Maestro ilaiyaraaja news & titbits

[krish244]

(con'd from here: http://www.mayyam.com/talk/showthread.php?10050-MAESTRO-ILAIYARAAJA-NEWS-amp-TITBITS-VER-2010-2011)


Wish you all (and your family) a HAPPY NEW YEAR 2012!

thanks,

Krishnan

[tvsankar]

Wish U All Happy New Year.............................

[anegan]

Wish you all Very Happy New Year!

[rooky]

Wishing all the IR Fans here a Very Happy and prosperous New Year

[crvenky]

Attila Laszlo (a Jazz Composer & member of Budapest symphony orchestra) who and played solo for Maestro in the Paa song:

http://www.laszloattila.com/

Some interesting photos on his trip to Madurai & Chennai (Raja hospitality!!) on his MySpace:

http://www.myspace.com/attilalaszlo/photos

From his bio:

"In August 2009 Attila László was invited by the Indian composer IlaiyaRaaya- who is considered the best known composer of the huge country - to play solo in the music of a film. The invitation is due to the fact that IlaiyaRaaja has known and liked his music and records since 2000. The recording took place in the company of Béla Lattman bass guitarist and János Nagy pianist in Chennai (formerly known as Madras), a city of of 7 million people. In the score of the film the exotic Indian rhythm base and melody merges with European tunes and harmonies. The 10 unforgettable days of Attila László's stay gave him opportunity to get acquainted with the people living there and their mentality. In December 2009 he was reinvited to Chennai and Maduraiba to consult on jazz composition and scoring as Raaja intends to compose a large-scale piece including elements of Indian and symphonic music and jazz."

[baroque]

WISH YOU ALL A HAPPY AND PROSPEROUS 2012.

vinatha.:)

[V_S]

Dear Friends,
Wishing you all a Very Happy and Prosperous New Year!

I had a great opportunity watching 'Dhoniyum Naanum' programme on Vijay TV. Prakash Raj talks about Maestro and his work. Maestro too speaks about this film and Prakash Raj. Excellent questions posted by Gopinath. Sharing for those who have missed this program. Eagerly waiting for the film and it's (live) music.

http://tamil.techsatish.net/file/dhoniyum-naanum/

[V_S]

The highlight of the programme is when Prakash Raj describes how Maestro writes every note, which strikes his mind first time that time with no going back and forth to make correction there after. Hallmark of a genius! That is a true and correct reflection of the situation. Prakash Raj takes this analogy to the life too which is quite interesting.

[vssathish]

Raaja has started Re-recording work for Dhoni

http://www.supergoodmovies.com/36188/tollywood/prakash-raj-s-dhoni-under-post-production-news-details

[nishasiva]

Last week, our "Makkal Nayagan" Ramarajan featured in Jaya TV's Thirumbi Paarkiren.

While talking about his career, he said he directed 5 movies before becoming a hero. They are Marakkamatten, Hello Yaar Pesuradhu, Marudhaani, Mannuketha Ponnu and Solai Pushpangal. He said all 5 movies had music by Gangai Amaran. His first film as actor (Hero) "Namma Ooru Nalla Ooru" also had music by Gangai Amaran. It was only from "Enga Ooru Pattukaran", his 2nd movie, he had the opportunity to work with IR.

[San_K]

http://www.tamilcinema.com/general/books/elayaraja.asp

[skr]

V_S - You are saying for this itself , wonder how you would react when you watch the discussions between Prakash Raj and IR during 'Endrendrum Raaja' :)
Im sure the programme will give you a lot of joy.
Do come up with a review once you catch the programme ( esp interested to know your take on Idhayam Pogudhey and when Raaja does the 2 note song)

[raaga_kann]

"Last week, our "Makkal Nayagan" Ramarajan featured in Jaya TV's Thirumbi Paarkiren.

While talking about his career, he said he directed 5 movies before becoming a hero. They are Marakkamatten, Hello Yaar Pesuradhu, Marudhaani, Mannuketha Ponnu and Solai Pushpangal. He said all 5 movies had music by Gangai Amaran. His first film as actor (Hero) "Namma Ooru Nalla Ooru" also had music by Gangai Amaran. It was only from "Enga Ooru Pattukaran", his 2nd movie, he had the opportunity to work with IR"

Hello Yaar Pesurdhu had music by both Raaja and GA. It was a good attempt by RR. An action thriller (like Nooravadhu Naal). BGM was simply terrific (It has to be Raaja). The 4 songs in the film had also lot of Raajism.

As for the first film Raaja worked with RR - I think it was Raasave Unnai Nambi and not Enga Ooru Paattukaran.

[K]

http://gopinath-walker.blogspot.com/2012/01/blog-post.html

[sakaLAKALAKAlaa Vallavar]

http://www.facebook.com/groups/IlayaRajafans/186730828092857/

[sakaLAKALAKAlaa Vallavar]

http://a1.sphotos.ak.fbcdn.net/hphotos-ak-ash4/401399_339799786030644_100000018755172_1422132_199 4322107_n.jpg
http://a4.sphotos.ak.fbcdn.net/hphotos-ak-ash4/394060_339800306030592_100000018755172_1422135_172 5093988_n.jpg

[sakaLAKALAKAlaa Vallavar]

http://www.youtube.com/watch?v=HErLfBO3EuE&fb_source=message

[sakaLAKALAKAlaa Vallavar]

http://www.4tamilmedia.com/cinema/cinenews/2701-2012-01-02-12-18-02?

இந்த நிகழ்சியை பொங்கல் அன்று ஜெயா டிவியில் ஒளிபரப்பு செய்ய இருக்கும் நிலையில், மொத்த ஊடகத்துக்கும் , இந்த பிரமாண்ட இசைந் நிகழ்சிக்கு அழைப்பு இல்லை என்று மறுத்து விட்டார்கள். மீடியா மீது ஏன் இந்தக் கொலைவெறி என்று விசாரித்தபோது கிடைத்த பதில், மூத்த நிருபர் ஒருவர், இந்த நிகழ்சியை ஊடகத்துக்கு அறிமுகப்டுத்தும் விழாவில் “ மெட்டுக்கும் ராகத்துக்கும் என்ன வேறுபாடு?” என்ற அரைவேக்காடு கேள்வியை மேஸ்ட்ரோவைப் பார்த்துக் கேட்டதுதான் காரணம் என்கிறார்கள். அப்போ நீங்களும் இன்னொரு சன் டிவிதானா?

[kameshratnam]

IT IS FROM SRI KAMALHASSANs OFFICIAL PRO. Kamal talks about Raaja sir...a part of it came in the LATEST Concert held in dec 2011
http://www.youtube.com/watch?v=DetA5ZVxZuc&feature=youtu.be

[baroque]

Kamal with Raja is THE ULTIMATE COMBO EVER!

yeah.. correct aa sonneenga, ennavo oscars dhaan end of the world maadhiri sila persons en kitta kooda kettu erukkaanga!

Arr kku kedaichu erukku, Raja kku illainnu... as though we are jealous maadhiri!

chinna buththi people, I pity them.


IR's music enhances our life.

IR raised us with abundance.

We cherish you forever!

Vinatha.:)

[sakaLAKALAKAlaa Vallavar]

Theivame! Ovvoru THamizhanum paarkka vendiya, paarthu purinthukoLLa vendiya video ithu!

Plaum gaaru, ennamo sonneengaLe, intha "avar vaazhum kaalathula naangaLum" ellaam romba normalaana dialaak,nnu, ippo avar unmaiyil enna sollirukkaar paarugna! summaavaa sonnaagna ulaga naayagan, kalai gnaani nnu

[sakaLAKALAKAlaa Vallavar]

IT IS FROM SRI KAMALHASSANs OFFICIAL PRO. Kamal talks about Raaja sir...a part of it came in the LATEST Concert held in dec 2011


http://www.youtube.com/watch?v=DetA5ZVxZuc&feature=youtu.be

கமல்குறள்:-
இசையும் தமிழும்போல் இணைந்தாலே இனிக்கும்
இளையராஜா கமல்ஹாசன் நட்பு

கையும் அன்புமாக மாட்டிக்கொண்டேன்!

இவரோட ஏகலைவன் நான்! ஆனால் எங்க ரெண்டு பேருக்குமே தெரியாம இருந்திருக்கு!

இவரிடமிருந்து எஸ்கேப்பே ஆகமுடியாது. ஆனால், இதை திமிரில் சொல்லவில்லை, இது திமிறல்ல, திறமை இருந்தால்தான் (அவரிடம் எந்தளவு எல்லோரும் மாட்டிக்கொண்டிருக்கிறோம் என்கிற விஷயம்) தெரியவே செய்யும். :thumbsup: :clap: :notworthy:

ராஜாவின் சோகப்பாட்டை கேட்பவன் கூட துக்கி அல்ல. தன்னோட சோகத்தை அதுல போட்டு கரைச்சிட்டு, சந்தோஷமா போய்ருவான்.

ராஜா:- எனக்கு எவ்வளவு (சம்பளம்) கொடுப்பீங்க?!
கமல்:- அதெல்லாம் உங்களுக்கு ஒண்ணும் கெடையாது! செலவு பண்ணிட்டேன் :rotfl: :D

உலக அங்கீகாரம் கமலுக்கும் ராஜாவுக்கும் கிடைக்கவில்லை என அவர்களின் ரசிகர்கள் கவலைப்படுவது குறித்து:-
பிள்ளையார் சிவன்-பார்வதியை உலகமாக சுற்றியதைப்போல், இதுவும் உலகம் தான், எங்கள் ரசிகர்களை நாங்கள் சுற்றுகிறோம், இங்கு கிடைக்கும் புகழும் பெரும்புகழ் தான்!

கடைசி வரி தான் புரியவில்லை - எண்ணைக்காக போர்த்தொடுக்கும் இந்த உலகத்தில், என்னை ??????

[crvenky]

Illayaraaja –‘M’usician or ‘M’athematician?
.by Prashan Jayatheepam on Friday, November 25, 2011 at 2:18pm.by prashan jayatheepam

There is a lot of ‘M’athematics in ‘M’usic!...In the Genius’ Music…

…there is Melody, there is Mathematics;

…there is Expression, there is a Feeling!

…there is Symmetry , there is Beauty;

Before we go deep in to exploring the ‘M’ factor…it would be best if this Raaja masterpiece could be heard a few times…

The Song is a Kannada Song called 'Nanna Neenu Gellalare’ from the Kannada Film ‘Nee Nanna Gellalare’.

This is a song where the Hero and the Heroine challenge each other and that is the reason for the usage of ‘Symmetry’ in the Song!

The quality of the YouTube video for this song is really bad…hence I have uploaded the mp3 for this song here http://www.sendspace.com/file/ng72ag - (and click on 'Click here to start download from sendspace')

…please download and listen a few times before reading further!

---------------

The 2 Raagas to consider are both audava-audava Raagas (Pentatonic Raagas with 5 notes)

…If taken in ‘C’…

Hindolam – C Eb F Ab Bb

Sudha Dhanyasi – C Eb F G Bb (same as G Bb C Eb F with ‘G’ as the base)

If you see clearly the only difference between these Raagas is that the ‘Ab’ in Hindolam has decreased by a semi tone to ‘G’ in Sudhha Dhanyasi!

The song starts with Janaki humming the Raaga Sudha Dhanyasi and Dr. Rajkumar’s humming follows it but in Raaga Hindolam.

So where is Raaja’s Magic? some kind of Magic should follow…?

---------------

And it happens in the second Interlude. Janaki & Dr.Rajkumar exchange the Raagas…and Janaki starts singing the Swaras of Hindolam while Dr. Rajkumar sings Swaras of Sudha Dhanyasi – Genius!

Listen carefully to the 2nd Interlude…where both singers match each other in note structure, rhythm structure and timing…it’s a Symmetry!

…in-fact they are pitching the exact same notes…however not singing the same note.

The Note distances on the left (Hindolam) are equal to the Note distances on the Right (Sudha Dhanyasi)

C-Eb = G-Bb

Eb-F = Bb-C

F-Ab = C-Eb

Ab-Bb = Eb-F

Even though two different Raagas are used…we don’t notice this…we don’t even notice the Symmetry…Reason…?

…the Genius has cheekily disguised the Symmetry inside a beautiful 2nd Interlude Melody…hence making you to enjoy the melody and forget the Symmetry…

Magic Over? Not yet…he’s a Genius!…more to follow…

---------------

Towards the end of the 2nd Interlude Dr. Rajkumar sings 5 Arohana Audava (Ascending Pentatonic) Scales…

…Now someone would hope the 5 Arohana Scales would be in either Hindolam or Sudhha Dhanyasi? Which would make sense…

Nope…but Raaja thinks otherwise…!

The 5 Arohana’s are…in Order…

C D E G A – Mohanam

C D F G Bb - Madhyamavati

C Eb F G Bb - Sudhha Dhanyasi

C D F G A - Suddha Saveri

C Eb F G Bb - Sudhha Dhanyasi

Now would someone notice all these 5 Arohana’s happening in 9 seconds?

---------------

So how come the Genius derived 4 new Raagas out of no-where?

‘Suddha Saveri’ was derived – when ‘Graha Bedham’ was applied to Raaga Hindolam and the base was changed from ‘C’ to ‘Eb’

‘Sudhha Dhanyasi’ was derived - when ‘Graha Bedham’ was applied to Raaga Hindolam and the base was changed from ‘C’ to ‘F’

‘Mohanam’ was derived - when ‘Graha Bedham’ was applied to Raaga Hindolam and the base was changed from ‘C’ to ‘Ab’

‘Madhyamavati’ was derived - when ‘Graha Bedham’ was applied to Raaga Hindolam and the base was changed from ‘C’ to ‘Bb’

Only if you jump in and go deep in to the song that we will find these precious priceless Gems!!!

Experimentation & Symmetry at its Best!


http://www.youtube.com/watch?v=30sdZLbnUHc

[crvenky]

http://www.facebook.com/note.php?note_id=253169574741890

Prashan is a musican. I think somebody posted here about his meeting with Maestro while doing RR for a mallu film (Snehaveedu), saying he wrote some 20+ pages score at one go.

[buggle]

IT IS FROM SRI KAMALHASSANs OFFICIAL PRO. Kamal talks about Raaja sir...a part of it came in the LATEST Concert held in dec 2011
http://www.youtube.com/watch?v=DetA5ZVxZuc&feature=youtu.be

is the video been removed from youtube?

[layman10]

http://www.fatcityrecordings.com/site/release.php?rid=246 What is "yaaro sonnangalaam"? Any idea anyone?

[app_engine]

That is a very nice find, SKV!

Is it AV?

I definitely remember reading it when it originally appeared (though we never had the habit of saving old issues...mom's friends used to take them and typically never return, some used them for "binding thodar kadhais")

This part is really funny :



இளையராஜா : நான் அறிமுகப்படுத்திய குரல்களிலேயே மிக மட்டமான குரல்.
'16 வயதினிலே' ரீ ரிக்கார்டிங்கின் போது "ஒரு காட்டான் குரல் வேண்டும்" என்றார் பாரதி ராஜா.அதில் 'சோளம் விதைக்கையிலே' பாட்டைப்பாடியவர் தான் இந்த இளையராஜா. இந்தக்குரல் கொஞ்சம்
பாப்புலர் ஆயிட்டுது. ஆகையாலே அவாய்ட் பண்ண முடியலை. இந்த ஆளை 'ஓரம் போ...ஓரம் போ'ன்னு சொன்னாலும் கேட்க மாட்டேங்கறாரு. இந்த ஆள் சங்கீத ஞானம் தெரிந்து வந்து பாடினால் நன்றாக இருக்கும். என்ன பண்றது? இந்த ஆள் வேண்டான்னாலும், சில தயாரிப்பாளர்கள் பிடிவாதம் பிடிக்கிறாங்களே! ஆனால், இந்த ஆள் நிறைய சங்கீதம் கத்துக்கணும்.

[layman10]

http://jattsingh.com/2011/12/29/folks-at-google-zeitgeist-2011-told-us-that-honey-singh-is-at-5th-position-for-top-searched-music-artists/ Looks like good number of people lookup our man in google, even other than hubbers.. :)

[layman10]

That is a very nice find, SKV!
Is it AV?
I definitely remember reading it when it originally appeared


Do you remember a Serial (a silly fairy tale kind) he started writing for Kumudam, that he stopped the second week. (someone tell me it is not my imagination or some corrpt memory). Cant imagine what he was thinking then..

[RR]

crvenky,

Prashan's 'graha bedam' finding is a good one. Is it a 'thanga magan' remake? I wish IR did it in the tamil version. Anyway tks for posting.

[jaiganes]

crvenky,

Prashan's 'graha bedam' finding is a good one. Is it a 'thanga magan' remake? I wish IR did it in the tamil version. Anyway tks for posting.
nope it is not thanga magan remake -
This movie is all the more popular due to "I Love you" and "Anuraaga enaaithu" some mindboggling awesome melodies sung by Dr.Rajkumar (it was his first with Raaja).

