Some people made an attempt to revive the Viswanathan-Ramamurthy combine, however, the film ‘Engirundho Vandhaan’ in 1995 did not make any ripples. His rustic Amman song, “Ammano Saamiyo” sung by Sirkazhi S Govindarajan, L R Easwari and L R Anjali became a chartbuster featuring J Jayalalithaa on screen. Though separated, TKR made his mark for a few years in films such as ‘Marakka Mudiyumaa’, ‘Madras to Pondicherry’, ‘Thaen Mazhai’ and ‘Nilagiri Express’. There were other reasons too, on which both Viswanathan and Ramamurthy did not dwell upon as they were reportedly of a sensitive nature. TKR was reportedly upset that he was not part of the shoot. The shots highlighted MSV dressed in a coat, directing TMS, while he sings “Avalukkenna” with a live orchestra. The trigger was said to be MSV featuring in the song “Avalukkenna azhagiya mugam” which was based on a film shooting experience including live audio recording. ‘Server Sundaram’, an AVM film, marked the separation of the duo. Hereabouts, female singer L R Easwari was given greater prominence in the compositions of Viswanathan-Ramamurthy, as almost every film would have one or two racy numbers by her.
The music directors fashioned a change in their creative style to keep pace with the tastes of a new generation with songs of a faster tempo, even a tinge of sensuality. Singers who performed for them would testify that they were always together at recording sessions, with TKR embellishing the tunes and ensuring perfection ofthe orchestra. Unlike music duos like Shankar-Jaikishen and Laxmikant-Pyarelal, who would compose songs separately, it is said that Viswanathan and Ramamurthy would create music together. Their music also shone in films for director C V Sridhar like ‘Nenjil Ore Aalayam’, ‘Nenjam Marappathillai’ and ‘Kaadhalikka Neramillai’.
Sivaji ganesan melody songs series#
1961 marked a major turning point for them with the ‘Paa’ series – ‘Paasamalar’, ‘Paava Manippu’ and ‘Paalum Pazhamum’ for director A Bhimsingh. Viswanathan-Ramamurthy soon began to be regular fixtures for MGR and Sivaji Ganesan films. According to TM Soundararajan, Ramamurthy had a major role to play in the raga-based songs, as he could play all the 72 ‘melakarta ragas’ at will. Always ready to experiment,the duo changed film music from heavy classical music to light classical, with the base being the Carnatic ‘ragam’, but with some western arrangements. Kannadasan entrusted his home production ‘Maalaiyitta Mangai’ to the duo in 1958, which turned out to be their big break. Thespian Sivaji Ganesan went on to give them the title ‘Mellisai Mannargal’. They went on to be one of the most successful Tamil film music directors, dominating the scene for nearly 15 years. They are said to have undertaken a unity pledge at Coimbatore Mariamman temple in 1952. Later,actor N S Krishnan, while working on his film ‘Panam’, suggested the name Viswanathan-Ramamurthy as Ramamurthy was senior and would be seen as encouraging the junior. Initially, they were known asRamamurthy-Viswanathan.
Even as they worked for various music directors, MSV, one day,after watching a film in Chennai,suggested to TKR that they could work together like music directors Shankar-Jaikishen in Mumbai. In 1949-50, M S Viswanathan (MSV)joined the troupe. When Subbaraman had several film assignments and invited TKR to join his troupe, the young musician readily agreed. Though Subbaraman quit working for HMV, TKR went on to play for several music directors’recordings at HMV between 19. Subbaraman liked the way TKR played the violin and got him a job at HMV recordings. At night, TKR would play the violin when Subbaraman would render Carnatic songs.
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