Alaipayuthey Kanna Original Song Mp3
Hilma Kolin
Alai Payuthey is the soundtrack album, composed by A. R. Rahman, to the 2000 Indian Tamil film of the same name. The soundtrack album consists of nine tracks from the original Tamil version of the album, whereas the Telugu version has seven tracks. The soundtrack of Alaipayuthey was unanimously hailed as a Mani Ratnam film soundtrack turning for rhythmic fusion using modern synthesizers. A film, initially planned with film score, eventually took place.
The soundtrack was well-received by audiences and received a number of awards the subsequent year.[1] The original soundtrack sold over six lakh cassettes, and A. R. Rahman won the Filmfare Award for Best Music Director in 2000.[2][3] The film score achieved cult status after the release of the film.[4]
Initially, director Mani Ratnam wanted A. R. Rahman to compose only the film score. However, by the end of filming, nine songs were recorded.[5] The lyrics of the track "Pachchai Nirame" are based on colours.[5] The track is influenced by the instrumental works of Kitaro. The song is based on the raga "Kharaharapriya" and brings out the relaxing effect by using the facets of the musical scales.[6] Cinematographer P. C. Sreeram used different color lenses as per the lyrical lines while filming this track.[7] The song uses reverberating effect throughout its length.[1] However, Rahman used light percussion, gently strummed acoustic guitars and layered the acoustic and synthesized versions of the same instrument.[1] Additionally, the track has sounds of flute, violins and percussions.[1] For Pachchai Nirame, Rahman ensured to use the timbres effectively[1] so that the picturisation of the song matches to the tune. The track was filmed at Taj Mahal, village, lake, forests of Kashmir.[1] The track "Snegithane Snegithane" is an ode by a wife to the husband. The track is based on the Shringaar rasa.[5] "Snegithane Snegithane" has a video edit version, with additional opening vocals by Ustaad Rashid Khan. The video edit version was released only as a bonus track on the soundtrack and cassettes of Alaipayuthey (Original version) and not on Sakhi (Telugu dubbed version). However, the video edit version was used in all the three film versions. "Kaadhal Sadugudu" consists guitar riffs, based on the IndiPop[8] and coming of age genre.[5] The song was regarded as 'Beach Song' by Ratnam.[9] The track "September Maadham" is a funky[8] track, loosely based on fast-paced R. D. Burman music.[5] "Yaaro Yarodi" is a rustic number that blends of folk instrument sounds appearing intermittently.[5] The track was used in the 2008 film The Accidental Husband.[10] "Maangalyam" song consists of nuptial mantras interspersed with lyrics of "Endrendrum Punngai".[8] The title track "Alaipayuthey" was originally composed by the Carnatic music composer Oothukkadu Venkata Subbaiyar, who also set it to the raagam 'Kaanada'.[5] Rahman added additional beats to the track.[5] The track "Evano Oruvan" which has an Egyptian base to its composition.[5]
Singer Bombay Jayashri recorded for the film score. Rahman made her sing the raag Sindhu Bhairavi for half an hour whose portions were used in a scene when the lead actress was hospitalized in the film.
All lyrics by Vairamuthu, except track "Alaipayuthey", written by Oothukkadu Venkatasubba Iyer and rap portion of "Endrendrum Punngai" written by Praveen Mani.[15] The order of track listing is according to the music cassette or soundtrack CD. The order of tracks in the listing differs in the digital download websites.
While he has rightfully been acknowledged as one of the greatest composers on Krishna,[5] Venkata Kavi composed hundreds of pieces on other deities too. Several pieces also reveal his humility, reverence for the great personalities before his times, and the high state of bliss that he probably experienced almost ceaselessly.[6] His works scarcely contain autobiographical notes but show that he had reached great spiritual and philosophical heights. Deeper studies have dispelled myths about some of his compositions such as, for example, "Alaipaayude kannaa" (raaga: Kaanada) being autobiographical.[7] They have also shown that this and numerous other pieces on Krishna in lilting Tamil were parts of an opera based on the Bhaagavatam. His works also reveal the proximity and deep devotion that he felt towards Krishna.[8]
Venkata Kavi, named Venkata Subramanian, was born in Mannaargudi town in Thiruvarur district in the Indian state of Tamil Nadu (about 200 miles from Chennai) as the eldest of five children to the Tamil Smaartha couple of Subbu Kutti Iyer and Venkammaa, according to the family records in the possession of the descendants of his brother Raamachandra Vaathoola's family.[9] Though his ancestors had resided in various villages in South India around the temple town of Mannaargudi, Venkata Kavi moved to Oothukkadu village (referred to as "Dhenushvasapuram" in Sanskrit), near Kumbhakonam. One of his nephews, Kattu Krishna Iyer was a musician in the royal court of the Thanjavur Maraatha King Prataapa Simha Bhonsale in the later part of the 18th century. Venkata Kavi composed hundreds of songs in praise of the Kaalinga Nartana Krishna of Oottukkadu, also referred to as "Then Gokulam"[10] (literally, "Southern Gokulam") and several other shrines over the course of his life.