[Plum]

It was also his last with IR. Nee nanna gellalaare is an awesome album. Jeeva hoovaagidhe(I love you as Jai put it) is still popular and had a remixed version recently. Nanna neenu gellalaare(ennai nee vella mudiyaadhu) is brilliant - and that is one heck of an observation by prashan. Such are the joys

[sakaLAKALAKAlaa Vallavar]

That is a very nice find, SKV!

Is it AV?

I definitely remember reading it when it originally appeared (though we never had the habit of saving old issues...mom's friends used to take them and typically never return, some used them for "binding thodar kadhais")

This part is really funny :

App, yes its from Ananda vikatan Pokkisham! I was doubtfully posting that someone would come and say "hey why r u just copy pasting from facebook" Surprised to see that no one said that!

btw, whatever great hubbers we have, its highly recommended for every Raja Fan to join 2 groups in facebook. Many things happen there

http://www.facebook.com/Ilaiyaraajaa - this one run by Agi Music.Ssometimes Raja himself reads and posts in this comm!

http://www.facebook.com/groups/IlayaRajafans/photos/ - This is a new but highly active group

http://www.facebook.com/prashan.jayatheepam - his posts are technical, nice ones!

[sakaLAKALAKAlaa Vallavar]

IT IS FROM SRI KAMALHASSANs OFFICIAL PRO. Kamal talks about Raaja sir...a part of it came in the LATEST Concert held in dec 2011
http://www.youtube.com/watch?v=DetA5ZVxZuc&feature=youtu.be

As the above Video has been removed and the same reposted with different address, I am posting that

THIS IS A MUST SEE FOR BOTH RAJA FANS KAMAL FANS, INFACT FOR ALL MUSIC AND CINE FANS


http://www.youtube.com/watch?v=FeUz_4kMKEI&feature=mfu_in_order&list=UL

[sakaLAKALAKAlaa Vallavar]

Plum, ur comments are expected after watching above video :wink:

already 1 day late :evil: ithai vida vera enna velai?!?

[app_engine]

Do you remember a Serial (a silly fairy tale kind) he started writing for Kumudam, that he stopped the second week. (someone tell me it is not my imagination or some corrpt memory). Cant imagine what he was thinking then..

No, I don't recall :-(

He did write a series about his EU trip (sangeethakkanavukaL) during my college days in Kumudam and that was quite interesting. That's where he mentioned about Bach as his nAtha dEvan, talked about the meeting with Paul Mauriat and joked about others wearing sweater "inside" while he wore one outside only :wink:

[skr]

Truly awe - inspiring
One Legend speaks about another Legend
Watch this exclusive 15 Min spl of Kamal talking about Maestro Ilaiyaraaja

http://www.youtube.com/watch?feature...&v=FeUz_4kMKEI

[sakaLAKALAKAlaa Vallavar]

http://www.youtube.com/watch?v=4VCjIk_2lm8

[krish244]

It seems Balki (cheeni kum and paa) was part of IR's "ENDRENDRUM RAJA" show and he talked about IR on stage. A snippet:

"...But then, Balki dropped the bomb! "When Raja sir played me the tune, I suggested that he use this for a song rather than waste it as a piece of background music. But he went ahead with this. I would ask today's composers to not lift tunes from his songs; instead, they could lift from the BGMs for even the tunes of his background scores are so good," he said..."

Not much value add being on stage, because what he demonstrated (showing scene with and without BGM) is known to everyone!

PAA had IR experimenting more with JAZZy stuff (and electric guitar, especially). Wish Balki had talked about such things.

http://timesofindia.indiatimes.com/entertainment/bollywood/news-interviews/When-Balki-turned-fanboy/articleshow/11412621.cms

thanks,

Krishnan

[krish244]

Star wars: IR V/s ARR:

http://entertainment.in.msn.com/specials/star_wars/Ilaiyaraaja_Rahman.aspx?cp-documentid=5731057#image=17

thanks,

Krishnan

[Plum]

Layman, I'll put you at ease. I too remember some fantasy fiction stopped after ne week...either that or we have some telepathic delusion :)

[rajkumarc]

Need hubber's help in identifying the following:
SPB's first song for IR - (I think it is - Oru Naal Unnodu Oru Naal from Uravaadum Nenjam, but not sure)
How about KJY, MV, PS... what are their first songs for IR? For SJ, it should be Annakili Unnai Theduthe I believe.

Kindly let me know these songs. Thanks.

[app_engine]

Need hubber's help in identifying the following:
SPB's first song for IR - (I think it is - Oru Naal Unnodu Oru Naal from Uravaadum Nenjam, but not sure)
How about KJY, MV, PS... what are their first songs for IR? For SJ, it should be Annakili Unnai Theduthe I believe.

Kindly let me know these songs. Thanks.

Quoting Plum from the IR-SPB thread (http://www.mayyam.com/talk/showthread.php?8541-The-Golden-Era-of-Dr.IR-and-Dr.SPB-252-காதல்-பரிசு-பாடல்கள்&p=677957&viewfull=1#post677957) :

-----
I think the consensus(after the dhool and SOTD discussions) was that Paalotti valarththa kiLi was the first SPB song for IR. "nAn pEsa vandhaen" also being symbolic of SPB coming into IR's fold.
The second film of IR is generally considered to be the one where Kannadasan wrote out his welcome letter to IR - "Raja vaa" (i.e.) paalootti vaLarththa kiLi
-----

For KJY, it got to be 'kaNNan oru kaikkuzhandhai' and for MV 'oththa roovA onakkuththAREn' (both from bathrakALi).

For PS, there is this annakkiLi song : 'sondhamillai bandhamillai vAduthu oru paRavai' (This song was added to the movie weeks after the release and got highlighted in newspaper / poster advertisements)

[rajkumarc]

Thanks a lot App for the quick reply :smile:

[teja]

Star wars: IR V/s ARR:

http://entertainment.in.msn.com/specials/star_wars/Ilaiyaraaja_Rahman.aspx?cp-documentid=5731057#image=17



Phew! That is such a pointless article. Biggest waste of internet bandwidth.

[K]

on Arun mozhi http://radiospathy.blogspot.com/2012/01/blog-post.html

[krish244]

IR to receive "Sachin Dev Burman International award for creative music and sound".

http://daily.bhaskar.com/article/MAH-PUN-piff-to-honour-amitabh-bachchan-asha-bhosale-2733222.html

thanks,

Krishnan

[raajarasigan]

:clap: :clap:

[Gregorysab]

Ilaiyaraaja receiving an award instituted in the name of one of his gurus (informal gurus we can say)! Superb!

[K]

http://www.tamilcinema.com/CINENEWS/Hotnews/2012/jan/080112a.asp
கவர்னரும் சொன்ன நேரத்தில் வந்தார். அப்புறம் அவரும் காத்திருந்தார். யாருக்காக? இசைஞானி இளையராஜாவுக்காக. கவர்னர் வந்து பத்து நிமிடங்கள் கழித்துதான் ராஜாவே ஸ்டுடியோவை விட்டு வெளியே வந்தார். இசைக்கு முன் 'புரோட்டோகால்' ஒரு விஷயமேயில்லை அல்லவா?

[app_engine]

http://radiospathy.blogspot.com/2012/01/blog-post.html

:shock:

IMHO, Mr Ponniyin Selvan can at the best be called "poor man's Mano" :wink:

OTOH, as the kuzhaloodhum kuLLan (NOM, chummA edhukai-kkAga, also the originial "Monsieur Bonaparte" short enbadhu prabalam), he is awesome!

Great support to rAsA in that role :clap: :thumbsup:

[jaiganes]

will have to watch raajavin paarvayile just for the reason cited (neeye RR paathukoppaa). is that padam that much soora mokkai? but "Amman koyil ellaaame" - heart stopping melody and vadivukkarasi as vijay's amma - lights up that song..

[app_engine]

vijay's father pulambal : 'rAjAvin pArvaiyilE'nnu pEr vachcha 'rAjAvin mERpArvai' kooda illAmappOchchE :lol2:

[baroque]

Wow! Raja, Congrats to you.
I am very happy, S.D.Burman award for our Raja!:bluejump:

S.D.Burman- Geeta dutt album , I used it when my son was very young, end of the day when he cries, I played them, one particular collection, he slept so peaceful. what a relief after frustrating drive in the freeway, entered the garage, the kid woke up...thanks to S.d.Burman, nimmadhi.

aaj ki raat piya... was a huge hit with the kid! Waqt ne kiya...., minimalistic sujatha composition... kid gave up! God Bless!:ty:


chand phir nikla magar tum na aaye .... Lataji for S.D.Burman... emotive beauty.

These are the composers, I run around whole day, relax end of the day, get connected with emotions.

thanks, Raja.

Vinatha.

[baroque]

http://radiospathy.blogspot.com/2012/01/blog-post.html

:ty: K for bring the article here for us.

thanks to the author. I check out the compositions whole day.

ஆராரோ பாட்டுப் பாட..... ரொம்ப அருமையான பாடல்.:musicsmile:
prelude சித்ரா's ஹம்மிங் with பியானோ & flute is beautiful . senti composition is my favorite.

vinatha

[sakaLAKALAKAlaa Vallavar]

http://gragavanblog.wordpress.com/2012/01/12/%E0%AE%85%E0%AE%AA%E0%AF%82%E0%AE%B0%E0%AF%8D%E0%A E%B5-%E0%AE%B0%E0%AE%BE%E0%AE%95%E0%AE%99%E0%AF%8D%E0%A E%95%E0%AE%B3%E0%AF%8D-1-%E0%AE%95%E0%AE%AA%E0%AE%BF%E0%AE%95%E0%AE%AA%E0%A E%BF/

[app_engine]

http://gragavanblog.wordpress.com/2012/01/12/அபூர்வ-ராகங்கள்-1-கபிகபி/

Class :clap:

nanRi SKV!

What a fantastic blogger - read this post about mOrkkuzhambu (http://gragavanblog.wordpress.com/2011/12/29/தமிழ்க்கொழம்பு/) - touche!

[kiru]

Class :clap:

nanRi SKV!

What a fantastic blogger - read this post about mOrkkuzhambu (http://gragavanblog.wordpress.com/2011/12/29/தமிழ்க்கொழம்பு/) - touche!

App..love this link..thanks.. I am a 'saappattu raaman' as well.. not necessarily eating in quantity though :-). I think only mOr kuzhambu is the original thamil kuzhambu :-) .. chillies were a later day arrival and you can make mOrkuzhambu without it.. but not vaththa kuzhambu.. Even though I am a fan of both... It is difficult to get vatha kuzhambu right.. but these days some powders are available which are pretty good. you need to supply the sundakkai/maNathakkaaLi vaththal though.. The best I had was in a "mess" in thirunelvEli...you sit on the floor on a 'maNai' and eat out of a plantain leaf (ofcourse). The kuzhambu was more like very thick paste.. I mistook it for some pickle.. but what amazing flavor.. arisi appalam/fried javvarisi vaththal goes well with it.. hmm. I will go to some south indian restaurant for lunch now :-)

[krish244]

IR attended PIFF's inaugural function and collected the S.D.Burman award:

http://timesofindia.indiatimes.com/city/pune/Bollywood-icons-regale-Puneites/articleshow/11467413.cms

Looks like Asha Bhonsle sang couple of lines from her tamil songs along with IR.

thanks,

Krishnan

[K]

its going to be @ 10.30Am to 1.00 PM @ Jayatv. 15,16 and 17 jan.
http://www.jayanetwork.in/ViewSch.asp

[rajaramsgi]

It is normal for the elders in the film industry to get awards, which became a part of any cine function recently.. But Raja getting the SD Burman award cannot be categorised in that way. He is still very much part of the TFM game and is rocking all along. வற்றாத ஜீவநதி ....Music keeps flowing. Well done Raja, no wonder we are all crazy for you.

Today I heard 'Poonthendral kaatre vaa' from Manjal Nila in youtube.. Man, My brother and I travelled back by 25 years, we both listened to this song over the phone together and we almost cried, thinking of our school days. Raja has done miracles causually, without knowing its all going to be classics for decades..

Dhoni's trailer was awesome.. Music and film theme wise.. bgm was awesome. A movie to look forward to. All of Prakashraj movies produced under Duet movies banner were nice ones except Poi, directed by KB (atleast i did not enjoy this one)

Jaya TV promo says they will telecast on 14th, 15th, 16th and 17th.. But their program schedule on their website don't have any reference on the 14th.. anyone knows what time they are relaying it in the UK or europe?

Happy Pongal to the Raja cult and to the Master.

[K]

Endrendrum Raja : Curtain Raiser @ 21.00Hrs IST on JayaTV Tonight.

[Shankar.P]

hi friends... iniya thaip pongal nalvazhthukkal to all IR fans. here comes the surprise gift from our maestro... yes Mayilu audio to release tomorrow 15th Jan... enjoy charkkarai pongal with mayilu

[rajaramsgi]

ஏம்பா, சனி கிழமை - இன்னிக்கு ஜெயா டிவி'ல ராஜா சார் ப்ரோக்ராம் காட்டினானா இல்லையா? எல்லோரும் ரொம்ப கொயட்டா இருக்கீங்களே..இந்த ஊர்ல ஜெயா டிவி லைவ் வராது. பாலா போன தகதிமிதா, அப்பறம் எப்பயோ போட்ட பழைய ப்ரோக்ராம்ஸ் தான் போட்டான். பொங்கல் ஸ்டார்ட் ஆயிட்டுதுன்னு தெரியலியோ என்னவோ..கான்ட் வெயிட் ..

[Nerd]

Here is part 1 - http://tamil.techsatish.net/file/ilayaraja-2/

(http://tamil.techsatish.net/file/ilayaraja-2/)

[rajaramsgi]

wow thanks Nerd for the link.. watching now..

Also, check IR and Asha video at the pune function

http://www.youtube.com/watch?v=HDsO3-UYwaA

[Plum]

Difference between raaga and tune - nallA kEkkuraanyA kELvi

[rajaramsgi]

தேடும் கண் பார்வை & இசையில் தொடங்குதம்மா பாடல்களுக்கு கொஞ்சம் தலையாட்டினார். ரசித்திருக்க கூடும்.

திருக்குறளை எழுதினப்போ வள்ளுவர் வந்து தெரிஞ்ச குறளா எழுதினாரு? - wow

ப்ரோக்ராம் பிட்ஸ்ல் அமைதி தெரிந்தது முகத்தில். அன்றும் இன்றும் என்றும் நிகழ்ச்சியில், ஜனனி ஜனனி பாடும் பொழுது கொஞ்சம் நெர்வஸ்னஸ் இருந்ததை பார்த்தோம், அது இந்த நிகழ்ச்சியில் இல்லை. ரொம்ப ஈசியாக பீல் பண்ணி இருக்க கூடும்.

வயலின் பிரபாகர், கிடார் சதா, ட்ரம்ஸ் புரு, செல்லோ சேகர் (குன்னக்குடி மகன்), ப்ளூட் நெப்போலியன், சரோஜா (என்ன வாத்தியம் இவர்?) - ஆகியோரின் கருத்துகள் சூப்பர்.

SPB & சித்ரா, ஹங்கேரி கலைஞர்கள் சரியாக பேசினார்கள். ராஜா ரிஹர்சலில் ரொம்ப போகஸ் மற்றும் ஜாலியாக இருந்ததை பார்க்க முடிந்தது.. இருந்தாலும் அந்த ரிஹர்சலில் அப்படி ஒரு டிசிப்ளின். எல்லோரும் ஒன்று சேர்ந்து வாசிப்பதை பார்ப்பது அழகு. இவர் காலத்திற்கு பிறகு இது தொடருமா?

நன்றி ஜெயா டிவி. மணி இங்கு அதிகாலை ஒன்று. தூக்கம் வரவில்லை. நாளை எப்போது வரும், நிகழ்ச்சியின் இரண்டாம் பாகம் எப்போது பார்க்க போகிறோம் என்ற ஏக்கத்தில் உட்கார்ந்திருக்கிறேன்.

[kameshratnam]

IlaiyarajaFans IlayarajaFans
#Ilayaraja Jayatv EndrendrumRaja14-01-12 Videos

youtu.be/odTqNycdehs

youtu.be/44ZgSsk7BRU

youtu.be/NBFPxdRjJGM

youtu.be/NGXghyEXXz

[krish244]

http://m.indianexpress.com/news/music-and-magic/899812/

I am surprised. When did IR work with Subash Ghai (either as a producer or director)? Subash Ghai says he worked with IR.

"... Ghai added, “It's indeed a
pleasure that I got a chance to work
with Raja ji . He never said no to any
director and always showered his music on everybody.”..."

thanks,

Krishnan

[venkkiram]

EndrendrumRaja14-01-12 Videos

Thanks a lot Kameshratnam!

