Marukela oh Ragava
The greatness of certain compositions have to be savored thus:-
Different shades of Marukela oh Ragava from the musically superb to melody-wise soothing to mentally sublime to movie world's superficial versions, all give something substantial to the ears because the composition is so well aesthetically carved out.
GNB with his briha popularised it in his concerts and bequeathed the talent to MLA who too imbues it with her own brihas and Kalyanaraman who renders superbly (recording is poor) but slightly nasal brihas.
- S. Kalyanaraman
Dr.M. Balamuralikrishna the master perfectionist revels in the meaning of the lyrics in addition to his superb natural briha and sense of scale.
Maharajapuran Santhanam, the best, as for this Keerthana is concerned seems to savor the spirit of pleading in pleasant chowka kalam or slow speed ) soulful with his full throated superb rendering.
Unnikrishnan loves the lullaby style.
Pleading is gender neutral and gets immortalized in Parasuram's swaras and at times flows fast, at times smoothly and at times cascades like the Narmada river through the shining colorful marbels of kalpana swaras.
Charulatha Mani makes a neat pleasant presentation.
Kadri Gopinath because of the key based wind instrument cannot venture into too much of intricate nuanced gamakas and hence renders a version suitable to the instrument.
In Nadhaswaram any pain or all pains can vanish away through the alapanais of this unique instrument and here you have a master piece in the Alapanai of Marukelara by Sheik Chinna moulana.
The pleading is aired through the holes of a flute of Ramani sir.
Lalgudi's bow which doesn't move away from the strings (even through a full three hour concert) bows to every good style and supplies the best of all versions in instruments.
Kunnakudi Vaidyanathan plucks any composition from the strings of his flamboyant confidence and control over instrument and bridges the gap between diehard purists and melody loving average listener and make all bow to his gimmicks.
In Veena it can scale different pitches and speeds without compromising on any minute gamakas.
Man's dole of pleading is grace then through this composition it gracefully and fully glides fast in the Mandolin too.
The composition is amenable to numerically measured playing in Guitar too because of the symphonic structure of its notes.
S. Janaki in to the film in order sync with emotions of the scene swings from the throat choking huskiness to the impatient shrill.
In the Telugu Saptapathi the song surges behind the pillar of emotions and eyes for the attention of the viewers.
In the movie kaasi the emotional rendering of grief takes one to kaasi.
It can cross the oceans and dance to yoyo of human aspirations and inspirations as in Yoyo TV productions.