மலர்ந்தும் மலராதவை # 27

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை # 27

ஓலை தாங்கிச் செல்லடி....

Let us, in this edition of மலர்ந்தும் மலராதவை, listen to a song recorded in 1974 for a movie that was never released. It is a song composed by a music-director of yore who enriched Tamil Cinema with some unforgettable songs, yet remained obscure …..

First some questions…. Most of us would have heard of ‘எதிர்பாராதது’, the 1954 Sivaji starrer, the unusual story written by Sridhar and even remember the two alluring versions of ‘சிற்பி செதுக்காத பொற்சிலையே’, but do we recall the name of the composer behind the songs?

Many of us would have seen or most certainly listened to the stirring songs that the great T.R. Mahalingam rendered in his last outing as the lead player in the 1972 movie ‘திருநீலகண்டர்’, but how many of us know the man whose hand held the baton for the magnificent album?

Composer Veda worked as his associate for some years and learned the nuances of music composition before branching off on his own. T.K. Pugazhenthi, before teaming up with KVM, worked under him for a few years. Shyam commenced his film career as a violinist under him. B.A. Chidambaranathan was part of his ensemble.… No other composer had harnessed the dulcet vocals of (Radha) Jayalakshmi with such spectacular results in film music as him….

The composer I crave your indulgence for today, Ladies & Gentlemen, is C.N. Pandurangan (credited in some movie titles as C.N. Pandurangam).

* * * * * *

Enchanted by his compositions in திருநீலகண்டர், I commenced my search for other works of CNP. Over a period of some years, I managed to collect songs from most albums of CNP, including some truly elusive ones. However, I could not gather much information on the man himself. This was in the mid- late 90s; with the entire state in the spell of the young Rahman and his magic, no one could or was inclined to search for the elusive trail of a little-known composer of a bygone era.

From a documentary on K. Subramaniam, I could get some insights on CNP who was involved in the music of some of the movies of KS. CNP is even said to have acted in minor roles in a few silent movies of the 30s. I have heard PBS mention CNP with great respect. A journalist/writer who shared my passion for film music had met CNP’s daughter and was able to give some information on the antecedents of CNP. During our meeting with Shyam and in subsequent conversations, I got to know further details of CNP and his humongous talents. A Kannadiga friend and a great enthusiast of old film songs could throw some more light on CNP, when I was talking about CNP’s works in Kannada with him. I remember reading a memoir of Vembathur Krishnan wherein he mentioned working with CNP in reverential terms.

Cuddalore Nagarathinam Pandurangan was born in 1912. His father was highly devout and even while holding a Government post, conducted religious discourses and was also an exponent of Harikatha. CNP commenced his music lessons under his father and accompanied him on the stage. He was later put under the tutelage of the legendary Chitoor Subramania Pillai (The same vocalist who taught Madurai Somu).

CNP blossomed into a fine Vainika and was spotted by the pioneering director K. Subramaniam. KS took the young musician under his fold and CNP worked under composers who were engaged by KS for his productions, such as S.V. Venkataraman for ‘Gokuladasi’. CNP’s first assignment as a music composer was the 1948 Sinhalese movie ‘Kapati Arakshakaya’ directed by K. Subramaniam. The movie was a runaway hit and CNP’s compositions sung by the famous Eddie Jayamane and Rukmani Devi became very popular. This led to CNP composing the songs for a few more Sinhalese movies in the coming years such as ‘Veradunu Kurumanama’, ‘Amma’, ‘Sihinaya’ and ‘Devasundari’.