[baroque]

kamesh:ty:

magical,exciting, monumental,spiritual,irresistible, entertaining, therapeutic and more more more ... is Ilayaraja's sangeetham! :musicsmile:



Vinatha.

[krish244]

http://www.dnaindia.com/mumbai/report_pune-is-special-because-i-met-jaya-bachchan-here-amitabh_1637054

"...Eminent music director Ilayaraja was honoured with Sachin Dev Burman international award for creative music and sound. An emotional Ilayaraja said, “Great singers like Mozart, Beethoven and Sachin Dev Burman didn’t create music for any award. No kalakar (artiste) works for awards and I don’t create music for awards. But by accepting this award, I am paying my tribute to Sachin Dev Burman.”

Talking about Asha, Ilayaraja said, “She is a fantastic singer. When she is on stage, ideas start flowing and she will catch up and perform just like that.’’..."

thanks,

Krishnan

[kameshratnam]

ok here goes the videos of the todays concert

ENJOY

http://www.youtube.com/watch?v=5QbSrtWS5HU&feature=youtu.be


http://www.youtube.com/watch?v=aFew9nOqmK4&feature=youtu.be

http://www.youtube.com/watch?v=F_GQcCZZMiM&feature=youtu.be

[rajaramsgi]

continuation of the above..

http://www.youtube.com/watch?v=xTs0K0IQoKE
http://www.youtube.com/watch?v=maWnqftOnLM
http://www.youtube.com/watch?v=D4Ej7i4_qNU

[app_engine]

That's an interesting tidbit - puththam pudhukkAlai was composed for Mahendran's movie :happy:

Prakashraj :clap:
Nice job!

nanRi Kameshratnam!

[krish244]

Kamesh & Rajaram,

Thanks much for the videos. No words to describe the program. I dont remember when i heard the song "Oru raagam" before, but an amazing song. Ulagathula irundha ella pull'um serndhu aricha pola irundhudhu...andha 2nd interlude'a kekkum bodhu!

So many highlights...Will write more later...

thanks,

Krishnan

[krish244]

http://www.indianexpress.com/news/Language-of-Cinema/900123/

An interesting Bollywood film directory - 33 rd Screen World 2012 - was also released during the festival by legendary music director Illaiyaraja. Compiled by Rajendra Ozha, the directory is an unbroken sequel being published over the past 33 years and has information on films and television along with more than 35000 contacts.

thanks,

Krishnan

[kameshratnam]

CONCERT VIDEOS TELECASTED TODAY 16.1.2012

http://youtu.be/zGtybUctpos
http://youtu.be/ANDgYUCd-o8
http://youtu.be/qYP842sdWwU
http://youtu.be/3TcICJct5Lk
http://youtu.be/XS_KybrhaUI
http://youtu.be/jO64fIl5bSc

[Miarep]

Can any one post songs Sari Gama patha nee -- sung by SPB and Vani in this film.. Also I am searching for a Iyyappan Devotional -- Panthalathil Piranthu Vantha Iyappa -- Chinthayile kudi konda Singara Iyapa... probably sung by Kovai Soundarajan... Pl. help

[rajaramsgi]

Last part.. 17-01-2012 (splitted in 7 parts)

http://www.youtube.com/watch?v=wjBRpqBbbgE&feature=player_embedded
http://www.youtube.com/watch?v=c3-w7k74tJE&feature=player_embedded
http://www.youtube.com/watch?v=ylGvvBjmNro&feature=player_embedded
http://www.youtube.com/watch?v=ENUqo67BWXI&feature=player_embedded
http://www.youtube.com/watch?v=6BGRJvwlals&feature=player_embedded
http://www.youtube.com/watch?v=-oFG4ee_YGw&feature=player_embedded
http://www.youtube.com/watch?v=KdLnBALUlT8&feature=player_embedded

[baroque]

rajaramsgi & kamesh,:)



Raja, I am speechless... saw the two notes offering:shoot: followed by his previous songs recall for us.


vaa vaa pakkam vaa......
a small passage from a composition recall is a nice try, we love the song.:)

அதை ஒதுக்க முடியாது... ஒரு சின்ன portion from a song . :-D


I think they want you to compose a longer musical passage (whole composition) with a particular bhaavam/theme/emotion/idea in 2 notes.


:happydance: Raja is amazing!

thanks... I will check it out rest of the show at the end of the day.

I think Raja should do live concerts often. It is good for music.

It's a treasure!

I think Dr.Bala Muralikrishna composes or creates ragas with 3 notes, 4 notes. He defines them with rules for the purist platform.

We are fortunate to live in their life time.

Govt of Andra has SPB and Dr.BMK to push for Bharath Rathna in music.

Bimsen joshi, MSS are there in purist platform.
Lata in non purist platform.

S.P.B and Dr.B.M.K's contributions are monumental in their respective field.


Vinatha.

[rajaramsgi]

It is truly a spectacular show. Raja had a great time, he was at his best. I enjoyed his smile and laugh when Balamurali krishna was singing.

Hariharan did not mess up much as someone else mentioned.
SPB, Chithra, Deepan Chakaravarthy - THE BEST PERFORMER AWARDS GOES TO THESE 3 along with Surumuki.
KJ. Yesudas, Balamuralikrishna & Uma ramanan were singing a bit slower than the original songs, may be due to old age?
Yuvan's drama was unnecessary
Rita screwed up Yedho Mogam song, where as karthik did a good job on it
Glad Bavatharini was not on-board.
Wish Krishnachandar and Mano got a chance for atleast one song.
Surumuki Manasi did not have any star value, but the girl did a good job. This says much about Raja, he don't care for the looks or personality, he cares for what they deliver.
Did you notice Hariharan says something to Raja twice and then Raja goes to play the Piano for the Nee paartha parvaikoru song? Great to see him playing the Piano.

Great to see younger generation tfm'ers such as Devi SriPrasad, Vijay Antony, Vijay Yesudas, Srilekha Parthasarathy, James Vasanthan,
Did some one notice Kanimozhi during the first interlude of Oru Ragam Padalodu song? Jaya TV showed her only for a second.
Gangai Amaran and his boys were missing, but Vasuki Bhaskar was there.

Sithar Ganesh Muthu got lots of chances to play in many songs and he was very spontaneous
Veena Punya Srinivas messed the begining of Kanmaniye Kadhal enbadhu, but later she picked up. She was good overall along with Ganesh Muthu.
Guitar sadha, Flute Nepolean were at their best.
That percussion with Dosa kallu in between Ayiram and Malaragaley and Malarungal was not upto the standard. Original song has that unique sound which is great.
Dosa kallu percussion, Punya Srivas's veenai, Prabhakar's violin,along with the orchestra was a wonderfull treat on Poongadhavey thaalthiravaai.
Koyil mani percussion at the begining of Amma endralaikkadha should have been better..
Did the violin orchestra miss something at the begining of the first interlude of Raja kaya vecha?
Azhagar samiyin kudhirai title score by the hungary team was awesome. I thought the drummer who was called to go along with the hungary team to go to India - is going to be like the Bhagyaraj in Idhu Namma Aalu, called to say swahaa.. but it was exciting to see him playing drums for many songs, he seems to have enjoyed and he knew Raja already it seems.

Symphony and the way Raja explained about merging different pieces together along with Idhayam Poguthey -- Wonderful ya..

இன்று, எனக்கும் புல்லரித்தது
நானும் அழுதேன்.
அப்போ சொன்னது தான் இப்போதும்..
ராஜா என் அப்பாவை விட முக்கியமானவர்.
எனக்கு அதிக சந்தோஷங்களை அளித்தவர் இவரே.
நான் அதிகம் ரசித்ததும் அவரை தான்.
வேற என்ன வேணும் எனக்கு?

[RR]

vaa vaa pakkam vaa......
a small passage from a composition recall is a nice try, we love the song.

அதை ஒதுக்க முடியாது... ஒரு சின்ன portion from a song .
That was meant to be a joke :) Otherwise, a number of songs would qualify, e.g.

1) 'ayigiri nandhini' would be the first 3-note song
2) tweaking the ending N2's as S or R1, would make it a 2 note song
3) The part 'orankattu orankattu' in ARR's 'akkadaannu naanga' would become a 1 note song

I can compose one too :lol:

Seriously, I wish he explored the 2 note song more. It kind of fell flat..

[sakaLAKALAKAlaa Vallavar]

http://radiospathy.wordpress.com/2012/01/17/rajatelugu/


இன்றைய றேடியோஸ்பதி இணைய வானொலித் தொகுப்பில் இசைஞானி இளையராஜாவின் இசையில் மலர்ந்த தெலுங்குப் படங்கள் சிலவற்றில் இடம்பெற்ற பாடற் தொகுப்பை நீங்கள்கேட்டு மகிழலாம்

[baroque]

:-D

Raja is capable of anything and everything. No doubt about that.

my friend told me there is a two - notes composition bgm by John Williams.

it is stunning.

Vinatha.

[rajaramsgi]

a dumb question.. please don't laugh, instead answer in way I can understand :-)

what is the difference between composing music in 2 NOTES and 2 KEYS in a PIANO or a simillar instrument?

எனக்கு ராஜா இசை கேட்க தெரியும், ஆனா இசை சுத்தமா தெரியாது. தெரிஞ்சவங்க என்னை மாதிரி ஆட்களுக்கு புரியும்படி சொல்லுங்களேன்.

[app_engine]

rajaramsgi,

note = sa-ri-ga-ma-pa-dha-ni (C-D-E-F-G-A-B in western), one set of this is called one 'octave' and there could be more than one octave in an instrument, as this gets repeated with frequency going up from one end to another (for e.g. from left to right on keyboards).

That way, even cheap Casio keyboards, that have 5 octaves, can have 5 keys for one note - i.e. 5 sari's, 5 gama's etc or 5 C's 5D's etc, new students first identify the "middle C" that is on the middle of the keyboard (left extreme octave on keyboard has lower frequencies and right extreme has higher frequencies).

[baroque]

basically each piano key is represented with a 'note letter'

white piano keys are C,D,E,F,G,A,B.....naturals

black piano keys are sharps and flats of the piano. accidentals- There are 5 accidentals inan octave.
sharps are higher pitch
flats are lower pitch

that means ...c sharp is right to the note C which is left to the note D which D flat.
C sharp and D flat are the same black key.

like pitch of the notes, another important aspect is duration of the notes.
duration of the note means how long a note can be played. rests are silences, they have only duration.

We covered rhythm--that is how long you hold the note, how long you rest between the notes etc..

Now throw TEMPO into it too. How slow or fast beat is counted.
You can change tempo of a song with out changing the rhythm.


Basically Raja can choose to compose a 2-notes composition with C and G notes or D & F sharp notes, may travel in all octaves of C&G or D&Fsharp with possible permutation of duration-time, rests

Raja will throw tempo into it too.

Basically Raja can give a same music passage using notes C & G or D & F sharp like that in two different tempos.

Vinatha

[sakaLAKALAKAlaa Vallavar]

Let me try with a picture!

http://img818.imageshack.us/img818/4672/79284579.jpg

You can see keyboard with notes, western and our carnatic music uses the same 7 note system

C - D - E - F - G - A- B - C
Sa-Ri-Ga-Ma-Pa-Tha-Ni-Sa

You can see an area noted as Octave. There will be 5 to 7 octaves in a keyboard. (an Octave has 7 /white and 5 Black keys total 12 keys) So no of octave multiplies by 12 gives the no of keys in the keyboard.

Now, assume i will use only C & D keys on the keyboard. if i consider only 3 octaves, 3 x 2 notes gives 6 keys, that is 3 keys of C and 3 keys of D. My tune has to use only this 6 keys and then my song is a 2 note song.

[baroque]

yeah..

but Raja doesn't need to use both the keys of every octave. still he maybe travelling to 3 octaves.

vinath

[sakaLAKALAKAlaa Vallavar]

what is the difference between composing music in 2 NOTES and 2 KEYS in a PIANO or a simillar instrument?what every one here explains is composing with 2 notes. thats what Raja did.

Composing with only just 2 keys(any 2 keys) on a piano will actually drastically reduce your choice, neraya keys/notes iruntha neraya combinationla compose pannalaam. But who knows, raja may even compose a mini song with just 2 keys of keyboard.

[baroque]

Sakala,
I heard this composition is a two notes bgm by john williams.


http://www.youtube.com/watch?feature=player_embedded&v=J3wGsVdAlnc

maybe
Raja has done in some films bgms too, we may not know, he himself may not know.

John williams is welcome in IR's thread.

musically wonderful fellows should tell us more.

I am chcking in AMAZON, THE SOUNDTRACK REVIEW posts talk about it too.

http://www.amazon.com/Jaws-Original-Motion-Picture-Soundtrack/dp/B0000014SD


Youtube, I found this video. THANKS FOR THE POSTER.

KEYS - E & F


http://www.youtube.com/watch?v=llKVNLdvoo8&feature=related

Vinatha

[sakaLAKALAKAlaa Vallavar]

vinatha , i have already seen this video, when you posted this link. i could not grasp clearly the 2 notes. My music capability is limited! More in bass lines i guess....

But what raja did, that 3 notes song, was some what easily recognizable. Later i played the same in keyboard and confirmed for myself that its only 3 notes...

[baroque]

piano demonstration with keys E & F from youtube find may interest you.

beautiful.

************************************

Regarding 3 notes, I think I read at tfmpage only, I guess.

I recall some reviewer thinks, Raja is not strictly within 3 notes usage though score is fine.

http://www.seaoftranquility.org/reviews.php?op=showcontent&id=3351

vinatha.

[RR]

Vinatha,

jaws theme, after the first 1 or 2 bars, uses more than 2 notes. You can see a D in the piano notes. Of course, if John williams wanted to, he would've done it with just 2.

I recall some reviewer thinks, Raja is not strictly within 3 notes usage though score is fine.

http://www.seaoftranquility.org/revi...ontent&id=3351
He seems confused between notes and keys. So, can't pay too much attention into his 'reviews'.. Ive seen piano notes of the composition on youtube, it uses 3 notes only.

[baroque]

ok.

++++++++++++++++++++++++


I think that Shark coming sound without seeing full shark, only it's fin is evoked with 2 notes.(ennoda husband sonnanga)

Musical phrases associated with people in the beach and activities, I guess.

Follow the first title main theme you tube video.

At the end, the shark theme fades away. At the beginning that theme-2 notes starts quite with strings. then there is tuba, followed by lots of strings, all accompanied by that shark theme.

Neenga pakkalaiyaa JAWS movie?

I don't watch the movie.

People have seen the movie can confirm.

some scene from the movie I found.
http://www.youtube.com/watch?v=bxjwQ9g62Mo

Big movies even in 80s, 90s simultaneous release in India rt?
just in case neenga college going guy or just started to work in India or abroad? :)

Vinatha

[Sureshs65]

This person does what he calls as Ambigram. You can read the word upside down and it will read the same!! Amazing stuff he does. Here is his Ambigram of Illayaraja:

http://t.co/xtMiKqgp

https://p.twimg.com/AjhACFaCEAAoMK4.jpg

You can view all his Ambigrams here:

http://balaambigrams.blogspot.com/

[Sunil_M88]

Suresh Ji, never knew such a thing existed

Thanks for introducing me to this art, that's some serious piece of art.

[RR]

vinatha, havent seen jaws. Need patience to watch 80's hollywood movies now.

Suresh, that's good one.

Sunil: you must read Angels & Demons :)

[rajaramsgi]

Thanks Vinatha, app_engine and SKV for the very simple and detailed explanation. As you say, the lesser ocatves used, the lesser choices for anyone to compose a song.

Assuming that raja used 2 notes or even 1 note for a song, how far he must have gone to other ocataves to bring a simple melody? whether it is va va pakkam va OR the telugu song he performed in Andrum Indrum Endrum ( http://www.youtube.com/watch?gl=GB&v=EwGeHvOCxfQ 3 notes telugu song with Shreya)

I am sure our man is capable of any musical magic. He is blessed without any doubt, my point is he just did not sat there with his blessings, he made of use of it, learned, developed, achieved and achieving.

[baroque]

paarungaa.

B'lore had 3 or more theaters played English movies it seemed, my husband told me that he watched good movies when he started to work.
Golden years!

some fine movies like E.T came during 80s.

I remember Gandhi came during Mundhanai mudichu time around 82 or 83- school yrs, I guess.

Classics.

End of the day,namakku oru pozhudhu pokku,reading books, listening music, watching some movies/programs in local channels & Indian films-rented DVDs :)

Vinatha.

