Down Memory Lane with G.K.Venkatesh
Today is the birth anniversary of the great composer G.K. Venkatesh, sadly forgotten in the swirling mists of time. Let us make amends by reminiscing on the life and times of GKV and recalling some of his glittering works.
Gurjada Krishnadas Venkatesh was born in Hyderabad on 21st September 1927. His father Krishnadas Naidu dabbled in amateur theatre and was a good singer. The family moved to Bangalore when GKV was a child. GKV was a born talent- his musical talents were discovered at a very young age—even as a child it is said he was appreciated by the Raja of Bobbili. His elder brother GKS Pathi taught him the Veenai. Along with his brother Raghu, GKV sang in concerts as well.
They moved to Madras and sought opportunities to work in the music troupes of the great composers of the time. As an enthusiastic teenager, GKV played the Veenai for giants like S.V. Venkataraman, S.M. Subbiah Naidu and C.R. Subburaman.
GKV became a close friend of M.S. Viswanthan when they were both part of Subbiah Naidu’s troupe in the late 40s. Later they stayed in the same room in Jupiter Lodge in Madras. And when NSK offered an opportunity to MSV and TKR to compose music for Panam-1952, it was inevitable that GKV became an integral part of their troupe. MSV gave GKV a chance to sing in their very first film ‘Panam’. The song was a lovely waltz number ‘Ezhai nin kovilai naadinen’. Unfazed by the formidable stature of his co-singer- the mighty MLV, GKV rendered his lines with fetching nonchalance.
Singing was nothing new to GKV--after all, he began his career as a singer in Bangalore All India Radio even before entering films, and is also said to have lent his voice to some chorus songs in Meera when he was in SV. Venkataraman’s troupe. GKV went on to sing a few songs in later years, and always did justice to them. His voice had the flexibility to adapt to the varied moods that the situation demanded—the boisterous revelry in ‘Kannodu vin pesum jaadai’ from Kavalai Illatha Manithan, the gloomy intensity in the pathos version of ‘Vandha naal mudhal’ in Paava Mannippu, the comic nuances in ‘Kaalam seitha komalithanathil’ from Padithaal Mattum Podhuma’, the palpable dejection in ‘Kanavae kaathal vaazhvae’ from Senthamarai, the impish romance of ‘Yaen mama kovama’ (Thendral Veesum, with LRE), the irreverent shrug at life in ‘Sondhamumillai oru bandhamum illai’ (Hello Mr.Zamindar), the ebullience of romance in 'Panneer poove' ( Gnayirum Thingalum, with LRE), the rustic uncouthness in the ‘Maanathilae meenirukka’ prelude to SJ’s ‘Udhayam varugindrathae’ (Kavikkuyil)- these are some unforgettable instances where GKV startles you with the breathtaking range of his voice.
Listen to ‘Sondhamumillai oru bandhamuillai’:
GKV thus become a permanent fixture in the troupe of MSV-TKR from their very first film. He was given due credit as their assistant in the titles in their films in those early years. His undeniable talents could not be hidden under wraps for long. Even as early as 1950, GKV composed music independently for the Malayalam film Chechi. The number ‘Kalitha Kalamaya Kailasavasa ‘, sung by Kaviyoor Revamma, with its beautiful classical flourishes was an early indication of GKV’s prodigious talents. The film was later dubbed in Tamil in 1951 as Nadigai.
And though Tamil filmmakers were not yet prepared to entrust him with independent music composition, Kannada filmdom was quick to discover the spark in him, and eagerly harnessed his talents. The titles of the 1955 film Sodari starring Rajkumar (his second film) and Pandaribai had the credit for music being shared by HR Padmanabha Shastry & GKV. The following year saw GKV enjoying a stupendous success with the music of Viswakala Chitra’s Ohileshwara (stg. Rajkumar & Sriranjini). GKV also gave P.B.S rinivas a marvellous break in Kannada. (“GKV was the person who launched me as a successful singer in Kannada”, acknowledged a grateful PBS in many an interview).
