MyFavouriteSong Singara Velane Deva

 

The year was 1962. I was just six years old.  Being born and brought up in Hassan, Karnataka, which is an interior Kannada place, I never knew any other language at that time. Still I was fascinated by this Tamil film song, which they used to play over the loud speaker in a temple, nearby my house.  Although I might have heard only a few Kannada songs by then, I was convinced that this particular song is cut above the rest! The charming voice of the lady followed by the fantastic nadaswaram (a blow instrument played in South Indian marriages) and Tavil (a tala instrument like Tabla) was simply mesmerizing. But I could not follow even a single word except the initial male voice exhorting the female with words 'Paadu Shantha Paadu!'

About two years passed.  I was attending a marriage in which a team of nadaswaram vidwaans were playing.  My uncle got up and went     

up to the nadaswaram team and requested a particular song to be played.  The team obliged my uncle. A moment later I was thrilled when the nadaswaram vidwaan called me and said. 'Go to the kitchen and tell them that the breakfast should be served to us.' After their breakfast I went and stood near the nadaswaram vidwaan.  I wanted them to play my favourite song, but didn't know what to tell. The vidwaan who understood my mind asked which song?  Somehow I could remember the phrase 'paadu shantha paadu' and uttered it.  When the team started playing the song, I nodded in approval and was thrilled. My uncle who too enjoyed that song throughout, called me and hugged me in appreciation. 

Years later, my high school science teacher late Y.K.Venkatasubba Rao had discussed this song in a class. He had said that the great south Indian singer S.Janaki was shot to fame with this song, which was from a Tamil film called (Konjum Salangai, meaning enticing anklets) released during 1962.  He also said that singing in front of  high sounding and versatile instruments like nadaswaram and tavil was a big

challenge which the young singer Janaki had done admirably. The nadaswaram for the song was played by the exponent of those days K.Arunachalam under the music direction of the illustrious SM Subbiah Naidu. 

After I grew and joined my bank job, I had developed a taste for South Indian classical music too.  I had come to know that the song was based on raga 'Abheri', whose Hindustani equivalent is called 'Bhimpalasi.' I never missed the first opportunity of seeing the film in a morning show. When I saw the film again within a week, my views on my favourite song had undergone a sea change! I started feeling that the picturization of the song is cut above the song itself!

The song is picturized on the veteran actress Savithri (it was her 100th film) and Gemini Ganeshan (in fact both of them were real time couple too). Location of the song is a temple of Lord Murugu (Subramanya, the second son of Lord Shiva). When heroine will be humming the tune, the hero enters following the tune in his nadaswaram. When the shy heroine stops, hero exhorts her to continue to sing the song, with his appreciative and romantic words, 'let your voice and my nadaswaram follow each other like honey and ambrosia (amrit) and like bright moon and the cool breeze.' The arrival of the tavil accompanying duo led by the comedian K.Sarangapany sets the scene for the song. 

Although the words of the song are apparently in praise of the deity of temple Lord Muruga, discerning eyes can also find the subtle reference to the hero,  appreciating him.  Great actress Savithri is at her best in her expressions, while Gemini Ganeshan is equally good. It is a single stanza song which leads to the 'swara prasthara' (singing of various possibilities of swara (sa, ri, ga, maa.....etc) phrases, bringing out, feeling or bhava of the raga and the song) duo between the hero and the heroine.  Savithri's expressions for the singing of the swaras is probably the best part of the whole song.  Neither a professional singer nor a most accomplished dancer could have done it like her. Her body language, expression of the eyes and bhava while moving from one phrase of the swaras to the next are probably the most sublime presentations. In between her attention to complement her lover, encouraging him with appreciation is the greatest expression of love. All these within the conscious self-imposed restraint of not outperforming her lover! In between, the heroine also gets up to increase the glow of the lamp, as if it is an indication of continuation of the swara prasthara phase.  Her act of bowing before the lord while taking up the flower basket marks the 'muktaya (conclusion) phase of the swara part.' The song ends with the two singing together the 'muktaya' phase with effortless ease and mutual admiration.

The superb singing of the song by S.Janaki with her soprano voice is complemented by melodious rendering of the nadaswaram by the illustrious K.Arunachalam.  The tavil artist (I don't know who he is) too has also done a great job.  On the screen expressions of comedian K.Sarangapany on the tavil are also superb and provide the comic relief.  