[karlkalyan]

Jaws: (John Williams) The first film to ever gross more than $100 million, Jaws also represented the mainstream debut of director Steven Spielberg. An incredibly well conceived concept and outstanding screenplay scared audiences in such a timeless fashion that the film is still effectively terrifying more than thirty years after its release. Another reason for the film's great memorability relates to its striking score by composer John Williams, who had previously worked with Spielberg on Sugarland Express. When Williams first invited the director to his studio and played on a piano the two-note theme he had conjured to represent the great white shark in Jaws, Spielberg responded by saying something along the lines of "you're kidding, right?" Fortunately for both, Williams wasn't kidding, and thus was born a film music and silver screen legend. Spielberg was still an up and coming director, with only a few small, successful films under his belt, but Williams was already an Academy Award winner and the composer of choice for large-scale disaster films. His popular scores of the early 1970's for The Poseidon Adventure, Earthquake, and, most notably, The Towering Inferno had offered a glimpse of the symphonic rebirth that Williams was initiating in Hollywood at the time. He would go on to earn Academy Award wins for both Jaws and Star Wars within a two year span, elevating him to a status of the top composer of the 1970's. The production of Jaws was a near disaster during its shooting, mostly due to "Bruce," the mechanical shark that was useless 90% of the time, and Spielberg was counting on a strong score with a dark and sweeping identity to help save the production. Such was the reason for Spielberg's surprise when Williams produced a title theme consisting of a repeating two-note phrase. On the piano, it sounded silly, but when performed by the large string section of an orchestra, both men were surprised by the monstrous thematic creation they had stumbled upon. There is no serious debate about the functionality of the music in the film. Part of the film's dominant success was due, directly, to its relatively deceptive use of music, however.

The ingenious idea of using the mindless two-note progression to represent the shark is effectively applied to the score by its tempo or even by its absence. The two-note progression was meant to match the blood pressure of the shark, but not the audience. Many people mistakenly believe that the theme was intended to reflect the horror level of the audience. In fact, the idea represents the internalized zeal of the shark itself, a flow that Williams and Spielberg allowed the audience to listen in on. The theme increases its pace as the shark gets excited, and it is absent from scenes in which the shark isn't anywhere near the present locale (most notably in the false alarm scenes of mistaken identity). The shark's primitive and brutal hunting instincts make the structurally simplistic two-note theme into the embodiment of the shark that Spielberg had struggled to obtain with the actual, physical shark that he had built for the film. Even if you see a fin in the water, if Williams' theme isn't heard, then there's no reason to worry or panic. A deep horn motif that actually serves as the primary theme for the film is usually presented on top of this simple ostinato, though this idea is truly overshadowed by its underlying rhythm. The theme's concert version and the cue "Man Against Beast" both build to a wondrous crescendo of melodramatic movie music fantasy on strings that is pure Williams in style. Accompanying the title theme is a pleasant, if not jubilant theme for the cozy beach town of Amity, one which provides a handful of thematic bursts that serve as early evidence of Williams' talent for capturing the Americana spirit. The enjoyable statements of adventure music as the Orca sails off and chases the shark are highlighted in "Man Against Beast" once again, which prompted Williams to compare that lengthy duel as having a "pirate spirit" that necessitated music that rolls along with jovial sport. Williams slowly takes that uplifting spirit and transfers it into one of increasing panic and desperation as the Orca comes under life-threatening attack, until the ultimate timpani roll declares relief as the decapitated shark's blood fills the ocean waters.

John Williams composed the film's score, which earned him an Academy Award for Best Original Score and was ranked sixth on the American Film Institute's 100 Years of Film Scores.[41][42] The main "shark" theme, a simple alternating pattern of two notes, E and F,[43] became a classic piece of suspense music, synonymous with approaching danger (see leading-tone). Williams described the theme as having the "effect of grinding away at you, just as a shark would do, instinctual, relentless, unstoppable."[44] The soundtrack piece was performed by tuba player Tommy Johnson. When asked by Johnson why the melody was written in such a high register and not played by the more appropriate French horn, Williams responded that he wanted it to sound "a little more threatening".[45] When Williams first demonstrated his idea to Spielberg, playing just the two notes on a piano, Spielberg was said to have laughed, thinking that it was a joke. Spielberg later said that without Williams's score the film would have been only half as successful, and Williams acknowledges that the score jumpstarted his career.[6] He had previously scored Spielberg's feature film debut The Sugarland Express and went on to collaborate with him on almost all of his films.[44]

As Williams saw similarities between Jaws and pirate movies, he tried to add much "pirate music, which is primal, but fun and entertaining".[6] The score contains echoes of Igor Stravinsky's The Rite of Spring, particularly the opening of "The Adoration of the Earth" and "Auguries of Spring".[46] The music has drawn comparisons to Bernard Herrmann's score for Alfred Hitchcock's Psycho and the ominous music for the off-screen hunter in Bambi, in which the music enhances the presence of an unseen terror, in this case the shark.[47]

There are various interpretations of the meaning and effectiveness of the theme. Some have thought the two-note expression is intended to mimic the shark's heartbeat.[48] Others have stated that the music at first sounds like the creaking and groaning of a boat, and therefore is inaudible when it begins so that it never seems to start, but simply rises out of the sounds of the film. One critic believes the true strength of the score is its ability to create a "harsh silence", abruptly cutting away from the music right before it climaxes.[47] Furthermore, the audience is conditioned to associate the shark with its theme, since the score is never used as a red herring.[44] It only plays when the real shark appears. This is later exploited when the shark suddenly appears with no musical introduction. Regardless of the meaning behind it, the theme is widely acknowledged as one of the most recognized scores of all time.[49]

The original soundtrack for Jaws was released by MCA Records in 1975, and as a CD in 1992, including roughly a half hour of music that John Williams redid for the album.[50][51] In 2000, two versions of the score were released: Decca/Universal reissued the soundtrack album to coincide with the release of the 25th anniversary DVD, featuring the entire 51 minutes of the original score,[50][51] and Varèse Sarabande put out a rerecording of the score performed by the Royal Scottish National Orchestra, conducted by Joel McNeely.[52]

The Jaws Theme by John Williams is the theme song to the 1975 film Jaws. It was ranked sixth on the American Film Institute's 100 Years of Film Scores. The main "shark" theme, a simple alternating pattern of two notes, E and F became a classic piece of suspense music, synonymous with approaching danger.

[KV]

Interesting stuff! Thanks for sharing :thumbsup:

[karlkalyan]

At the beginning of 1977, composer John Williams was very well known in Hollywood (primarily for his work in television and several Oscar-nominated scores dating back to 1967). However, this was the year that would catapult him to the A-list, joining such luminaries as Ennio Morricone, Jerry Goldsmith, and John Barry. At the 1978 Academy Award celebration, Williams faced off against himself. While he won for Star Wars, with its bolder, brasher music, one could make an argument that his work for Close Encounters (for which he was also nominated) was more accomplished. Indeed, the signature five notes linger in the memory today, and, at the time, everyone with a musical instrument knew how to play them. (Ironically, there was nothing special about that combination. Williams and Spielberg eventually picked it out of hundreds of possibilities because they needed something, not because it stood out.) Aside from the principle notes, the Close Encounters score is low-key, doing what good movie music should do: setting the mood, but not overpowering the screen action.

Commenting about his 1996 Oscar-nominated score for Nixon, John Williams said, "People may say that the best film music is that which is not noticed because it is so seamlessly a part of what you see and hear. Certainly, that's largely the way the audience responds as they look and listen, perhaps, to dialogue (superimposed over the music). But there are some areas in the screenplay where the music is more in the open, as it were - when there is a better chance of the audience being consciously aware of the music - as they would be in a concert - but I think those occasions are rare. I think the music provides an emotional pull for the audience that isn't there until you introduce music into a scene."

Although quoted somewhat out of context, John Williams is surely being unduly modest for his screen music is noticed and admired. The Star Wars soundtrack album, for instance, has sold over four million copies - more than any other non-pop album in recording history. Furthermore, his music also stands supremely well independently of the screenplay as the numerous recordings of his work testify. Unlike so many scores that are impoverished of invention after the statement of a solitary main theme, John Williams's music has real integrity - it is superbly crafted with a richness of invention of themes, melody, harmony, dynamics, texture and orchestration. There is always something to interest the ear.

The record shows that he has composed the music and served as music director for more than seventy-five films since 1959. He has received thirty-three Academy Award nominations and has been awarded five Oscars, four British Academy Awards (BAFTAs), and sixteen Grammies as well as several gold and platinum records. His Academy Award scores are: Fiddler on the Roof (Best scoring: adaptation and original song score), Jaws, Star Wars, E.T. and Schindler's List.

There are so many memorable Williams melodies that, once heard, seem to persist in one's head for days. The composer's range and versatility, writing for so many diverse screenplays, is truly remarkable: the childish mischief of The Reivers; the boyish, hero-worship of Empire of the Sun, the terror of Jaws and Jurassic Park; the tragedy of JFK; the mythology and heroics of the sci-fi spectaculars Star Wars and Close Encounters of the Third Kind (AAN- Academy Award Nomination); the horror of Born on the Fourth of July (AAN); the quirky humour of The Accidental Tourist (AAN); the Boys-Own-Paper thrills of Raiders of the Lost Ark (AAN); the poignancy and compassion of Schindler's List; the sparkling sophistication of Sabrina (AAN); and the dark, disillusionment of Nixon (AAN) - all are unerringly and sensitively caught.

Musicians have often remarked on the skill and imagination with which he has written for their instruments and about his taste and style as an artist but it is also worth mentioning his masterly writing for voices whether they are proclaiming the mystical impenetrability of space or singing in the authentic Jewish idiom in Schindler's List. His Exsultate Justi from Empire of the Sun is a significant composition in its own right.

John Williams is tall and imposing and looks rather "professorish", with his high domed head and shortish beard, yet he looks remarkably youthful. He is quietly spoken and courteous, and answers questions lucidly, thoughtfully and at length.

Talking about his early experiences, John Williams said: "My family moved to California in the late 1940s, when I was a teenager, from New York where my father had played in the CBS Radio Orchestra. At that time I was studying piano. My father worked in the studio orchestras in Hollywood and through his connections I began to meet people and study with teachers who were familiar with the film world and its music. In 1949, as a youngster, I went to Columbia Pictures and played with the orchestra, of which my father was then a member, for one or two days just as a fun outing. Then I used to be invited to join the orchestra if the pianist was absent. I was very fortunate to be so close to film music as a child.

"After military service I attended UCLA (and studied composition privately with Mario Castelnuovo-Tedesco) and, later, went to the Juilliard School to study under the great piano teacher - Rosina Lhevinne. I returned to California in 1956 and began to work in the studios as a pianist but I never thought about composing for films; my interest was piano. For two or three years, I sat in Hollywood studio orchestras as a pianist. At length, I began to get invitations from my colleagues to orchestrate this or that scene, then to conduct a scene while somebody was having lunch. Eventually, I was asked to write a film score of my own. This long apprenticeship and evolution led me to great good fortune in my life."

"I remember working with Alfred Newman. I returned to California for the soundtrack of South Pacific which Newman was conducting at Fox. I was asked to play in the orchestra because their pianist was retiring. Alfred Newman was the first of the Newman brothers that I met - I would play for Lionel Newman in later years, as well as for Miklós Rósza and Bernard Herrmann for whom I played piano. Bernard and I became great friends. We both worked in television in the late 50s and early 60s and in Hollywood at Universal studios, and I also used to spend a lot of time with him every time I came to London - you'll recall he lived here in the 1960s. I was quite fond of him and loved his music - as we all do."

When asked to identify the film and concert composers who had influenced his work, Williams answered: "There are so many. In the film world, I would have to mention again Alfred Newman and Bernard Herrmann but also Korngold - the great Viennese composer who went to Hollywood in the early years - he was a great hero of mine and Franz Waxman - and many, many others. In the concert field, there were, again, so many. I have to mention William Walton, a great favourite of mine - I admire his film and concert music. Walton was held in very high esteem in Hollywood. I like Elgar too, and all the Russian composers. The twentieth century Russians: Stravinsky, Shostakovich, Prokofiev - all were great idols of mine as a youngster."

Later in the interview, I asked John Williams to comment on three scores: Superman, Close Encounters of the Third Kind and The Accidental Tourist.

Setting aside the well-known heroic Main Title theme of Richard Donner's Superman, music which invests the character with a certain dignity and credibility, and the Love Theme (despite the voice of Margot Kidder), I asked Williams about two other impressive cues: Leaving Home and The Fortress of Solitude. Leaving Home contains the idyllically beautiful music for the scenes of the funeral of the foster father (Glenn Ford) set in a wide expense of prairie, while Superman is still a youth. When I suggested that the music carried a nostalgia for the American heartland together with a feeling of the vulnerability - the essential loneliness - of Superman and asked if he had had these thoughts in mind, he concurred - "...but not so much with the loneliness, that's a very interesting aspect... I think I was thinking more of his lineage and his youth and the expanse of the country, which was beautifully photographed, to contrast with the extra-planetary aspects of his life."

Of the ethereal-like, almost Holstian music of the Fortress of Solitude with its lovely, slowly- evolving, serene string melody, Williams confirmed that all the effects were created in the orchestra entirely, using a variety of treble instruments: triangle harps celeste etc.- there was no electronic input. "I remember the sequence very well and the atmospheric elements. The London Symphony Orchestra responded marvellously to produce a splendid sound", observed Williams "That's a very imaginative piece - Superman. It's a kiddies film, in a sense, but there's a lot of mythology in it and this mythological/mystical reach into the soul, into our inner life, was the role of the music. A film like Superman is a splendid opportunity for music."

John Williams began working on musical ideas for Close Encounters of the Third Kind two years before the film was finalised, basing his impressions on the unfinished script and dinner conversations with Steven Spielberg. Spielberg himself has said, "In many instances John wrote his music first, while I put the scenes to it much later." Speaking to me, John Williams added, "The wonderful imagination of Spielberg really inspired the music - the way he shot that film. I remember seeing the film for the first time. I had never seen spaceships conceived in that way - the colours, styles and lights. To accompany such arresting images, the music itself, the orchestration, needed to be brilliantly coloured. It was a fantastic challenge; a very, very difficult work.

"I was attracted, artistically, by the wonderful theme of that film - a question that haunts us all: are we alone in the universe or not? The Spielbergian child-like answer is in his wonderful creatures who are pacific, friendly and brilliant. They come to assuage our fears and to welcome us into their community, a community that functions at a higher level because we have finally evolved to a degree where we, too, have earned our membership. I believe that's a hope that we all hold dear and Spielberg has given us an opportunity to share these feelings.

"In this spirit, the idea to incorporate When You Wish Upon A Star was Spielberg's. I think for him, it had something to do with the innocence of childhood and Walt Disney's music, especially Pinocchio, that we all loved as children. He wanted to attach that childhood innocence to a feeling of nostalgia that would effect an audience. So, in a situation that is alien - completely remote from our experience - seeing these creatures and their machines but hearing something very familiar, When You Wish Upon A Star, you feel safe and at home."

"Spielberg had the idea that we should have a five-note motif (the famous alien message motif that recurs throughout the film) but I actually suggested that we have a slightly longer one. Then we both noticed that if we exceeded five notes and used six or seven you suddenly began to have a tune. But a musical signal, like a doorbell, would only be three, four or five notes long; so we settled on five. I wrote about 350 five-note combinations and played through them all to narrow the choice. Then I had several meetings at the piano with Steven to decide which one would have the most haunting effect. After days of trial and error, we both settled on the one that was eventually used. There was no real scientific reason other than it's very simple; the intervals are very clear and it ends on the fifth degree of the scale rather than the first so its like ending a sentence with the word "but" so that you can continue and make a loop of that sentence and go on and on ad infinitum. The interval of the perfect fifth also rattles our memories of antiquity and the fifth figures very strongly in the musical motifs of Close Encounters...."

Turning to a quite different film, The Accidental Tourist, I asked John Williams about the way he portrays a film's characters in music. "I loved writing the music for that film," he commented enthusiastically. "I wanted to write a romantic theme because it was a love story in a way. Then when I began to think about it, I realised that it was not so much a love story but more of one about healing and grief, and working through that grief to find a happy loving experience at the other end. The loss that the William Hurt character suffered was something that I tried to depict in my music as he comes together in his new life with this young woman (Geena Davis)."

There is a scene early in the film that demonstrates Williams's skill in producing an effect with sensitivity and economy. William Hurt is asked to identify the body of his son who has been accidentally shot in a hold-up. The music tells you everything as Hurt goes behind the curtains in the mortuary. Within the space of a few remote and dislocated-sounding chords you feel Hurt's pain and you sense, as he recognises the body of his son, the departing spirit of the boy.

"I saw the film before I commenced work and I was very moved by the performance of William Hurt and also the gifted young Geena Davis," added Williams. "William Hurt, as a man who had been wounded, had a kind of quietude, a sort of ruminative mood, to which I could respond very positively. And Geena Davis had a natural bubble and a fabulous energy about her. So I was certainly effected by these characters and the way the actors played them when approaching the composition of the music."

When I asked if he had read the original Anne Tyler novel to obtain an extra dimension of inspiration he said, "No, but only because I don't like to read material before I begin working on a film. You tend to have a such pre-conception from anything you read, that when you look at a film, it often doesn't match your mental image of what should be there so I prefer to see a film with a completely "clean slate" as it were."

