’s poems apart from this quartet.

But, the Tamil diction of some non-Tamilian singers (especially Ghantasala) leaves much to be desired. Thirdly, all four singers by their enchanting styles in diction and delivery brought to life the poems of poet Bharathi’s substance. Even Sivaji Ganesan had then grumbled that the producers had arranged a lesser known guy for this movie to sing his songs, rather than opting for Jayaraman Pillai who had contributed to his success as the hero in his debut Parasakthi (1952) movie. Vamanan, a biographer of TMS, had reported that it was the adamant suggestion of Tiruchi Loganathan not to sing songs at a rate lower than 500 rupees per song for the Thooku Thooki (1954) movie that opened the path for TMS to offer his ‘voice’ for Sivaji Ganesan, the hero. Secondly, if not for the competence and rivalry offered by these three, TMS couldn’t have blossomed and reached the top. First, other three (Loganathan, Jayaraman and Govindarajan) had died before internet’s emergence and details about their illustrious musical careers are not readily available. I provide these details for four reasons.

#Eelam old songs pdf

I present a PDF table which I have compiled for this occasion. These three along with TMS forms the Majestic Quartet of Tamil movie playback singers. Rather than repeating what had been already presented by others, in this remembrance feature, I make an attempt to compare the career of TMS, with that of his three equally adept contemporaries, namely Tiruchi S. His death on May 25 th Saturday generated numerous elegies to him in the media. Thanks to his long life, TMS invigorated, entertained and soothed three generations of music fans. If a Tamilian is asked to name a singer of Tamil songs, Tuguluva Meenatchi Iyengar Soundararajan (1922-2013, popularly known as TMS among Tamils) is the name which springs in the mind of millions of Tamils. Only after the Tamil movies came to adopt Bharathi’s compositions in 1948, his poems were made popular by the singers who provided the form. But, they were not popular during his lifetime and he died in penury. Good examples were the poems of Subramanya Bharathi (1882-1921), the foremost Tamil poet of the 20 th century. But, it is the singer’s voice (and to an equal extent the music director or the one who arranges the score) who offers the form for those poems or lyrics. Poets or lyricists provide the substance to their poem or lyrics. Soundararajan The Pole Star among the Tamil movie singers’ Majestic Quartet