While P.Leela and chorus rendered this song, we find Malathi on screen with her playmates.  N.T.Rama Rao and Balakrishna also appear in this scene.  The song has three ‘charanams’.  We can observe that the flow of these ‘charanams’ comes to a halt at the phrase ‘vaniyantha…’, where an innovation known as ‘upasamhaaram’ is intoduced.  After coming to a close at ‘vaniyantha…’ the flow progresses again toward the ‘pallavi’. While there is no exact equivalent in English for ‘upasamhaaram’, it can be roughly translated as a ‘total withdrawal’.  The musical flow is fully withdrawn at ‘vaniyantha…’, and is commenced afresh to facilitate it to flow towards the ‘pallavi’. This is an innovation. In the same way, there are other literary innovations of Pingali: ‘jhaljhalinchadam’ and ‘matthili’. Musically speaking, the second lines in all the three ‘charanams’ have the same tune.  The first lines have been tuned in a different way—this credit goes to Ghantasala. This song has ‘mohana’ raaga as its base.

Translator: suryaprakash.mothiki@yahoo.com