John Williams's score for Nixon must be one of his darkest to date. The enterprising Polydor/Hollywood Records soundtrack CD includes a CD-Rom element which includes a filmed interview with both Williams and Oliver Stone about the music. This article's introductory quote comes from it.

Of the Nixon music, John Williams says that it is thematic but in a more motific way. One side of the orchestra might be playing in an American, grass-roots, solidity sort of way when the other suddenly presents a dissonant element. It is heroic one moment - "the next... maybe tortured is perhaps too strong a word" but its that sort of feeling.

Speaking of the film's special demands, Williams adds, "Oliver Stone's films are documentary in nature - at least the ones with which I have been associated with (JFK and Born on the Fourth of July). They are not so straightforwardly narrative.... There are flash-forwards and flash-backs in the middle of a scene and there may be some reference to meetings in China that took place years before or have haven't even happened yet - right in the middle of a dialogue scene in the White House.... so we need to have music before, during and after these collages to sew everything together.

"Here in the film studio we regularly mix very advanced technological sound production sources with traditional acoustic instruments in a wonderful way. At the beginning of the film, as General Haig is approaching to have his meeting with Nixon in his private quarters, in an absolutely empty White House, the music creates a very sinister atmosphere but electronically we also produce some "explosions" which are very low - you almost don't hear them but you feel them; they're almost like a kind of napalm - like something in Cambodia that may not even have happened yet. It's something of a preview of the future and I think the effect can be powerfully suggestive."

Oliver Stone says: "John Williams has really entered into the dark side of Nixon's character but at the same time given him a grandeur which is important because, although Nixon could be mean and petty, he also had a grander theme to his life which John addresses in a classical score that is reminiscent, for me, of the feelings evoked by the music of Mahler - a composer that Nixon himself admired."

In addition to his film music, John Williams has also written a number of concert works including two symphonies and concerti for flute, bassoon, violin and cello. Sony Classical recently released his The Five Sacred Trees (Concerto for Bassoon and Orchestra) - about the majesty, magic and mythology of trees - conducted by Williams (SK 62729); and the Company plans to record the composer's Cello Concerto with Yo-Yo Ma, again with Williams as conductor. John Williams said that it is "a sweeping, romantic melodic work with a blues section and a brilliant pyrotechnical finale."

Asked, of all the many films that he had scored, which was his favourite he replied: It's a difficult question," he said, "but if I'm pressed for an answer, then I would select Close Encounters of the Third Kind for the all the reasons we've discussed."

Talking about composers that he admires who are working in the medium today, he cited the continuing excellence of the work of Jerry Goldsmith and confirmed that he thought highly of the work of composers such as James Horner and James Newton Howard. "There's a young member of the Newman family - Thomas Newman - who I think is one of the most gifted of the young people who are coming along. His score for The Shawshank Redemption stands in my mind as one of the most impressive from the younger generation."

Both Spielberg and Oliver Stone have spoken about the ease and spontaneity of their working relationship with John Williams and how his skill and adaptability has provided them with the freedom to fully extend their creativity. In turn, John Williams has produced probably the most distinguished corpus of film scores in the history of the cinema.

[karlkalyan]

The John Williams score was created before the film was edited. Steven Spielberg edited the film to match the music, a reverse of what is usually done in film scoring. Both Spielberg and Williams felt that it ultimately gave the film a lyrical feel.

John Williams: Another opportunity that we have in film also is to create melodic identifications with characters. Leitmotif technique from opera, if you like, centuries old, certainly works very well in film. So we can identify people aurally on and off the screen. We can suggest the presence of a character. We can sense Darth Vader's approaching, because we hear his tune. And so these are parts of the toolbox of how we put together a soundtrack to a film that will illicit emotions and underscore them, suggest them, enhance them.

Jaws music

Jo Reed: That was 2009 National Medal of Arts recipient, John Williams, talking about the art of scoring films.

Welcome to Art Works, the program that goes behind the scenes with some of the nation's great artists to explore how art works. I'm your host, Josephine Reed. Born in 1932, John Williams has composed many of the most famous film scores in Hollywood history, including all six Star Wars films, the first three Harry Potter movies, and nearly all of Steven Spielberg films, notably Jaws, Close Encounters of the Third Kind and all of the Indiana Jones movies. Williams's also written more than a score of musical compositions for the concert hall and from 1980 to 1993, served as the principal conductor of the Boston Pops Orchestra. In 2003, John Williams wrote the composition Soundings and conducted it for the opening of LA's Walt Disney Concert Hall. And in 2009, he composed and arranged Air and Simple Gifts for President Barack Obama's inauguration.

I spoke to John Williams when he came to Washington DC to receive his National Medal of Arts. We spoke in one of the dining rooms of the Four Seasons hotel in historic Georgetown. I began our conversation with an obvious question: 45 Academy Award nominations, 5 Academy awards, 4 Golden Globe awards, 20 Grammy awards … do you sleep?

John Williams: Well, I sleep fairly well. Will depend on the workload I suppose. As with all of us, the busier we get sometimes the more spinney we become. But music is not so much of a job as it is something we love to do. And I think, certainly in my case being now a senior musician, anyone who's practiced music for a number of decades will always tell you, I think, that the longer and harder we work the more we become infatuated with music and see more in it and take more from it. And so it's hard work. Music is. Anyone who's learned and practiced an instrument or studied to write academic fugues will tell you it's a tough job, but the rewards are especially gratifying I think. For me, it has been and continues to be a working life. And I think I'm lucky that my subject is music, because it is so rewarding.

Jo Reed: Can you tell me how you moved into composing for films?

John Williams: Well, I always composed. As a child, I tried to write little pieces and, as a teenager, began to orchestrate some of them. And my father was a musician, and there were theory books sitting around the house that were there underfoot since age eight or ten or whatever. But piano was my serious study. I hadn't intended ever to become a professional composer. Fact wouldn't imagine anyone could earn a living doing that. I began to work in the Hollywood studios as a pianist in the orchestras in the late 1950s. And the first appointment I had was at the Columbia Studios Orchestra. The audition process was very simple. It was a sight-reading session. I was a pretty good sight reader as a youngster. And I played in the orchestras of studios in Hollywood for four or five years. Sitting every day watching older colleagues, like Alfred Newman. Some of our listeners will remember these names. Bernard Herrmann certainly they may remember, Franz Waxman and others. And I played for all of these gentlemen in some fantastic films. Some Like It Hot, I played on the piano the orchestra score of that, and actually accompanied Marilyn Monroe in the headset when she did her little songs, and Westside Story and South Pacific, so many of these, The Big Country, To Kill a Mockingbird. And I still didn't have the notion that I might be a film composer or professional composer until some of these older colleagues began to say to me can you orchestrate X scene, this is Tuesday, we need it for Thursday morning, next Monday morning. Of course, with the temerity of youth, when everything seems possible, we always say yes. And a very gradual process took place, from working primarily on the piano bench in the orchestras of the studios to the orchestrator's desk and eventually to the composing desk and was invited then to conduct some scores of my own and of others. So it was a very gradual process that I hadn't planned for or even anticipated that was the result of, like most things in life, really good fortune, wonderful timing, great opportunities that came along at about the time that I was roughly ready for them.

Jo Reed: This might be a strange question. But can you talk about film music thinking? You compose for concerts. You compose for films. How do you approach the music differently or do you?

John Williams: Well, there's a fundamental difference between film music and concert music. Film music is, very broadly put, an accompaniment to dialog and to action. And there are rare moments when the orchestra can take full stage. And so it would be something like examining an opera score and taking away all the vocal parts and just having the accompaniment played. So that when one is writing for film, one needs to bear in mind that we're accompanying people speaking and we don't have 100 percent or 80 percent even of the listeners' attention but we're finding a register, a tasatura, a place in the orchestra, low, high, soft, loud, whatever, that will fit the tempo of the dialog and the register of the dialog and the intensity of it or action and bear that in mind with every measure we're writing. When we write for the concert hall, we assume, 100 percent of the audience's attention or maybe 80 percent of it, we could have that much of it. And we need to fully engage them aurally and hopefully intellectually. And when it's not accompanying anything, it's engaging with the audience in a way that film composition usually fails if it aspires to do. Music and film really-- you can say that there never was silent film. When we didn't have synchronized sound, we had a pianist or a violinist or an organist in the theater accompanying the action. And if you take orchestral music particularly out of, let's see, example, action films and watch the film without it, something of the energy or the circulation, if you'd like, or the temperature of the film is taken away and it becomes inanimate almost. So the music has shown itself to be an essential part of this audio-visual experience. And it's a very different compositional mentality from the concert stage approach.

Jo Reed: Music for film, in some ways also offers the audience emotional cues about how to respond to what they're seeing.

John Williams: Right. That's a very good point. And we can not only underscore emotions that are developing but suggest some that may not be or references or allusions to characters or feelings. And that's a very important role in music that you point out.

Jo Reed: You're wonderful at writing these riffs or musical signals that fit so wonderfully into the whole. You really do create the whole tapestry. And, for example, in Close Encounters, which has-- it's the first movie I saw where the composer got a round of applause…

John Williams: <laughs>

Jo Reed: …when the credits rolled at the end. But that five-note tone that you did, that then was such an integral part of the film is also part of the score that you create. Can you talk about how you approach that?

John Williams: Well, Close Encounters is, in my experience at least, unique. The five-note motif that you mentioned was the result of a lot of experimentation, meeting with my friend Steven Spielberg. I think I wrote about 300-plus examples of five notes starting with all on one note and with no rhythmic variation, just intervallic, that is to say pitch differences. And we settled on this one [5 Note from the film] for whatever reasons, and it was meant to accompany the Kodaly hand signals. People may remember it was an attempt at communication with extraterrestrials with whom we didn't know whether language would work, whether intervallic musical sounds would work, whatever experiment that we would do. Colors was another. We had a note for each color if you remember. So we flashed a color and played a note to the aliens to see if they got that and then did a combination of two or three. And finally we come to the signal code that had certain colors to flash to it. This was a particular part of the script that had very little to do with the underscore of the film as a whole. The scene had to be developed musically in this way, the scene of communication. But it then, as your question suggests, suggested to me the use of that thematic signal. It wasn't even a theme. It was more like a signal to incorporate in the orchestral material following that scene. Interesting to me. Five notes I always felt was five notes as-- they all constitute a signal. You can start with the Avon doorbell, which is, what, two notes or three? I don't know what it is.

Jo Reed: <makes two-note doorbell sound>

John Williams: Yeah, but if you go to seven or eight notes, it's a melody. And I kept trying to say to Mr. Spielberg, "I need more than five notes to make this point. It isn't enough." And his point to me was, "It should not be a melody. It should be a signal." I think he was right in that sense that if you went a little further you already had two bars of music that you could play in whatever mode you wanted to express it. So it was an interesting exercise for me in getting to the point, absolute minimal number of syllables, words, to use a literary analogy, perhaps, of saying it all in three words instead of allowing yourself five.

Jo Reed: You have had a very long collaboration with Steven Spielberg. How did it begin?

John Williams: We've been working together now-- you and I are talking in 2010. Steven and I have been working for 37 years uninterruptedly. It's probably the longest collaboration <laughs> in the history of theater or film that I know of. Gilbert and Sullivan, I don't know, with their stormy relationship, how long that went on. I should know, but I don't.

Jo Reed: I don't think it's 37.

John Williams: I don't think so. And I think it bespeaks a lot about Steven himself. He's a very, first of all, very loyal man. And I can say simpatico in every way. It's been like a marriage without disputes or arguments. We've never really had an argument. Once in a while, we'll have not a disagreement. But I may present a scene to him with the orchestra. He'll say might be better if you do X or Y, rarely. But every time he's done that, when he's asked me to rewrite something, I've done better. Rewriting actually, for me, is the art of writing anyway. To work with the material-- in journalism, the problem always is that what we write is printed the next day. And then a week later, if you look at the prose you've done, you think, oh, my god, it could've been so much better…

Jo Reed: <laughs>

John Williams: …if I could've rewritten four sentences. But you don't have that opportunity. And writing film music is similar to journalism in that we record the score. The next day it's being dubbed. That is mixed. The soundtrack's being permanently fixed, and it's out before the public. And you may hear it six months later and think, oh, I could've done so much better if I'd had another month on that. But that's part of the-- one of the dynamics of commercial filmmaking.

Jo Reed: Do you compose after you see a cut of the film?

John Williams: Yeah, the cut of the film will give us a lot of things, tempo, rhythm, length of things, dynamics of all kinds. It'll even suggest textures, timbres, the coloration of-- many things that we mustn't do here and things that are required that seem to be necessary. There are some exceptions. You and I talked about Close Encounters a few moments ago and the signals scene, the five notes. That musical shootout between the computer board and the arriving ETs was prerecorded before the scene was shot, because we needed to have the music to shoot the scene to. There are other examples I could give you. Occasionally a director will come and say here's a scene that I want to do and it will do X or Y. Oh, another more recent example, Harry Potter, Hedwig's music, the owl that flies and has his music. Warner Bros. said can you create some music to which we will manufacture a trailer that we can create to that music. And so I wrote and recorded the music with the orchestra. Warner Bros. put together their trailer advert film for the first Harry Potter film. And everyone seemed to like the piece. So it became the main theme of most of the films. And that was written before I saw any film. I'd read the book and had an idea of what Harry Potter was, I thought, going to be musically I thought. So in answer to your question, 95 percent of the cases in film music, we all want to see the film first. But there are notable exceptions.

Jo Reed: You wrote all the scores for the Star Wars films. The difference between the first one and the last-- the sequel, in some ways, has to-- there are musical references. But at the same time, you're also composing anew. Can you talk about that juggling act a bit?

John Williams: Well, the Star Wars experience has been, I think, unique in music history, film music history. Not because of me, there's no waving my own flag, but because of this simple reason. The first Star Wars film that I did with George Lucas, whenever that was, I had no idea they were going to be-- he didn't tell me there was going to be a second, Empire Strikes Back. I never heard of such a thing. And I thought that Star Wars was just over and completed when I put the baton down the end of the first recording. And a year or so later, he rang up and said, "I have the next installment. And we need the old music from the first film, but we also need new music for new characters, new situations." So a process started, that lasted over, I guess, 20-plus years, of adding bits and pieces of material to a musical tapestry that started to become-- started to pile up off the floors, quite a extensive library of music. Each film having over two hour's of music. So there's about 12 to 14 hours, maybe 15 hours of orchestral music composed over a period of not 2 years but 20. And that, I think, is a unique opportunity for a composer, one that I never expected to have. And it gave me an opportunity to do the things we talked about a few moments ago that I hadn't otherwise had. That is to say an opportunity to go back over and perhaps improve some of the things I'd done. And what's fascinating is, to me, that maybe some of the newer music isn't any better or as good as the earlier ones. That's one's own personal inner struggle, inner voice. When you write something when you're 40 years old, you wouldn't write it the same way when one is 70 and vice versa. One may be better than the other or a different kind of energy or different kind of acuity, whatever will go with it. So it's been a fascinating journey, Star Wars.

<crew talk>

Jo Reed: It's hard to think of music that announced a film with more verve than your music did for Star Wars. The music helped make it an event. You hear the music, and everybody just lights up right away.

John Williams: Fantastic opportunity. I did see the credit crawl. I can't quote you what's on it. I should be able to I suppose. I love that.

Jo Reed: Long ago and far away…

John Williams: Looking at that thing, I thought, well, it has to be a grand fanfare and it has to start off with, put it this way, with a bang, with a full fortissimo explosion of energy and trumpets and the rest of it. And so I wrote the piece that I wrote. It starts with an unprepared, high C on the trumpet. People can hear the music itself. The way that orchestra-- there's no preparation note for the trumpeters. It's very difficult. They have to grab it right out of the ether. It was a particularly great performance of brass playing. And so the spirit of, I think you could also say, militarism of the British brass tradition is apparent in the performance I think, in the writing also. Because it is a military piece after all, spaceships and an army of space, if you like to think of it that way. So it has that swagger and that sense of commitment and dedication to the journey.

Jo Reed: I read, and correct me if I'm wrong, that Joseph Campbell had something to do with the way you envisioned the film. Is that true?

John Williams: Well, belatedly. He instructed all of us I guess. After the first film appeared, he did his now famous interviews about Star Wars and, of course, told all of us, those of us doing the film, probably even George Lucas who created it, I think they were fascinated with each other, he pointed out to us that these connective links with mythology and shared memory even across cultures added force to the nostalgia and the revived recollections of past heroes, if you like, and all the villains and so on was some sort of fundamental part of our humanity and explained to us that what we thought was going to be a Saturday morning popcorn picture for kids, which I thought it would be at the least, was something that resonated with people around the world. You expect it to be a children's film, but it does so much more for all the reasons that Joseph Campbell was able to articulate to us. I'm sure he's right. And the resonance of the music also I think is part of that awakening that takes place in our psyches, in this cross-generational <laughs> wave of neurons that go through all of us, from generation to generation, where we remember things. And we clearly do. They're not our experience, but they're the experience of our collected past, Star Wars.