GKV soon became a prolific composer in Kannada, and along with TG Lingappa and Vijayabhaskar, set new standards of film music therein. His works in Haribhaktha-1956, Anna Thangi-1958, Jagajyothi Basaveshwara, Dharma Vijaya, Mahishasura Mardini-all 1959, Ranadhira Kanteerava, Dasavathara, Sree Shaila Mahatme-all 1960, Kanntheredu Nodu (he appeared on screen to render the song ‘Kannnadada makkallella’), Kaivaara Mahaatme-both 1961, Bhoodaana, Karuneye Kudumbada Kannu - both 1962, Kanya Ratna, Gowri, Kulavadhu, Malli Madhuve, Kalitaaru Henne- all 1963, won acclaim.
GKV got an opening in Tamil in 1964 to compose music for Thirumagal Films’ Magale Un Samathu. Though the film starring Anandan & Rajasri was sent back to the cans without much ado, GKV’s songs showed the stuff he was made of. While it was the breezy duet ‘Anbil aaduthae’ by P.B. Srinivas & P.Susheela that became popular, my pick is the appealing ‘Kathai ondru naan sollava’, where Susheela’s dulcet tones paint vivid hues on GKV’s ethereal canvas:
The same year, Anandan himself produced a film under the banner Anandan Movies called Naanum Manithan Thaan, with Chandrakantha playing his pair. GKV came up with some lingering numbers like ‘Vaa vaa vaa en thalaiva’ by TA Mothi & S. Janaki and ‘Kaatru varum kaalamondru’ by PBS & S.Janaki.
The following year saw a solitary Tamil film coming GKV’s way, and that too was because it was produced and directed by the renowned GV Iyer, with whom GKV was working in a number of Kannada films. GV Iyer Productions’ Thaayin Karunai starred Kalyankumar and Vandana and was a remake of Iyer’s 1962 Kannada movie Thaayi Karulu. Listen to 'Poonthendral isai paada' sung by PBS, where Mayavanathan’s poetic lines extolling the greatness of Tamil are strung together so enticingly by GKV:
Unfortunately for GKV, these films were not commercial successes, and the merciless gates of Tamil Films were closed once again for this gifted composer. However, he continued creating immortal melodies in Kannada films, where he was much sought after by the top banners of the day. Thumbida Koda, Nanna Kartavya-both 1964, Sarvagyanamoorthi, Sati Savitri-both 1965, Killadi Ranga, Madhumaalathi-both 1966, Parvathi Kalyana, Rajshekhara, Rajadurgada Rahasya, Immadi Pulikeshi-all 1967, Jedare Bale, Manasakshi, Goa Dalli CID 999- all 1968, Operation Jackpot Nalli CID 999- 1969 are all noteworthy albums, each one of which has songs that are repeatedly listened to with pleasure to this day.
GKV pulled off a coup of sorts in 1966, when he roped in none other than the revered Pandit Bhimsen Joshi to sing for the Kannada film Sandhya Raga.
Listen to the 3 lovely versions of ‘Nambide ninna naada devathe’, the first sung by Pandit Bhimsen Joshi, the second one by Balamuralikrishna and the last version by Janaki, each one a tantalizing treat for connoisseurs.. Wondrous compositions that will bespeak of the gifted GKV for times to come…
Listen to the 3 lovely versions of ‘Nambide ninna naada devathe’, the first sung by Pandit Bhimsen Joshi, the second one by Balamuralikrishna and the last version by Janaki, each one a tantalizing treat for connoisseurs.. Wondrous compositions that will bespeak of the gifted GKV for times to come…
Here is a scintillating solo by Bhimsen Joshi from the same film:
All this time, the myopic Tamil filmmakers continued to ignore GKV and all he secured was an opportunity to compose for the Malaysian Tamil venture ‘Ratha Pei’, in which he gave an enthusiastic youngster called Malaysia Vasudevan a chance to render a song.
