Changes between Version 1 and Version 2 of Paravur Devarajan


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Timestamp:
Jun 28, 2013, 7:00:43 AM (10 years ago)
Author:
UshaR
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  • Paravur Devarajan

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    4 Prolific 60s and 70s Malayalam film composer. Established reputation with songs for plays of the left Kerala Peoples’ Arts Club (see IPTA), esp. the O.N.V. Kurup lyric sung by K.S. George and Sulochana invoking the graves of the Communist rebels of Punnapra-Vyalar (1946), set to a militant rendition of the raga Hamsadhwani. Extensively associated with Vyalar Rama Varma’s lyrics. Like Dakshinamurthy, was trained in classical Carnatic music but, unlike him, often borrowed extensively from folk influences. Early scores in Puttanna Kanagal’s Malayalam films (School Master, Kalanjukuttiya Thangam); broke through with Sethumadhavan’s 60s films, remaining his regular composer for several years (e.g. Odeyil Ninnu, Daham, Adimagal, Aranazhikaneram). Worked on several major Vincent films including Ashwamedham, Thulabharam and Nadhi. In the 70s, was associated with independent breakthroughs including Menon’s Kabani Nadi Chuvannappol and Backer’s work (e.g. Charam), while simultaneously working on I.V. Sasi’s mainstream productions. Composed Aravindan’s Chidambaram as well. Reputedly the first composer in Malayalam film to make sense of the non-verbal background score, with a bias for violin effects. 
     4Prolific 60s and 70s Malayalam film composer. Established reputation with songs for plays of the left Kerala Peoples’ Arts Club (see [[IPTA]]), esp. the [[O.N.V. Kurup]] lyric sung by K.S. George and Sulochana invoking the graves of the Communist rebels of Punnapra-Vyalar (1946), set to a militant rendition of the raga Hamsadhwani. Extensively associated with [[Vyalar Rama Varma]]’s lyrics. Like [[Dakshinamurthy]], was trained in classical Carnatic music but, unlike him, often borrowed extensively from folk influences. Early scores in [[Puttanna Kanagal]]’s Malayalam films (School Master, Kalanjukuttiya Thangam); broke through with [[Sethumadhavan]]’s 60s films, remaining his regular composer for several years (e.g. [[Odeyil Ninnu]], [[Daham]], [[Adimagal]], [[Aranazhikaneram]]). Worked on several major [[Vincent]] films including [[Ashwamedham]], [[Thulabharam]] and [[Nadhi]]. In the 70s, was associated with independent breakthroughs including [[Menon]]’s [[Kabani]] [[Nadi Chuvannappol]] and [[Backer]]’s work (e.g. Charam), while simultaneously working on [[I.V. Sasi]]’s mainstream productions. Composed [[Aravindan]]’s [[Chidambaram]] as well. Reputedly the first composer in Malayalam film to make sense of the non-verbal background score, with a bias for violin effects. 
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