Jo Reed: And there's something about music that just, I think, allows people to apprehend that on such a deep level. You know it almost without knowing.

John Williams: It is fascinating. Leonard Bernstein spent his whole life, I think, trying to teach us that music is one thing. And, sure, there's great diversity in music, but there are universals in music that don't exist in language. Noam Chomsky and others will try to find them, and they get a grunt or a syllable shared by all the cultures. But, the music, that's divided in nature. A string is a string and it divides in half in an octave whether you're in Tibet or you're in New York City. So it's a shared language with our physiologies. It's part of how the ear works and the brain measures and the balance is attained in …

Jo Reed: It resonates inside.

John Williams: And resonates inside emotionally. So we use music for our birth and for our wedding and for our death and for our celebrations and for our wars and for our victories. And we don't understand. Least I don't. I don't think Bernstein ever articulated it. No one could do better than he. It is part of our humanity. We need it like we need to share language in the same way. And that's why it's so important that it's taught. Children who study music learn a different metric system. They learn to calculate things aurally, intervals and so on, do, re, mi's, giving special kind of instruction to the brain. And performance is a way of setting aside individuality. You sit in an orchestra, join a chorus. You cease to become an individual. Now you're part of a unit that performs in a very special way. So music performance is an important part of social interaction. Yeah, music is like breathing. Have a cliché. It's an important part of our human experience.

Jo Reed: Well, we mentioned earlier your compositions for concerts. And you inaugurated the new Disney Hall in Los Angeles, and you also did an arrangement of Air and Simple Gifts for the inauguration. Talk about that.

John Williams: The opportunity to participate in the inauguration of President Obama was certainly a special, great event in my life experience. The President very wisely selected Yo Yo Ma to play. The president asked Yo-Yo if he would put together a small group, three or four musicians only, to play something that would be four to five minutes long. And that Yo-Yo could select his colleagues, and he did. He selected fantastic group of musicians and rang me up and asked me if I could either write a piece, organize something that might be appropriate for that moment. Either the president told him himself or he heard that the president was particularly fond of Aaron Copland's music. And, of course, there's no Copland music for that combination of instruments in Copland's pretty vast canon. And what we know of Copland--most people, American audiences, will think of Appalachian Spring, the famous ballad that Copland wrote. Some of which has the wonderful old Shaker hymn Gift Be Simple in it. So I thought a combination of the Shaker Air, as a tribute to President Obama's affection for Aaron Copland, might be appropriate if I could combine it with some perhaps slightly hymnal idea that might express, in a very simple and not ostentatious way, the solemnity and beauty of the moment and the promise of the moment and put it together for actually a kind of esoteric combination of instruments, violin, cello, piano and clarinet

Air and Simple Gifts…

John Williams: So that was the result of this effort. And it brought me together with two of my favorite colleagues, Yo-Yo Ma and Itzhak Perlman, and two younger people that I hadn't known before that Yo-Yo selected.

Jo Reed: Anthony McGuill and Gabriela Montero

John Williams: And we were allowed the great once-in-a-lifetime privilege of participating in that event.

Jo Reed: You have won many awards and now the National Medal of Arts, which is the highest award the nation gives to an artist. Can you just tell me what you thought when you won that award?

John Williams: Well, I'm still a little bit numb about it, because it is so grand. And one can only think could anybody ever be deserving of such an honor. There's so many people who we could name that would be deserving. And I just feel, beyond being a little bit stunned about it, frankly, enormously grateful and very excited about it. And I think what it does for me is want me to be better, and I hope I have time to do that.

Jo Reed: And I join you in that hope.

John Williams: <laughs>

Jo Reed: Thank you so much, John Williams. It was really a pleasure and a well-deserved honor. Thank you.

John Williams: Thank you.

Jo Reed: That was National Medal of arts recipient john Williams talking about his extraordinary career as a composer.

You've been listening to Art Works, produced at the National Endowment for the Arts. Adam Kampe is the musical supervisor.

Excerpts from the soundtracks to E.T. and JAWS used, courtesy of Universal Pictures. Excerpts from Star Wars and The Empire Strikes Back, used courtesy of Sony Music Entertainment. Excerpts from Close Encounters of the Third Kind, from the CD The Music of John Williams used courtesy of Silva Screen Records. Excerpts from Harry Potter and the Sorcerer's Stone, used courtesy of Warner Brothers. Excerpts from "Air and Simple Gifts," performed by Yo-Yo Ma, Itzhak Perlman, Gabriela Montero and Anthony McGill, used courtesy of Sony Music Entertainment.

All the music has been composed and conducted by John Williams.

[karlkalyan]

Close Encounters of the Third Kind: (John Williams) If not for the misfortune of being released later in the same year as George Lucas' Star Wars, Steven Spielberg's Close Encounters of the Third Kind may have resonated with the same kind of appeal in memory. While both films feature science fiction stories at their best, as well as wide-ranging Oscar nominations that both recognized John Williams' music, Close Encounters of the Third Kind is by far a more contemplative and, at times, quite scary alternative to alien introductions. The Spielberg story combined fears of alien kidnapping with the uncertainty of facing and communicating with a far superior species. While the suspense of the story dominates its first half, the actual military encounter with the aliens at the end is conducted successfully with the help of communication through lights, colors, and music. As such, Spielberg needed to identify a short musical motif early enough that he could use it during the production of the film's final half hour. While already yielding an Oscar win for the composer, the collaboration between Williams and Spielberg was still in its infancy, and Williams had to convince studio executives that he was far enough along with Star Wars to contribute his best to Close Encounters of the Third Kind. He sat down with Spielberg several times for the specific purpose of conjuring and agreeing upon the five-note greeting that humans would use to solicit a response from the aliens. Williams had the theme to "When You Wish Upon a Star" in mind from the start, and he would eventually weave that tune into the last minutes of his score, but despite Williams' request to be able to use seven or eight notes to form the greeting, Spielberg was steadfast in placing the five-note limit. After all, greetings are meant to be succinct and it's no coincidence that the word "hello" is five letters long. Williams ran through hundreds of permutations and neither man was satisfied with the results. After several sessions, Spielberg chose one out of frustration and, ironically, it was the successful and famous motif known to the world today.

Although almost all of the attention given to the music for Close Encounters of the Third Kind involves that five-note motif (and to some degree, rightfully so... It makes such a dramatic impact in the story of the film), Williams' score for the picture is far more complex than that. While Star Wars was a straight forward space opera from start to finish, Close Encounters of the Third Kind is a score with three distinct parts. The first act of the story offers lengthy sequences of atonal and dissonant passages that accompany the kidnapping and mysterious hints of an alien presence. The middle portions of the score alternate between this restrained sound and explosive action cues that would foreshadow rhythmic, orchestral harmony to come in Raiders of the Lost Ark and E.T. The Extra-Terrestrial. The final third of the score, opened by the famous communication sequence, is where the familiar harmonic melodies of Williams career flourish. The five-note communication motif isn't actually the title theme for the picture. Williams allows the wonder of the aliens to inspire the true title theme, and that idea takes quite some time to announce itself. Alternately representing Devil's Tower (the majestic mountain at which the aliens are to be received), this theme first forms cohesion with the help of a choir in "Forming the Mountain" and especially "TV Reveals." As Richard Dreyfuss' character (Roy) sculpts the peak from memory and finally learns of the name and location of the mountain, Williams unleashes a grand crescendo of harmony with the choir in the latter cue. The lush romanticism that defines this theme is first provided in "The Mountain," as the film switches to its final location. Audiences will most likely recall this theme's lengthy, flowing performances after the alien exchange, for the theme and its concert arrangement occupies the finale and closing titles. While the arrangement that Williams' takes with him on concert tours gives a distinct nod to the five-note communication motif, most of its running time is devoted to the primary theme.

In the end, Close Encounters of the Third Kind may have been overshadowed by Star Wars and Superman in an incredible 18-month time span for Williams, but the score still stands on its own as one of Williams better known. When the United States government included the five-note communication motif as one of the welcoming messages it transmits in the direction of distant worlds, the score's status was confirmed.

[sakaLAKALAKAlaa Vallavar]

இங்கே பதியவேண்டும் என்று எனக்கு அடிக்கடி தோன்றும் ஒரு விஷயம், இசைப்புயல் ரஹ்மான், வெவ்வேறு காலகட்டங்களில் ராஜாவை புகழ்ந்து சொன்னது பலது இருக்கும், எனக்கு மூன்று விஷயங்கள் தோன்றும்

1) "இசைத்துறையில் நுழைந்த புதிதில், பெரும்பாலான கலைஞர்களும் குடித்துவிட்டு மது மாது என இருப்பார்கள். ஆனால் ராஜா சார் மட்டும் ஒழுக்கத்தின் உருவமாக இருப்பார், அவர் எனக்கு இதில் பெரு உதாரணம்"

2) "நான் ஒரு வருடத்திற்கு ஐந்து படங்கள் தான் பண்ணுறேன், அவன் என்னங்க, ஒரு வருஷத்துக்கு நாப்பது படம் பண்ணுகிறார்!"

3) ரஹ்மான் கோடிக்கணக்கில் சம்பளம் வாங்க தொடங்கி இருந்த நேரம், "என்ன சார் கோடிகளில் இருக்காமே உங்க சம்பளம்?" என ஒரு நிருபர் கேட்டபோது ரஹ்மான், அவராகவே ராஜா சர் பத்தி சொன்னார் -> "ராஜா சார் எல்லாம் நியாயமான சம்பளம் வாங்கி இருந்தா தமிழ்நாட்டையே வாங்கி இருப்பார். ஆனால் எங்க காலத்தில் தான் நியாயமான சம்பளம் வாங்க முடிகிறது"

இந்த மூன்றுமே முக்கியமான விஷயங்கள். முதல் விஷயத்தில் ரஹ்மான், ராஜாவின் தனிமனித ஒழுக்கத்தை பற்றி சொல்கிறார், இது பொதுவாக அனைவரும் அறிந்தது தான் என்றாலும் கிட்டத்தட்ட யாருமே சொல்லாதது, எனவே இந்த பாராட்டு அந்த வகையில் முக்கியத்துவம் பெறுகிறது.

இரண்டாவது, அவர் மறைமுகமாக, ராஜாவின் வேகத்தை பாராட்டுகிறார்.

மூன்றாவது, மிக முக்கியமானது. தமிழ்நாட்டை விட்டுவிடுங்கள். ஒரு பேச்சுக்கு, ராஜா இசையமைத்த ஒட்டுமொத்த படங்களுக்கு சன்மானமாக, ஒரு பேச்சுக்கு அவர் சேர்த்த சொத்து கிட்டத்தட்ட சென்னையில் கோடம்பாக்கம் அல்லது நுங்கம்பாக்கம் போன்ற ஒரு ஏரியாவின் ஒட்டுமொத்த நிலத்தின் உரிமையாளர் என்று வைத்துக்கொண்டால் எத்தனை கோடானுகோடிகள் வரும் என்பதை எண்ணிப்பார்த்தால், ரஹ்மான் சொன்ன பாராட்டின் மகத்துவம் புரியும். ராஜா ரொம்பப்பெரிய சம்பளம் எல்லாம் வாங்கியதோ, அல்லது பணத்துக்கு ஆசைப்பட்டு (அதில் தவறேதுமில்லை) வெளிநாட்டு நிகழ்சிகள் போன்றவை எல்லாம் செய்வதில்லை. பணத்தை முன்வைத்து அவர் எதையுமே செய்வதில்லை. இன்று கூட அவர் பாடல்களை Box Sets ஆக போட்டால் நல்ல விற்பனை இருக்கும், ஆனால் அவர் இதையெல்லாம் நினைத்தே பார்ப்பதில்லை. இன்று ராஜா சேர்த்திருக்கும் சொத்து என்று எதாச்சும் இருந்தால், அன்றைய காலகட்டத்தில் நில மதிப்பு குறைவாக இருந்த பொது வாங்கிப்போட்ட வீடும், பல நூறு படங்களுக்கு இசையமைத்து சிறுக சிறுக சேர்த்த செல்வம் மட்டுமே. ஆனால் நிஜத்தில் அதற்கும், அவரது இசைக்கும் சம்மந்தமே இல்லை.

ஏன் இந்த பதிவு என்றால், ஒரு வகையில் நாம் ரஹ்மானுக்கு கடமைப்பட்டவர்கள் என்று கூட சொல்லலாம். ராஜாவிற்கு அவர் தந்துள்ள இந்த மூன்று பாராட்டுக்களுமே முக்கியமானது

[krish244]

‘Composing music is not a job
for me’

http://www.deccanherald.com/content/220801/composing-music-not-job-me.html

thanks,

Krishnan

[Sureshs65]

karlkalyan,

Thanks for posting the stuff on John Williams. Almost everyone here appreciates his work. Having said that, it would be appropriate if you post this info in the relevant thread in forumhub. I am sure there will be some place to post about international composers. Let's keep this thread for Raja's titbits.

Thanks for the understanding.

[sakaLAKALAKAlaa Vallavar]

https://twitter.com/#!/TPKD_/status/160632744060256256


மயில்செந்தில் தோழரையுடன் இளையராசாவை அலசி காயப் போட்டது ;-)) http://bit.ly/zolMr8
6 hours ago

hilights

ராசாவின் பாடல்களை ரசிப்பதோடு நிற்க்காமல் அதை துண்டுதுண்டாக வெட்டி பரிசீலிக்க வேண்டும். அப்போதுதான் புதிய வாசல்கள் திறக்கும்

அவரை முழுமையாகக்கேட்டுமுடிக்கவே எனக்கு இன்னும் இரண்டு ஆண்டுகள் ஆகும்போல.

அசுரத்தனமான வாசகப்பங்கீட்டைக்கோரும் வகையில்தான் அவரின் இசை இருக்கின்றது.

பிரித்து மேய்ந்தாலே ஒழிய சில மெட்டுக்கள் இட்டுச் செல்லும் உயரத்தை காண இயலாது

உதாரணத்துக்கு நின்னைச் சரண்டைந்தேனில் வரும் இடை-இசையை கேளுங்கள்... ஒரு தனிமனித சோகம் உலக சோகமாக மாற்றப்படுவதை உணரலாம்

கிராமத்து கூத்துகளில்... குரலாய் ஒலித்த உணர்ச்சியை அப்படியே உள்வாங்கி ராசாவால் கருவிகளில் ஒலிக்க வைக்க முடியும்

[rajkumarc]

Good post skv :clap: I remember reading an ARR interview (could be Anandha Vikadan or Hindu, not sure about the time frame either). ARR was saying he stopped listening to IR's music because it permeates one's soul and it would be almost impossible to get new ideas. This was portrayed in negative light by the media during ARR's earlier days and he clarified in that interview at a later time.

[krish244]

Thamizh Padam music director Kannan interview:

http://www.thehindu.com/arts/cinema/article2820530.ece

"...For many musicians, the route to cinema is via jingles. Kannan has composed music for about 600 commercials so far. He is one of those rare budding composers, who is busy on the light music circuit too. “We are a slightly different team — we sing only the melodies of Ilaiyaraja on stage,” he smiles. The troupe is called Bharathi Entertainers. ..."

thanks,

Krishnan

[Sureshs65]

All of us were thrilled with Arunmozhi / Napolean flute playing. Here is Kanapraba's interview with the man himself. A nice interview.

http://radiospathy.blogspot.com/2012/01/blog-post.html

[skr]

Anyone heard of this album before
Kadhalai Gauravikkum Neram by Karthik Raja and Ilaiyaraaja (6 songs composed by KR and 2 by IR)
http://www.saregama.com/portal/pages/music.jsp

[KV]

Thanks Sureshji, for the link. Nice interview, though not as elaborate as Baalesh's. BGM ellaam panneerkaaraame, hmmm...

skr, I've never come across this album before. But oru paattu kooda thErala. Padu sumaar :(

[krish244]

Looks like director of "Dam 999" first approached IR to compose for the movie, but it did not work out.

http://gulfnews.com/arts-entertainment/celebrity/dam-runneth-over-1.969888

thanks,

Krishnan

[kameshratnam]

Vaaliba Vaali 15th sep 2011 episode
Todays vaaliba vaali episode was hosted by Kavignar Nellai Jayantha and Violinist Padma Shankar. She is a disciple of Lalgudi Jayaraman. Her husband is TV/FILM actor ABHISHEK.

The episode revolved around the genius of ilayaraaja and the ragams which are in his songs. Vaali pointed out some interesting and important information.