According to family sources, Venkata Kavi was passionate about music but could not find a Guru of his choice in that area, which prompted his mother to suggest that he appeal to the God Krishnaa himself, in the Kaalinga Narthana Temple in Oothukkaadu.[11] He is believed to have received initiation from the Lord himself, as asserted in one of his Tamil compositions, Guru paadaaravindam komalamu - in the raga Abhogi, he declares: "I have never studied the scriptures or yoga nor pretended to have done so. I received the fortune of knowledge in the benevolent glance of my guru."[12]
The greatest evidence of his musical pedigree is his compositions. There are several references to good musical approach, practices and even technical terms of ornamentation like saahatam and pratyaahatam.[13] Venkata Kavi believed that music had to be blended with spirituality (bhakti) in order to shine. His philosophy, bhakti yoga sangeeta margame paramapavanam aagume ("Devotion though music is the sole path to salvation") is also resonated by Tyagaraja (1767-1847) sangeeta gnanamu bhakti vinaa sanmaargamu galade.
Similar examples can be seen in pieces like Aganita mahima (Gowla).[17] In this composition, he has also used innovative structuring by inserting medium-fast passages between two slower cycles, investing the section with .
Venkata Kavi was a master of finishes. In several songs, his endings are in interesting rhythmic patterns. For example, Bhuvanamoha in Dhanyasi, where he has capped off the charanam with a pattern of 6 repeated 11 times, which is a wonderful way to get to half a beat landing (which is the commencing point of the pallavi) from the beat after 2 cycles of Adi tala. The words are superbly woven in lilting Sanskrit:
Venkata Kavi had deep scholarship in Sanskrit and Tamil. His fluency in Sanskrit rivalled that of his command of Tamil, a commentary not only on his erudition but also a pointer to his immense vocabulary- words such as kalamba (arrow), charatha (wandering), shileemukha (bee) are just a few examples out of hundreds seen in his works, which are especially unique in Carnatic literature.[18] He had the ability of use common words in uncommon contexts.
His poetic ability to create unique scenarios or give singular twists to even common stories is seen in hundreds of songs such as Taye yashoda in raga Todi, where the gopikas are complaining to Yashoda about her son Lord Krishna. This song has eight charanams (stanzas) and each one describes the pranks of Krishna very humorously. Not so well known is the reply by Krishna to every one of these charges in another piece, Illai illai in Mohanam, also with eight charanams. This quality sets him apart even in his general compositions such as Chindittavar nenjil iruppadu (Nattai).[19] [20]
Venkata Kavi has composed on a wide range of themes. The most popular of his songs are on Lord Krishna but he has composed on a number of other deities as well,[21] such as Vinayaka, Radha, Tyagaraja of Tiruvarur, Kamakshi, Rama, Kartikeya,[22] Narasimha, Anjaneya, Ranganatha, Surya and other divine figures. He has also composed on great sages such as Shuka Brahma Rishi, Jayadeva, and Valmiki, on the greatness of Guru, and general philosophy and approach to God. His works contain references to Alvars, Nayanmars, Ramanuja, Tulasidas and many others revealing his knowledge of their works and contributions and his reverence towards them.
Several songs from Ramayanam and Mahabharatam are missing but even the few songs which have been found showcase "his skills in giving original treatment of known episodes" as dancer Dr Vyjayantimala Bali states.[27]
Venkata Kavi has composed krtis of similar structure that form sets (or groups). The most notable ones are his Kamakshi Navavaranam and Saptaratna compositions (especially the Anjaneya Saptaratna). He has also composed several shlokas such as Madhava panchakam,[28] Nrsimha panchakam, Ranganatha Panchakam and so on.
Of these, the last two were not published which led to a wrong categorization in some quarters.[31] However, these have been subsequently located in the possession of the Needamangalam Krishnamurthy Bhagavatar's (descendant of the poet's brother) family and disciples.
Venkata Kavi composed at least 14-15 pieces extolling the greatness of his Guru, Krishna. A few of them suggest that he may also have had another human guru, at least for spiritual purposes. According to sources from that area, this guru was Bhaskara Raya, the acclaimed authority of Devi worship of his times.[34] This is further augmented by the immense scholarship seen in Venkata Kavi's Kamakshi Navavarana krtis dealing with the intricate details of avarana pooja (Srividya worship).
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