It was only after a long wait in 1971 that Deivanayagi Films’ Sabatham brought GKV back into reckoning in Tamil. The film starring KR Vijaya & Ravichandran was directed by P Madhavan. Listen to ‘Thoduvathenna thendralo malargalo’ sung by SPB. The song showcases GKV in his elements— the riveting prelude consisting of those dainty string bits that are repeated throughout the song, the masterful way in they are seamlessly interwoven into the fascinating interludes, while the interludes themselves are so unpredictable and enticing in their progression-- And SPB brings such a cajoling mood to the lines, that you just have to fall in love with the song- listen to his voice beam in the end, and the longing that he expresses, almost akin to a wistful sigh, in the short humming that leads back to the Pallavi. Class!
By the early 70s, GKV had acquired a cult following in Kannada. Each album of his was awaited with impatience, and every song hastened to capture the airwaves. His works in films like Devara Makkalu, Kasturi Nivasa, Naguva Hoovu- all 1970, Bala Bandhana, Taayi Devaru, Pratidhwani, Thandhe Makkalu- all 1971, Bangarada Manushya, Karmika Kallanalla – both 1972, Doorada Betta, Sampathige Savaal, Bhakta Kumbhara-all 1973, elicited rave reviews.
It was towards the last years of the 60s that GKV took under his patronage a young talented musician called Raja. (Originally Rasiah, later to blossom into Ilaiyaraja) Raja, whose soul was soaked in music, had his skills polished and trained by Dhanraj Master, an acknowledged genius. GKV recognized the innate talents in him, and admitted him in his troupe, where Raja quickly justified the trust that GKV placed in him. Another gifted musician who was assisting GKV during the same period was L. Vaidhiyanathan.
In spite of the popularity of the songs of Sabatham, GKV was not flooded with offers in Tamil. His next opportunity in Tamil came again from P. Madhavan, who had been impressed with GKV’s work in Sabatham. When P. Madhavan turned producer under his banner ‘Arun Prasad Movies’, he called GKV to compose music for his film Ponukku Thanga Manasu-1973. (Directed by Devaraj-Mohan under P Madhavan’s supervision).
The captivating creation ‘Then sindhudhe vaanam’, from this movie written by Kannadasan & sung by SP Balasubramaniam & S.Janaki is a song that ensures forever that GKV will be saluted with awe in the chronicles of Tamil film music. He repeated the tune that he had composed earlier in Kannada- ‘Haayagide ee dhina mana’ from Thaayi Devaru and he reused in again in Telugu as ‘Mrogindi Veena’ in the movie Zamindarugari Ammayi. Every bit, every note, every moment of the song is spellbinding.
With such a bewitching opening line as ‘Then sindhudhe vaanam’, that summons vistas of a rain-drenched evening…where the showers beckon the lovers…where the monsoon waves its magical wand…where the love-stricken hearts are afire with desire within, whilst all is damp and cold without, where few tremulous words of love are shyly whispered:
Nothing succeeds like success, and with the emphatic success of Ponnukku Thanga Manasu, with ‘Thaen sindhudhe vaanam’ reverberating from every corner teashop, GKV found avenues hitherto closed for him in Tamil grudgingly opening up at last. While it wasn’t as though producers were flocking at his gates, he did get some Tamil films in quick succession.
In the following years, GKV composed some noteworthy songs such as ‘Eruthamma eruthamma’ for P.Madhavan’s Murugan Kaatiya Vazhi (1974), ‘Melum Keezhum kodugal podu’ & ‘En kannirandum seitha paavam’ for Cho’s Yarukkum Vetkamillai (1975), ‘Maanikka mamani maalaiyil’ for Kovi Manisekaran’s Thennankeetru (1975), ‘Karunaikadale kaarmugil vanna’ fror L.V.Prasad’s Piriyavidai (1975) & ‘ Malarndhaal vaasam vendum’ for Gopu’s Dhayiriyalakshmi (1979). Of these, Dhairiyalakshmi, starring Jaishankar & Lakshmi and directed by Chitralaya Gopu, was also co-produced by GKV.