1. Raaja never composed songs on raagams. The genius ilayaraaja is that he composed songs and finally they came in those raagas
2. In none of the songs raaja was crossed the grammar rules of raagas
3.Raaja has used the same raagams in two different genre

MALAYAMARUTHAM
Raaja has composed a duet number in this raaga and they played the song "Kannane nee vara kathu irudane" and actually the raaga was meant for some other purpose

REETHI GOWLAI - there is no hindustani equivalent for reethi gowlai
Mrs. Sankar sang the Arohanam of the song and it was the song Chinna Kanna Azhaikiran and at that time Vaali said " Ilayaraaja is such a genius and who will dare to make a legend like Dr Balamurali Krishna sing in his 4 th movie itself and yes that shows the musicl genius of Ilayaraaja"

Silence prevailed - No wonder

KALYANI
Vaali said Raaja has composed around 60 songs in kalyani (where did he get the figure from) and out of it he has written 30 songs. To mention a few

1. Janani Janani

2. Amma enru
3. 2 songs from dalapathi: Yamunai Athrile and Sundari Kannal Oru seithi. Vaali said Yamunai athrile was written by him for the tune
This is when Kavignar Jayantha asked him if there were any musical words for writing in films. Vaali said yes there were specific words which should be used for writing in film music and yes he has used it.

HINDOLAM
Vaali said Raaja has composed so many songs in Hindolam

Thus ended the episode. This time more songs were played

[kameshratnam]

Vaaliba Vaali
Vaaliba Vaali is a programme that is aired on DD 5 Podigai on Thursdays between 21:00 Hrs and 21:30 hrs and the host is Nellai Jayantha along with a lady and of course our Kavignar Vaali is the guest. The show has been running for so many weeks but it is interesting now because it talks about Ilayaraaja and Vaali and how they worked together. till now it has reached till the year 1983

Some excerpts from the programme last week: This spoke about the association of AVM Productions, Ilayaraaja and Vaali

All songs of Sagalakalavallavan were written by Kavignar vaali and he said post many ir songs were written for the tune but in this movie there was an exception
TAMIZH LETTER AH SENTINMENT OF AVM
Amman koil kizhakkale - The pallavi lyrics were written first and then the tune was set to this. This is sentiment which AVM Chettiar had since the first thing in any movie should be only the tamizh first alphabet - AH. Thats why when Vjayanthimala picks up the phone in kalayana parisu she says AHALO :D

Ilamai Idho Idho - When vaali wrote the lyrics like this as Ilamai...idho ..idho..AVM Kumaran told him that the lyrics were very weak but vaali insisted to have them and said hear the song post raaja's full orchestration was added to this, No wonder the song became a super duper hit and raaja was launched into a higher pedestal. Vaali also said he had written about kamal too in that song. Hindilyum paduven....Naan dan sagalakalavallavan. He said Ilayaraaja is unbeatable in orchestration and some songs when written would look dull but actually when the orchestration was done they looked grand.

Nethu Yathiri Yemma and Nila kayuthu - He said both were excellent tunes and he spoke about working with the combination of SP Muthuraman, Panju Arunchalam and Ilayaraaja and how did the lyrics for Guru Sishyan and Veera.

PAYUM PULI

Pothukittu kottu dadi vanam - He said he wrote this song immediately after the song was composed.

SURAKOTTAI SINGAKUTTY
The films initial name was singakutty and infact it was Kavignar vaali who told them to keep it as surakottai singakutti and finally all agreed and thus the movie name

Kaalidasan Kannadasan - When Kavignar Vaali wrote the lyrics "kannadasan" Ilayaraaja objected to it and he said the words just came out from his mind through his mouth and he said it was a great north south balance. He said we cannot replace those 2 words with any other poets name since they would not sync with the tune but finally the producer convinced Raaja and told him that contemporary itself is giving the lyrics and it can be accepted and hence the song was okayed.

Kavignar vaali then spoke of the special song Ayiram Malargale and how he and kavignar kannadasan used special words in many of his songs
Thus the episode came to an end to ...
comments welcome:

[kameshratnam]

IR and His carnatic songs are the topic for today

This week also it is regarding Carnatic music and IR songs

Reethigowlai - is a pure south indian raagam and no north indian equivalent

Now for North Indian Raagas

Darbaari Kanada - IR songs - this raaga is for unhappiness but raaja used it for happy mood

Agaya Vennilavae - Arangetra Velai - Darbari Kanada - song plays


Kalyana Thenila - Written by pulmaipittan - Vaali said musical words are a must and see what he has written "Kaichata paal nila" - Song plays

He says raaja in Kanada - I dont remember if he has done

Now he says G Ramanathan has done a song in Kanada - Mullai malar mele and he praises Maruthakasi the poet for writing the song

Kanada song - Policekaran magal - Pon enben siru poo enben

MOGAMULL - IR _ VALI COMBINATION

Danyasi - Sangeetha Nyayanum

Rest all songs penned by Vaali

Kamalam pada kamalam - a very rare raga - Ramapriya

Shanmugapriya - Sollalayo Vaai thirandu - its also for bharatnatayam

Now Shanmugapriya different genres

Puthiya vaarupugal - tham thana _ romance

Comedy purpose - aan pavam - Kadal kaskadu ayya

Ilayaraaja is close to S V Venkataraman - SVV Is guru of G K Venkatesh


Raaja rajati raja inda raja

[jaiganes]

general question... Didnt raaja use kaanada for poo maalai vaangi vandhaan from sindhu bhairavi?

[naarayanan]

pon enben is darbari kanada. and yes poomalai vangi vandhan is in kaanada. also marugo marugo from sathileelavathi is also in kanada.

cant agree that darbari kanada is used for only unhappy mood. vaali is good at thamizh. and he knows about music but not an authority on the subject.

kanada uses 'periya dha' whereas darbari kanada uses 'chinna dha'. this is the main difference and both have many common phrases.

[skr]

Guys in US
There is some unconfirmed news that IR will be performing for the Tamil Sangam Event FETNA.

[baroque]

Padma award - 2012

I find Shri.T.V.Gopalakrishnan's name.

http://zeenews.india.com/news/nation/padma-awards-announced-full-list_754735.html

he is associated with IR.

IR music community congratulate him!:)

the other name from Tamil nadu is a top class violinist from Lalgudi Jayaram generaton. FANTASTIC.



vinatha

[buggle]

Guys in US
There is some unconfirmed news that IR will be performing for the Tamil Sangam Event FETNA.

If this news is true, i am the happiest person.......

[buggle]

If this news is true, i am the happiest person.......

Well the official website says GV Prakash doing a program

http://www.fetna.org/index.php/fetna-2012-tamil-vizha

[krish244]

News article about László Attilát's association with IR and his (and the band) recent visit to India to perform for IR's live show:

http://www.zene.hu/cikkek/cikk.php?id=28784

The above is in hungarian language. Giving below the translation (courtesy: Google Translate):

"Their relationship began in 2000, when he heard Raaja Ones Upon A Time László Attila Band's CD. The first work together in Budapest took place as a soloist, he called for a recorded music in Budapest, and from 2009 worked together on several occasions in India.

Laszlo Attila previous invocation of IlayaRaaja filmzenéiben contributed or twice a week orchestrations, harmonized taught by the master. The Indian composer of popular and highly recognized in his country, the oeuvre of more than 900 soundtracks hallmark, but his name is linked to the symphony, too, which (as the first Asian author) presented at the Royal Philharmonic in London.

The concert at the end of the 6 million in Chennai Nehru Indoor Stadium, the 12,000 people took place. The event in the past 25 years, wrote a summary of his works was accompanied by a large orchestra (symphonic strings, four Indian percussion, sitar 2, 4 keyboards, Indian folk musical instruments, vocals 10 male, 10 female backing vocals, rhythm section, woodwinds). Characteristic scale of the concert that was performed for 6 hours nonstop IlayaRaaja compositions of the contributors.

The band consists of 12 hours of rehearsals were held in December, the music was played outside most of the material. Participating as a renowned Indian film directors, singers arrived, was a great honor for the first foreign guest artists invited by Laszlo Attila quartetjével.

Laszlo Attila Raaja both as a soloist playing his attainment, as well as a separate block quartetjével 3 also has his own compositions. The quartet Big John (piano), Peter Papesch (bass) and Ferenc Nemeth (drums) took part."

thanks,

Krishnan

[skr]

Dhoni Special - esp check the 2nd part from 02:20 onwards where Prakash Raj showers praises on you know who :)
The last part 2 mins sees IR speaking about the movie.

http://youtu.be/2Os1f7FMtQo
http://youtu.be/WXdiDA6hX2M
http://youtu.be/njPeJkvU0Tc

[app_engine]

I saw a small video clipping on Dhinathanthi website (that plays when you visit their site) in which IR / Prakashraj are featured.

rAsA tells that Prakashraj had made him do the BGM "like those old days" (acknowledges that it's good for him as he need not suffer the boredom of sitting idle...per the clip, he used to write the score in 30 min and then wait the whole day for "others to conduct and record")

[KV]

Thanks for the links skr! Eagerly waiting for the music and the bgm.
This whole 'magic creation' process has been explained time and again by every other filmmaker working with the man. I madly want to witness this once, at least once. AppidiyE silentA oru Orama ukkaandhu paathutu, mudinja udane, modhal bus pudichu Odi poirven. Plum, karunakarane, dhayavu pannungalEn.

[app_engine]

'nadhir dhanA...dhiranA dhiranA dhiranA' (http://www.dailythanthi.com/article.asp?NewsID=704453&disdate=1/26/2012)

Congrats Padmabhushan TVG sir!

:clap:

:thumbsup:

[Fliflo]

Mayilu recording shown in Kalaignar TV
http://www.tamiltvshows.net/2012/01/mayilu-movie-exclusive-songs-and-bytes.html

[Sureshs65]

kirsh,

Unga kadama unarchikku oru ellaye illayaa. ippo Hungarian tea vera attthareenga :lol:

Just kidding. It is really astonishing how you are able to tack down a Hungarian article on Raja!!! Incredible I say.

[Plum]

Kv, dhaaraLamA paNNalAm. Unga personal I'd PM paNNunga. Will contact

[KV]

Nandri, Plum, but unga inbox rombi vazhiyudhaam.

[krish244]

kirsh,

Unga kadama unarchikku oru ellaye illayaa. ippo Hungarian tea vera attthareenga :lol:

Just kidding. It is really astonishing how you are able to tack down a Hungarian article on Raja!!! Incredible I say.

Suresh,

Naan onnum perisa pannala :) Google'kkuthan nanri sollanum!

thanks,

Krishnan

[sakaLAKALAKAlaa Vallavar]

https://twitter.com/#!/nchokkan/status/162883979769413632


A. R. Rahman follows @ursmusically 's blog on background music. Cool! Congrats buddy!
1 hour ago

Wow Suresh! Superb Man :clap:

[MumbaiRamki]

DhONI audio launch happens in Anna cenetary Library today - any idea what time and if its open to all ?

[skr]

Mumbai Ramki and Others

I went to Vijay TV office and got the passes . Show is at 5.30 PM , there are still quite a no. of free passes still available.
Try rushing there soon , you just might be able to get if you are lucky .

[MumbaiRamki]

SKR , pallikaranai irundhu romba kastam sir - Any help here pls ???

[skr]

Ayyo , you should have just told me around a couple of hours ago , i could have helped .
I am back home now.
Anyhow will try asking if anybody got any extra pass .

[skr]

Do PM me your no.
If i have any news regarding passes , will let you know.

However if you know anyone who stays near Nungambakkam , you can ask them to get for you.
All they require is the name and mobile no.

[MumbaiRamki]

Skr , got it . went to their office . It was over . Contacted one guy there and he guided me to another guy and went .

DHONI - HIGHLIGHTS

1) Raaja was sharp at 5 30 PM almost but the function started only at 6 45 PM - a movie for children should broadcast a correct message

2) Parthipan - excellent intro of raaja and prakash raj with his usual style of verbal volleys ( இசை ஞானியை அறிந்ததால் நான் மாகா ஞானி )

3) The music they played when they opened the orchestra was from the movie itself - splendid !!

4) KB , Mahendran , Balu mahendar, RV udhayakumar, KS Ravikumar, Radha mohan , naasar were other dignatries

5) When Raaja spoke , he told this ... They were composing for the ' naan oru sindhu , kavadi sindhu' - Raaja started giving lyrics for the song . On hearing this KB , started getting excited and told ' அனந்து , இங்க வா சீக்கிரம் வா , அந்த டைரி இங்க கொண்டு வா .. என்ன அச்சர்யம் பாரு, நான் எழுதின வரியும் அதே தான் .. இது எப்படி முடியும் ?' .. Raaja now comments 'ஒரு டைரக்டருக்கு என்ன வேணும்ன்னு தானா கொடுக்கற்து தான் இசையமைப்பாளர்..நீங்க கேட்டீங்கன்னா அது சரவண பவன் ' - there was a big roar after this !

6) Too much praise for raaja , after some point i bbecame bored on those things

7) Nasaar was too interesting . He explained how the 'Thendra;l vandhu ' song came . Initially when illayaraaja sang the tune , he didnt understand and so raaja asked him to come in the evening - when he listened to teh full piece , he asked for forgiveness to raaja ( he told this excellently with humor , due to laziness im not quoting all that )

8) They played all 4 songs ... out of 4 , i loved the last song that raaja sang - just fantastic interludes and the tune itself . Other three songs were also good and had vintage raaja elements very similar to Mayilu style and probably more vintage. 'Sambandhan illa' was passable , ' odam ' song was good and the other one was similar to kadhuluku Mariyadhai hoem song ( aandha kuyilin paatu )

9) They showed 2 video songs - both were good . One was prabhu deva lip syncing to ' sambandham lla' song and other was the daughter reaching puberty .

[skr]

Nice to know Mumbai Ramki that you made it to the show

I was highly impressed by the songs , esp the one sung by Surmukhi and the solo by Raaja himself.
Nassar's speech was just amazing , my respect to the man for his respect towards Maestro. You guys have to see this , he was just superb.
Raaja was at his usual witty and philosophical best . Nice to see him explaining and even singing bits from Sindhu Bhairavi.
That Re-recording was Raaja territory and i expected it to be mindblowing and he didnt disappoint.

Only disappointment for me overall was that there were only 4 songs , i expected atleast 6.

[V_S]

Great reviews MR and skr. Thanks. I thoroughly miss all these. :sad:


ஒரு டைரக்டருக்கு என்ன வேணும்ன்னு தானா கொடுக்கற்து தான் இசையமைப்பாளர்..நீங்க கேட்டீங்கன்னா அது சரவண பவன்
:lol: how true!

[rajaramsgi]

Thank you Ramki for dhoni's audio launch report. Dhoni looks promising for Raja's 2012, hopefully the movie makes a commercial hit which is very important for medium budget movie makers to turn back to Raja. He is still productive and willing to give so, there is nothing wrong in extracting as much music as we can.

Mayilu recording was a re-telecast on kalaignar TV. they showed this program 2 years ago. But still nice to refresh, thanks for this as well.

[skr]

V_S ,

The orchestration was mindblowing , i was immersed in the songs .
There were some beautiful counterpoints and a fugue in one of the numbers.

Many of us had tears in our eyes when they played the video of the sad song.
The impact of the songs are still reverbrating and i just cant wait to grab a copy of the cd.

[rooky]

If u thought Dhoni or Prasad to be IRs' first 2012 movie release, wrong.
As per today's newspaper ad, "Sengkaathu boomiyilae" is releasing on Feb3rd.

[skr]

There were lot more incidents which happened during the event which is difficult to recall.
However one of his fans has written a bit of what conspired last evening.
Hope they telecast the event on Vijay soon.

Pasting some of it
When I saw the clip with and without music, I realized that Raaja has changed his approach to rerecording. Just I reminded me the words of IlaiyaRaaja spoken during Azhgarsamiyin Kuthirai movie launch. Raaja said I had to change my approach due mixing problem later on.

This clip was greater than any Hollywood film in terms of visuals. So what will be the contribution of IlaiyaRaaja you can imagine! As told by Prakash Raj, the visuals only communicated 20% and the remaining 80% by IlaiyaRaaja's Rerecording!

Usually I speak only of IlaiyaRaaja and I will not speak of any other music director. But I have say this and no other way for me! "If anyone else (even Hollywood composers) have done the rerecording for the same clip, they could have ended up only with music expressing emotions in the visuals. But Raaja has made the audience to experience the emotions (on their own) in the situation. That means, Raaja's rerecording only takes you inside the movie whereas others rerecording only expresses the emotions. Raaja already told that music only can take into the movie and it only creates the relationship with the movie and the audience!