The first Tamil movie which had songs composed by CNP was ‘காமவல்லி’ (1948). Despite some good classical songs written by Papanasam sivan and rendered by Nagercoil Mahadevan and S. Varalakshmi, CNP was not flooded with offers. Remember, the late 40s were the years when the great G. Ramanathan was gradually consolidating his position to emerge as the top-ranking composer of the 50s. The young prodigy C.R. Subburaman was charting an exciting course of his own. Prudists swore by the impeccable credentials of S.V. Venkataraman. R. Sudarsanam was perched comfortably as the in-house composer of AVM. Gemini Studios had their own orchestra headed by the likes of Saluri Rajeswara Rao, Hanumanta Rao, Eemani Shankara Shastri & M.D. Parthasarathi. S.M. Subbiah Naidu was patronized by production houses such as Pakshiraja and Jupiter. The songs of the movies produced by Vijaya-Vauhini and other Telugu/Tamil bilinguals were entrusted to talented composers such as Ghantasala, Pendiyala, A. Rama Rao and Master Venu. And as the 50s rolled on, there were gifted composers such as T.G. Lingappa, K.V. Mahadevan, Chalapathi Rao, T.R. Papa and MSV-TKR who entered the fray. The 60s, of course, is only a story too well known, of the monarchs MSV-TKR and KVM.

Bereft of any regular patronage, the talented CNP found only few assignments come his way. The following is the list of Tamil movies that I could trace for which CNP composed music. There could probably be some more:

1. காமவல்லி (1948)
2. ஸ்ரீ கிருஷ்ண துலாபாரம் மற்றும் நவீன வள்ளி (1948)
3. கீத காந்தி (1949/ with Brother Lakshmanan)
4. என் தங்கை (1952)
5. மாமியார் (1953)
6. குமாஸ்தா (1953/ with G. Ramanathan & V. Nagiah)
7. எதிர்பாராதது (1954)
8. என் மகள் (1954)
9. போன மச்சான் திரும்பி வந்தான் (1954/ with MSV)
10. மேனகா (1955/ with Veda)
11. வாழ்விலே ஒரு நாள் (1956/ with SMS & T.G. Lingappa)
12. வெறும் பேச்சல்ல (1956)
13. புது வாழ்வு (1957/ with G. Ramanathan)
14. பூலோக ரம்பை (1958)
15. பாண்டித்தேவன் (1959/ with Meenakshi Subramaniam)
16. மாலா ஒரு மங்கல விளக்கு (1959)
17. சோலைமலை ராணி (1960)
18. இந்திரா என் செல்வம் (1962)
19. குபேரத்தீவு (1963)
20. சத்தியம் தவறாதே (1968)
21. ரகசியப் பெண் 117 (1972)
22. திருநீலகண்டர் (1972)
23. கதவைத் தட்டிய மோகினிப்பேய் (1975)
24. வெற்றித்திருமகள் (released belatedly in 1978)

Only 24 movies spread over a period of 30 years! And in many of them, CNP got to compose only some of the songs while other composers worked on the rest. Many of the movies were commercial failures. Yet even in this few albums, CNP shows his erudite classical roots, technical finesse, inventive arrangements, uncanny grasp of the mood and sequence, astute pick of a variety of singers….

Have you listened to the rich timber of P.A. Periayanayaki soar like a bird yonder in ‘மனமோகனதாஸ் காந்தி’ (கீத காந்தி)? Or have you nodded your head in joyous celebration of the two alluring T.A. Mothi- P.Leela duets ‘காதல் வாழ்விலே' and ‘ஆடும் ஊஞ்சலைப் போலே’? (என் தங்கை)? How much value addition do the 2 varied versions by Jikki and Raja of ‘சிற்பி செதுக்காத பொற்சிலையே’ bring to the motif of ‘எதிர்பாராதது’? Does the great S. Varalakshmi leave you in a trance with her delineation of Bilahari in ‘சிங்கார ரூப சுகுணா?’ (மாமியார்)? Who, other than CNP, dared to summon the redoubtable MLV to render a ditty like ‘Dance Baby Dance’ (குமாஸ்தா)?! If you ever try to compile the 10 best solos of the young P. Susheela in the 50s, wouldn’t CNP’s bewitching ‘ஜீவகான வீணை நான்’ (பூலோக ரம்பை) make it to among the top numbers? How astute of CNP to pick PBS and Soolamangalam Rajalakshmi to render 'நான் பாடிய நீ ஆடு கண்ணே’ and 'நான் ஆட நீ பாடு கண்ணா’ (மாலா ஒரு மங்கல விளக்கு)! The young S. Janaki’s ‘சண்டி மிரண்டால் காடு கொள்ளாது’ (பாண்டித்தேவன்) might be forgotten today, yet isn’t it a vintage treasure to be cherished?