None of these films were big successes and GKV’s period of limelight in Tamil proved short-lived. However, it was in these years that he was the monarch of all he surveyed in Kannada. His works in films like Mayura (dubbed in Hindi as well), Dari Tappida Maga, Trimoorti- all 1975, Raja Nanna Raja, Baalu Jenu -both1976, Olavu Geluvu, Galatte Samsara, Sose Thandha Sowbhagya – all 1977, Operation Diamond Rocket-1978 all went on to become super hits.
And it was in 1977 that GKV made history by bringing Ustad Bismillah Khan all the way from Varanasi to play the Shehnai for the film Sanadi Appanna. Anandalakshmi Enterprises’ Sanadi Appanna (Dir: Vijaya Reddy, Stg. Rajkumar & Jayapradha) was based on the story of a Shehnai player, and GKV collaborated with the great Ustad to adorn the film with an alluring album that brought GKV widespread critical commendation. The song ‘karaderu kelade’ has GKV skilfully employing Janaki's vocals and the Ustaad’s Shehnai to create a classical masterpiece the likes of which film music has seldom witnessed.
Again, though he had made a mark in films like Naatakala Raayudu-1969, it was in these intermediate years that GKV made a significant impact in Telugu as well - his songs in films like Zamindarugari Ammayi-1975, America Ammayi-1976 and Tharam Marindi, Chakradhari-both 1977 elicited favourable notice.
We see him venture into Tamil again in 1979 with Pallavi Enterprises’ Malligai Mohini, featuring ‘Julie’ Vikram and Latha in the lead roles. The Mohini has long vanished into the nether world of oblivion, but the entrancing fragrance of her Malligai lingers on to this day, in the form of her songs—indeed GKV had surpassed himself here- each song is a glittering diamond. ‘Megangale ingu vaarungale’ by SP Balasubramaniam was played by Radio Ceylon ever so often, while the elegant S.Janaki- Poornachander duets ‘ Naan ketten deiva gaanam’ & ‘Sringara sangeethame’ found frequent air time as well. The 2 versions of ‘Oru paadalai pala ragathil’ one by S.P.Balasubramaniam and the other by Poorchander remain entrenched in our memories.
Listen to ‘Megangale ingu vaarungale’ by SPB:
GKV was one of the 5 composers for his friend A.L.Raghavan’s 1980 film ‘Kannil Theriyum Kathaigal’, and the song that he composed ‘Naan paartha rathi devi enge’ did his friend proud. Sunrise Enterprises ‘Chinanjiru Kiliye’ was another 1980 film that came out with GKV’s music. The enticing ‘Vaigai neerada’ sung by Malaysia Vasudevan & S. Janaki became popular. ‘Veedu thedi vandhadhu’ and ‘Jankan pon maane’ from Pennin Vazhkkai and ‘Vethalakkiliye solladhe veliye’ from Deiva Thirumanangal were some songs composed by GKV that found mass appeal in 1981.
It was also in 1981 that he composed music for Santosh Art Films’ Nenjil Oru Mul. Inspired from Shakti Samanta’s Kati Patang, Nenjil Oru Mul starred Pratap Pothen & Poornima Jairam and was directed by Mathioli Shanmugam. GKV came out with some memorable numbers. While ‘Neraagave ketkiren’ by Deepan Chakravarthi & Vaini Jairam is a haunting duet ( reworked on GKV’s Ravivarmana Kunchada), my pick is the caressing ‘Ragam pudhu Ragam’ by Deepan Chakravarthi & SP. Shailaja which traces its Kannada origins to GKV’s ‘Raga Anuraga’ from Sanaadhi Appanna.
GKV continued to be in demand in the Kannada circuit in the early 80s and his works in films like Haavina Hede and Hanabalavo Janabalavo-both 1981, Haalu Jenu-1982, Eradu Nakshatragalu-1983 and Adhe Kannu-1985 became popular hits. However, the emergence of newcomers like Hamsalekha and Vijayanand, coupled with the sustained presence of stalwarts like Rajan-Nagendra, Upendrakumar and M.Ranga Rao saw fewer and fewer films coming his way as the decade progressed.