This song is also a recording wonder.  Different singers and orchestra playing at different places and then blending them into one single song is no wonder in the present days.  This song probably is the first of such a kind. S.Janaki recorded her version in a studio at Bombay, while K.Arunachalam played his nadaswaram recording in a studio at Madras (Now Chennai). Later on the two versions were blended by manual cut and paste method! Hats off to the technicians of those days who have done a great job.

My Kannada friends may counter me with a similar song in the noted Kannada movie, Sanaadi Appanna (1977) wherein there is duo between the hero (on Shenhai) and the heroine (a dancer) in a temple. The shenhai part of the song is played by late Bismillah Khan the great, whereas the singer is once again S.Janaki.  The song is based Behaag and Kalyaani ragas.

Coming back to our main song, the raga Abheri is very popular raga in South Indian classical music.  Great kritis 'Nagu momu kana leni (Saint Thyagaraja) and Bhajare Manasa (Mysuru Vasudevachar) are famous kritis in this raga. Popular Kannada film hits like 'hoovu cheluvella nandeitu (Hannele chiuguridaaga, P.Susheela), Panchama veda (Gejje Pooje, S.Janaki), Viraha, Nooru, Nooru Taraha (Edakallu, S.Janaki), Hindi film hits like Naino me Badra Chaye (Film Mera Saya, Lataji), Kilte hai gul yahan (Sharmelee, Kishore) are best examples for songs based on raag Abheri (Bhimpalasi).

'Singara velane deva'......I rate this song as the best ever composed and picturized on the screen.  Of course my friends may have different views too.  Your comments are welcome.

***

Notes:

1) Cut and paste the following link for watching video of the song.

https://www.youtube.com/watch?v=kPKtm5zLgbo&ab_channel=HarikumarNarayanan

2) Thanks to my friends (former colleagues) Mr.Soundarajan and Mr.Gangadhar murthy who have provided me the English translation of the song, which is not available on the internet. Please see below.

Female : Aa…aa.. aaa….aaa…haaa…aa…
>>
>> Female : Aa…aa.. aaaa..aaa ….aa..haaa…aa…
>>
>> Male : Shantha utkaar
>
> Shantha sitdown
>> Yen paattai niruthi vittaai
>
> Why have you stopped singing?
>> Un isai endra inba vellaththilae
>> Neenthuvatharkku ododi vandha
>> Ennai yemaathaathae shantha
> I came to swim in your flood of songs and do not betray or cheat me Shantha
>>
>> Female : En isai..
>> Ungal naathasvarathukku munnaal…
>
> My song compared to your nadaswaram??
>>
>> Male : Thaenodu kalandha thellamudhu
>> Kola nilavodu serndha kulir thendral
>> Indha singaaravelan sannathiyilae
>> Namadhu sangeedha aruvigal
>> Ondru kalakkattum.
>> Paadu… paadu shantha…paadu..
> Amrutha mixed with honey
> Cool breeze mixed with full moon light
> In this Singaravelan temple or Sannidhi
> Let Our Sangeetha falls mix with each other.
> Continue to sing Shantha sing

(till here it is exchange of words)
>
>>
>> Female : Singaara velanae dhevaa
> Oh God Singaravela
>> Arul singaara velanae dhe..ae….vaa
> Oh God Arul Singaravela
>> Arul seeraadum maarpodu vaa…vaa
> With well developed chest come come
>> Singaara velane dhe..ae…vaa…
>> Singaara velanae dhe…vaa …
>
>
>>
>> Female : Senthooril ninraadum dhevaa..
>> Aaa..aa..aa..aa ….
>
> Oh dancing God in Senthur
>> Thiru senthooril nindraadum dhe..ae….vaa
>
> Oh God Dancing in Tiruchendur
>> Mullai sirippodum mugathodu
>> Nee vaa vaa …
>
> Come with smiling face
>> Arul singaara velanae dhe..ae….vaa
>>
>> Female : Senthamizh dhevanae seelaa
> Pure Tamil  great God
>> Senthamizh dhevanae see..eee…laa
>> Vinnor sirai meettu kurai theertha velaa
> Vela you have freed thevars Gods) from jail and helped them to get all
>> Arul singaara velanae dhe..ae….vaa

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