As for the great Vidushi (Radha) Jayalakshmi, her works for CNP would take the place of pride in her portfolio of film songs. My favorites from this rewarding collaboration are ‘கனவு நினைவாகுமே’ (மேனகா), ‘கங்காதரனே கருணாகரனே’ (Boologa Rambai), the A.M. Rajah- Jayalakshmi duet ‘அன்பான மொழிபேசும்’ (சோலைமலை ராணி) and ‘தெள்ளத்தெலிந்த தேனமுதே’ (இந்திரா என்ற செல்வம்). CNP wrought magic when he made the veteran Nagiah render the stirring ‘திருமுருகா என்று ஒரு தரம் சொன்னால்’ and ‘திருச்செந்தில் ஆண்டவனே’ (எதிர்பாராதது). How much fun and frolic is there in the Chandrababu- Janmunarani ditty ‘நீ ஆடினால் ஊர் ஆடிடும்' (பாண்டித்தேவன்)! In one of my conversations with the PBS, he confessed that the two duets composed by CNP – ‘கன்னிப்பருவம் அவள்’ and ‘இன்பம் கொண்டாடும் மாலை’ had a special place in his heart. In tune with the changing trends of the 60s, CNP could come with a dainty duet TMS- P. Susheela ‘முத்துக்குளிப்பவரே’ in ‘சத்தியம் தவறாதே’. I have listened to the title song sung by Prema & Ponnuswamy being regularly featured in Vividh Bharathi even in the 80s. I have marveled at CNP coaxing the righteous Soolamangalam Rajalakshmi to render an atypically seductive ‘ஆசை ரோஜா பாரு’ for the 1972 movie ‘ரகசியப் பெண் 117’ and carrying it off with élan! And remember wondering at the obscure Kamaladevi who rendered the scary ‘நடு ஜாமத்தில் வந்தேனே’ (கதவைத் தட்டிய மோகினிப்பேய்).

No chronicle of the magical 70s would be complete without CNP’s magnificent ‘திருநீலகண்டர்’ album. Kannadasan is said to have written 15 songs for the album, each song filled with lyrical beauty and the lines soaked in poetic metaphors… Even as the titles roll, we can hear T.R. Mahalingam’s resonant ‘நாட்டியக் கலை’. The regal splendor of TRM’s vocals is in full flow in ‘அம்பலவாணனை நம்பிய பேர்களும்’ The angst filled ‘சிவலீலை என் வீட்டிலா’ makes the listener sigh in empathy. CNP summons S. Janaki to render the forlorn, yet foreboding ‘காலையில் நானொரு கனவினைக் கண்டேன்’. Janaki matches TRM note for note, nuance for nuance in the charming duet ‘பந்தப்பாசக் காட்டுக்குள்ளே’. And P. Leela who was at the time all but forgotten, returns to render with absolute mastery the resplendent Thillana in Gowlai. A little-known K.M. Manirajan enthralls in his ‘தத்துவத்தில் நானோர் சந்நியாசி’. The movie might have not fared well, yet each of CNP’s works therein is a painstaking work of art, crafted to absolute perfection.

* * * * * *

Tamil film music chroniclers might have looked through the CNP chapter with callous indifference, but across the border, our Kannadiga brethren have enshrined the composer in a halo of reverence. ‘Bhakta Mallikarjuna’ (1955), ‘Kacha Devayani’ (1956/ jointly with Meenakshi Subramaniam), ‘Devasundari’ (1962) are albums that are hugely popular to this day. And the sparkling jewel in the crown is the musical ‘Sri Purandaradasaru’ (1967) based on the legendary saint-composer. CNP surpassed himself in this album; each song is a precious cache. Singers such as MLV, Balamuralikrishna, PBS and S. Janaki brought to riveting life the compositions making the album a connoisseur’s delight.

* * * * * *

One of my favorite haunts in Chennai for collecting old songs was ‘Stereo House’ in T. Nagar. I had got to know the kindly owner Mr. Shekhar so well that he allowed me a free run of the place. One weekend afternoon, when rummaging through a pile of records in his store-room, I came across an EP record of an unreleased movie called ‘அன்பு மகள்' (Mukkannan Movies). The year of manufacture was 1974. Imagine my surprise when I noted that the music was credited to CNP! Needless to say, I got the songs recorded at once.