Chitrapriya’s Kashmir Kathali released in 1983 was GKV’s next Tamil Album. Directed by Mathioli Shanmugam, the film had Rajkumar & Rajini Sharma in the lead. ‘Azhagiya sennira vaanam’ by SP. Balasubramaniam & S.Janaki & ‘Sangeethame’ by Jayachandran & P. Susheela were delectable duets composed by GKV. Listen to the lilting ‘Sangeethame’.
1984 saw the belated release of Seshasayee Films’ Azhagu, which was years in the making. The film holds the distinction of being Nadigaiyar Thilagam Savithri’s last film. Its other distinction was, of course, Radio Ceylon’s favourites like ‘Devi vandhaal’ by SP. Balasubramaniam & S. Janaki and ‘Mounamalla mayakkam’ by Jayachandran & S. Janaki.
Listen to the forgotten ‘Mounamalla Mayakkam’, a lovely duet with GKV’s orchestral skills in full flow:
Inaindha Kodugal released in 1985 was GKV’s last film in Tamil. ‘Azhagiya malarkkodi’ sung by Yesudas & Vani Jairam was featured in Radio’s Ceylon’s Mandha Marutham parade in the evenings.
When MSV and Ilaiyaraja came together to make history in AVM’s Mella Thirandhadhu Kadhavu-1986, GKV acted in the role of Mohan’s musician father. Left with no opportunities, in 1987 he made the big blunder of turning producer, and the alarming failure of the Ramarajan-Revathi starrer Gramathu Minnal landed him in debt and despair.
Ilayaraja who had been a member of GKV’s troupe for many years before Annakkili came his way, took his Master into his fold now and GKV remained an essential element of Ilaiaraja’s ensemble till 1993, when years of bacchanalian indulgence finally took their toll. GKV made his final bow on 13 November 1993….‘Kaalam vandhadhu, kadhai mudindhu pogiren’—as the lines of his song go. I can even now remember the images of MSV, TKR, Ilaiyaraja and Gangai Amaran, all looking genuinely grief-stricken, leading the mourners.
GKV used to visit a house in my street where he had relatives. I have met him and spoken to him on a few occasions when I too happened to be at my neighbour’s house during his visits. He was bull of bonhomie, his laughter was infectious and his jokes wicked! He was the life and soul of any party and charmed all those present with his charisma.
As I have said earlier, good friend Sundar wished to celebrate the 25th year of Ragapravaham by presenting a special program. He wanted to present some not so frequently heard composers. He took 3 for himself, and allotted me 3. And in my lot fell Soolamangalam Rajalakshmi, Dakshinamoorthi Swami and G.K. Venkatesh. After I had completed my presentation on GKV, Chief Guest and eminent film historian and music scholar Shri. V.A.K. Ranga Rao was invited to speak. In the course of his speech, he said that it gave him particular pleasure that GKV was among those composers chosen. He recalled his long personal association with GKV, and said simply “He was great!”
Singer…. Music Director… Actor- GKV has left behind his firm footprints in the sands of time. ‘A highly talented composer, dynamic and imaginative in his arrangements’ said PBS, who notched up a significant tally of songs under GKV’s baton. Vani Jairam echoed the same sentiments ‘An unassuming man, he was also a technical wizard- even in his last years in IR’s troupe, he was in charge of ‘balancing’ in which he was an acknowledged expert’ she recalls.
20 odd Tamil films, and save two, all were colossal catastrophes. These were the cards that destiny dealt him, but GKV played his hand to the best of his ability, leaving behind some immortal melodies, incandescent testaments of his unquestioned talents.
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good evening sir.. do you know the contact details GKV family. I am very closely related to them (GKV uncle and family) but now lost contact (almost 30 years) when they lived in Mandavelli, Chennai . you can mail me the details and it will be very helpful.
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