Presenting today a marvelous classical composition of CNP from this ‘அன்பு மகள்’, sung by Vani Jairam. It must be among the earliest Tamil film songs sung by Vani. A year earlier, CNP had come out with a Tamil devotional album on Pandarimalai Swamigal. Besides the stirring songs sung by TMS, K. Veeramani, P. Leela and L.R. Easwari, the album also contained ‘பார் புகழும்’, a serene solo by Vani. That must have been CNP’s first collaboration with Vani, and ‘Anbu Magal’ followed.

‘ஓலை தாங்கி செல்லடி' seems to be composed for a dance sequence. The danseuse implores her confidante to carry her epistle to Lord Muruga, and convey the torment that has plagued her ever since she had fallen in love with the Lord. The seasoned CNP conjures up a marvel in Ranjini, Kalyanavasantham and Bagesri. He then sends for Vani to do the honours. Vani woos, Vani wins. She glides through the sangathis and swaras like a songbird on skiis. The lines throbbing with passion and dripping with longing could have never found a more dignified, delightful portrayal. The sensuous thus elevates itself to the sublime at the altar of CNP.

Song: Olai thaangi selladi
Film: Anbu Magal (unreleased)
Vocals: Vani Jairam
Lyrics: Sholavandhan Rajangam
Music: C.N. Pandurangan

https://www.youtube.com/watch?v=phu5Hob-gdY&feature=youtu.be

* * * * * * *

CNP and his wife Tarabai had 6 children. One of his sons, Mohanarangan was a famed flautist. CNP passed away in 1975 at the age of 63, unsung and unwept.

As mentioned earlier, it was as a violinist in the ensemble of CNP that Shyam made his entry into film music in the 50s. At my request, Shyam shared with me his heartwarming memories of CNP. When ‘Mandolin’ Pazhani first took him to CNP, CNP was in the midst of a rehearsal with his orchestra. Shyam was so awed by the sight of CNP seated at the middle of the hall, his fingers strumming the veena, with his troupe members around him playing their respective instruments in perfect synchronization that he vowed to himself at that instant that this would be his avocation and none other!

Shyam mentioned that unlike the other composers who would compose playing the harmonium, CNP would play the notes on the veena and sing the tune. He could come up with 5-6 tunes for every song and the directors would sit mesmerized, spoilt for choice. His assistant Munuswamy would then play each segment on the harmonium to the instrumentalists. CNP shared a very good rapport with all the great lyricists and singers of the time. He used to encourage the lyricists to come out with appropriate, poetic lines. And would not hesitate to amend the tune to accentuate the beauty of the lyrics. CNP was also very particular about the choice of singers, Shyam recalled, and each song would go the singer who CNP thought could do it the best justice. Let us take the 1963 album ‘குபேரத் தீவு’ for instance. At the time, the established trend was to have a single (or at the most 2) female singer(s) render the songs for all the female characters in a movie. Yet, CNP defies this with nonchalant confidence- not only he uses 4 female singers, even in the said 4, he daringly does not employ the singers who were in vogue then…. he summons P. Leela, Jamunarani, Ratnamala and S. Janaki!

“He was always encouraging and gentle with his troupe members”, Shyam reminisced. “He once introduced me to MLV as a ‘brick of gold!’ Shyam added with a chuckle that after the successful completion of every recording, CNP would escort all his troupe members to Harrisons and treat them to a sumptuous meal at his own expense. “A great artiste. A great human being. They just don’t make men like him anymore..” averred Shyam, who turned 81 last Tuesday.

It is very early in the morning as I have treated myself to this ramble down the CNP alley. In the tranquil still of the dawn, I have been listening to his compositions while writing. By a quirky coincidence, the song playing right now is the quaint ‘Good Luck! Good Luck!’ (C.S. Pandian & A.J. Ratnamala/ என் தங்கை). I can sense CNP giving a sardonic smile from above.....

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1930845630280487/