During the speech, important anecdote quoted by Raaja. During the composing songs for Sindhu Bhairavi, Director KB said the situation for the Naan Oru Sindhu song; IlaiyaRaaja came with spontaneous tune with words and started singing "Naan Oru Sindhu, Kavadi Sindhu". Director KB was shocked and started shivering. KB asked Ananthu to bring the dairy. With shivering hands, KB flipped pages and shown a page to Raaja. In that page KB has already written that for this situation lyrics can be written as 'Naan Oru Sindhu Kavadi Sindhu". Raaja simply replied that when you come to me I have to give exactly what you need, so it has come like th

Also Raaja felt that he was blessed by Thiagarajar Swamigal. That is when he composed the tune for the song Mari Mari Ninne, Raaja was thinking of bringing a Telugu Lyricist to write the lyrics since he has only notes or swaras written. KB also agreed to bring one such person. But suddenly Raaja thought whether he could check ThiagaRajar Swamigal's keerthanas. So he took three books of Thiagarajar's Keerthana and found that this "Mari Mari Ninne matched well with the Rhythm pattern and also matched the requirement of half-note delay start! (Technical people can correct me here)! Raaja said it was the blessings of Thiagarajar Swamigal that Thiagarajar swamigal has already written lyrics for his tune!

Nasser shared the experience during Avatharam Composing! He has already said this during Music Messiah Release. In front of Raaja he has to edit two things! Missed things by Nasser: When Raaja played the tune in Harmonium, Nasser was shocked and felt Raaja was giving him "Eena Swaram". Imagine the Thendral Vandu tune in Harmonium. The tone color of the Harmonium and Raaja's voice dynamics sound very bad to Nasser. Nasser was to ask for another tune but could do that due to fear. Just Nasser able to say, please increase the tempo of the song. Raaja smiled and asked Nasser to come back by evening. Nasser came back in the evening. Raaja played the song for him. The song started with chorus, "Thana thantham Thana Thanthum". Nasser was happy and was thinking that since myself (the Director of film) did not like the tune Raaja changed it. In few seconds, Nasser heard the earlier tune but this time with words and orchestra. Nasser was taken aback and realized that he insulted the Genius called Raaja and Raaja's tolerance of his insult by asking to increase the tempo. Nasser simply fell on the feet of Raaja and started weeping like a kid!

Mahendran said No Raaja's rerecording No Mahendran's movies! If people talk about Mahendran film it is only due to IlaiyaRaaja!

[skr]

Nasser also shared another very interesting incident.
Seems he was going by Car from Chennai to Chidambaram and he had to pass a lot of villages on the way.
While going on the way , in temples , tea kadais and other places , lots of songs were being played.
It seems he then decided to consciously count the no. of tracks till the destination.

These were the results which he found
28 songs of IR , 7 of MSV and 3 from ARR.
He then remarked . "the people in villages still live only on IR's music" .

[MumbaiRamki]

Nasser also shared another very interesting incident.
Seems he was going by Car from Chennai to Chidambaram and he had to pass a lot of villages on the way.
While going on the way , in temples , tea kadais and other places , lots of songs were being played.
It seems he then decided to consciously count the no. of tracks till the destination.

These were the results which he found
28 songs of IR , 7 of MSV and 3 from ARR.
He then remarked . "the people in villages still live only on IR's music" .

I went to the first rowwhen this was told - Raaja had a stern look at his face disapproving these comparisons - the smile came only when he said about villages love IR music

[skr]

Saw another post by a fan who attended the event regarding some of the happenings yesterday (fully in Tamizh)

ஒரு முறை கிராமங்கள் வழியாகக் காரில் பயணித்துக்கொண்டிருந்தேன். ஒவ்வொரு ஊரைக் கடக்கும்போதும் டீ கடைகளிலும், கோவில் விழாக்களிலும் பாடல்கள் ஒலித்துக்கொண்டு இருந்தன. சரி.. மக்கள் யாருடைய பாடல்களை கேட்கிறார்கள் என்று ஒரு கணக்கெடுக்கலாம் என்று நினைத்தேன். மேடைக்காக மிகைப்படுத்திச் சொல்லவில்லை. நான் கேட்டதில் ஏழு எம்.எஸ்.வி. பாடல்கள், மூன்று ஏ. ஆர். ரகுமான் பாடல்கள், இருபத்தெட்டு இளையராஜா பாடல்கள். தமிழ் சமூகம் இளையராஜாவின் பாடல்களுடன் வாழ்ந்துகொண்டிருக்கிறது."

- நடிகர் நாசர், 'தோணி' திரைப்பட ஒலிப்பேழை வெளியீட்டு விழாவில்..!

நிகழ்ச்சியில் இயக்குனர் இரா.பார்த்திபன் பேசியது:: 'மாலை வணக்கம்'..! வணக்கம் உங்களுக்கு. மாலை வழக்கம் போல என் இசைஞானி இளையராஜாவுக்கு. அவர் இசைஞானி என்றால் நான் மகா இசைஞானி. அதாவது இசைஞானிக்கு இசை மட்டும்தான் தெரியும் என்றால் எனக்கு அந்த இளையராஜாவையே தெரியும். அதனால் அவரை விடப் பெரிய மகா இசை ஞானி நான்தான். எல்லா இசையமைப்பாளர்களும் இசையை நேசிப்பார்கள். ஆனால் அந்த இசையே நேசிக்கும் ஒரு இசையமைப்பாளர் திரு. இளையராஜா அவர்கள். நமக்கு இசைஞானியைத் தெரிவது பெரிய விஷயம் இல்லை. எனக்குப் பெருமையான விஷயம் என்னவென்றால் ராஜா சாருக்கு என்னைத் தெரியும். இதைக் குறித்து என் கழுத்து தாங்க முடியாத அளவுக்கு எனக்குத் தலைக்கனம். அவருடைய இசையைப் போலவே அவருடைய எழுத்தும் சிறப்பானது. அவருடைய புத்தகத்தில் இவ்வாறு எழுதி இருக்கிறார். 'நிழல் தருவது மரமல்ல.. வெயில்..!'. இதுபோன்ற பெரிய சிந்தனைகள் உள்ள அவரிடம் ஒரு கதையைக் கொடுத்து இதற்கு இசையமைத்துத் தாருங்கள் என்று சொல்வதே கஷ்டமான விஷயம். இசை alias இளையராஜா என்று நான்தான் அவருக்கு முதன் முதலில் ஒரு தலைப்புக் கொடுத்தேன்..! இசைஞானி எப்போதும் சொல்வது.. Music is Nothing But Wind ஆனால் நான் சொல்கிறேன்.. Music is Nothing But Ilaiyaraja ..! இதை நான் அப்படியே ஒரு ஃபிரேம் போட்டுக் கொடுத்திருக்கிறேன். அது பிரசாத் ஸ்டுடியோவில் அவரது அறையில் தொங்கிக் கொண்டிருக்கிறது. பொதுவாகப் "பழையன கழிதல்" என்று ஒரு பதம் சொல்வார்கள். அது இசைஞானி விஷயத்தில் உண்மை இல்லை. அவர் படைப்புகள் என்றென்றும் புதியதாகவே இருக்கும். Black & White என்று Pub ஒன்று இருக்கிறது. அங்கே நிறைய பாட்டில் இருக்கிறது. அந்தப் பாட்டிலில் இல்லாத போதை ராஜா சார் பாட்டில் மட்டுமே இருக்கிறது. துடுப்பிருந்தால்தான் தோணி கரை சேரும். அதைப்போல தோணி என்கிற இந்தப் படத்திற்கு துடுப்பாக, உயிர் துடிப்பாக இளையராஜா அவர்களுடைய இசை அமைந்திருக்கிறது. Live Orchestra என்று சொல்கிறார்கள் ..! Live என்றால் உயிர்ப்பு என்று ஒரு அர்த்தம் உண்டு. அவர் இசை என்றும் உயிர்ப்புடன் இருக்கும்...!

[skr]

Song List of Dhoni
Chinna Kanniley - Naresh Iyer , Shreya Ghoshal (Sung by Surmukhi during the event)
Vaangum Panathukkum - SPB (Sung by Haricharan during the event)
Thaavi Thaavi Pogum - Illayaraja
Vilayaattaa Padagotty (M) - Hariharan
Vilayaattaa Padagotty (F) - Shreya Ghoshal (Sung by Anitha in the event)

[San_K]

Wov, thanks a lot skr and MK. The 'missed' feel now compensated :). CD is available in store? though available oline here (http://600024.com/store/dhoni-tamil-audio-cd)

[Sureshs65]

Hmmm. Looks like Naresh Iyer finally sang under Raja's baton!!! In 'Coffee with Anu' she had asked him to sing his favorite song. Since he had sung many hit songs for Rahman I was sort of sure he would sing a Rahman song. I was surprised when he said one of his favorite songs was 'ae zindagi'. He went on to sing that and also told that it was his dream to sing for Raja. Good.

[Plum]

The numbers may reflect the age group demographic of people in TN villages. MSV fans(rather sivaji, mgr paattu fanatics) neRaiya seththu pOyiruppAnga, arr fans migrate Agi iruppAnga for job etc. After 20 years, if you drive through the same villages, who knows "koduvaa meesai aruvaa paarvai" etc might be played with nostalgic enthusiasm?

[V_S]

Thanks skr for the detailed report about the programme. So, Shreya again with two songs? Good.:D

[San_K]

The numbers may reflect the age group demographic of people in TN villages. MSV fans(rather sivaji, mgr paattu fanatics) neRaiya seththu pOyiruppAnga, arr fans migrate Agi iruppAnga for job etc. After 20 years, if you drive through the same villages, who knows "koduvaa meesai aruvaa paarvai" etc might be played with nostalgic enthusiasm?

:lol2:

[sakaLAKALAKAlaa Vallavar]

All guys here would agree on one thing. Wether it is media exposure,
or the free and easy availability of Raja songs on multiple mediums like youtube
or general awareness and slight increase in music knowledge via programmes like SuperSinger,

i don't know, but Raja Sir is getting atleast 50% of what praise and accolades he deserves, more now than before. :clap:

:ty: nasser and Parthiban

[skr]

Some great news folks

ILAIYARAAJA, GAUTHAM TO JOIN HANDS

The music maestro reveals he will be working with one of K-Town’s most soughtafter directors

Shankaran Malini

The fact that the Isaignani Ilaiyaraaja captures listeners with his evergreen music even today makes every filmmaker want to work with him. And, the latest to team up with the Isaignani is Gautham Menon.

Confirming this news to CT is Ilaiyaraaja himself, who says, “I have two films that I will commence work on shortly. One will be for Gautam Menon and the other for Suresh Menon. The discussions are in process and will get working soon,” he says. This will be the first time that Gautham will be working with the legendary composer, for he has only used the tunes of Harris Jayaraj and A R Rahman thus far.

Ilaiyaraaja also reveals another interesting piece of news. While he has composed music for Telugu, Malayalam, Kannada and even Marathi films so far, he will soon commence work on a career first. “I will be scoring music for the first time for a Punjabi film. This is the remake of the classic Tamil film Mouna Ragam,” he shares.

When we quiz him on whether he would use the timeless tunes of the Tamil original, which were also composed by him, he smiles and says, “That we would have to wait and watch. At a time when the music industry is seeing so many developments technologically in terms of music, with different kinds of music coming together, I have stuck to my guns and it has worked for me thus far.”

source: Today's Timeofindia - chennai times Report

[MumbaiRamki]

A bit skeptical here - First Gautam is going to direct jeeva , samantha for youthful film, which is unlikely to be for raaja - next will be Vijay's , which also will be unlikely for vijay. Is it Gautam menon's production?

Suresh menon - Revathy's hubby ?

[skr]

Yes MR , it is Revathy's ex hubby Suresh Menon
From what i heard IR is composing music for Gautam's movie titled 'Nee Thane Endhan Pon Vasantham'

Btw here is the news article link from the Times of India
http://epaper.timesofindia.com/Default/Scripting/ArticleWin.asp?From=Archive&Source=Page&Skin=TOINEW&BaseHref=TOICH/2012/01/30&PageLabel=21&EntityId=Ar02102&ViewMode=HTML

[MumbaiRamki]

Nee thANE endhan Pon vasandham is jeeva - samantha :) - lets see how it goes

[San_K]

Wov, then we should get some guitar/instrumental dominated songs

[sakaLAKALAKAlaa Vallavar]

தாயை இழந்த எனக்குத் துணையாக நின்றது இசைஞானியின் இசைக்கரங்கள்! - உருக வைத்த முத்துக்குமார் (http://tamil.oneindia.in/movies/music/2012/01/na-muthukumar-s-sensational-speech-aid0136.html)

சென்னை அண்ணா பல்கலைக்கழக நூற்றாண்டு விழா அரங்கில் பிரகாஷ் ராஜின் தோணி பட இசைவெளியீட்டு விழா கடந்த சனிக்கிழமை மாலை நடந்தது. இசைஞானி இளையராஜா இசையமைத்துள்ள படம் அது. படத்தின் இசைவெளியீட்டை, இளையராஜாவுக்கு சிறப்பு செய்யும் விதத்தில் அமைத்திருந்தார் பிரகாஷ் ராஜ். இதுவரை தன் வாழ்க்கையிலேயே முதல் முறையாக தான் இசையமைத்த பட இசை விழாவில் அந்தப் படப் பாடல்களை லைவாக இசைக்க வைத்து, வந்திருந்தவர்களுக்கு ஆனந்த அதிர்ச்சி தந்தார் இளையராஜா. நான்கு பாடல்கள் இசைக்கப்பட்டன. நான்கும் முத்தான பாடல்கள் என்று சொல்லும் அளவுக்கு மிக இனிமையாக, அர்த்தமுள்ளதாக அமைந்திருந்தது சிறப்பு.

இந்த இசை வெளியீட்டு விழாவுக்கு தமிழ் சினிமாவின் ஜாம்பவான்கள், சாதனையாளர்கள், இளையராஜாவின் அபிமானிகள் அத்தனை பேரும் குவிந்திருந்தனர். மாலை 7 மணிக்கு தொடங்கிய நிகழ்ச்சி, இரவு 9.30ஐ தாண்டிய பிறகும் நீடித்தது. ஆனால் ஒருவரும் வெளியில் எழுந்து செல்லவில்லை. அப்படியொரு ஈர்ப்புடன் அமர்ந்து நிகழ்ச்சியை ரசித்தனர்.

இளையராஜாவுடனான தங்கள் அனுபவங்கள், அவரது இசையின் சிறப்பு, இளையராஜா எனும் அற்புதமான கலைஞனின் தொழில்முறை நேர்த்தி என பல விஷயங்களைப் பகிர்ந்து கொண்டனர் பிரபலங்கள்.

இயக்குநர்களின் ஆதர்ச நாயகனாகக் கருதப்படும் மகேந்திரன், இயக்குநர் சிகரம் எனப் புகழப்படும் பாலச்சந்தர், எஸ்பி முத்துராமன், இயக்குநர்கள் பார்த்திபன், கேஎஸ் ரவிக்குமார், ஆர் வி உதயகுமார், ஜெயம் ராஜா, ராதா மோகன் என ஒவ்வொருவர் பேசியதையும் தனித்தனி கட்டுரைகளாகவே வெளியிடலாம். அத்தனை சிறப்பாக அமைந்தது பேச்சு. குறிப்பாக நாசரின் பேச்சு, சுவாரஸ்யமிக்கதாக அமைந்தது.

இந்த விழாவின் ஹைலைட் என்றால் அது கவிஞர் நா முத்துக்குமாரின் பேச்சு. அந்தப் பேச்சை கண்கலங்காமல் கேட்டவர்கள் அநேகமாக வெகு சிலராகத்தான் இருந்திருப்பார்கள்.

அவரது பேச்சு முழுவதுமாக:

இசைஞானி அவர்களுக்காக முதல்முறையாக நான் தோணி திரைப்படத்திற்காக அனைத்து பாடல்களையும் எழுதியிருக்கிறேன். ஜூலி கணபதி படத்துக்காகத்தான் அவரை நான் முதல் முறையாக என் குருநாதர் பாலுமகேந்திராவுடன் சந்தித்தேன். அந்த சந்திப்பு மறக்க முடியாதது. ஒரு பரீட்சை எழுதப்போகும் மாணவனின் பதைப்புடன் அவர் அறைக்குச் சென்றேன்.

‘எனக்குப் பிடித்தப் பாட்டு அது உனக்குப் பிடிக்குமே
என் மனது போகும் வழியை உன் மனது அறியுமே
எனக்குப் பிடித்த நிலவு அது உனக்குப் பிடிக்குமே’

என்ற பல்லவியை அவருக்குக் கொடுத்தேன். படித்துப் பார்த்துவிட்டு ‘நன்றாயிருக்கிறது பல்லவி..! ஒரு சின்ன திருத்தம் செய்யலாமா?’ என்று கேட்டார். ‘தாராளமாக ஐயா’ என்று சொன்னேன். ‘எனக்குப் பிடித்த நிலவு அது உனக்குப் பிடிக்குமே’ என்ற வரியை ‘என்னைப் பிடித்த நிலவு அது உன்னைப் பிடிக்குமே’ என்று மாற்றினால் அர்த்தம் இன்னும் சிறப்பாக இருக்குமென்றார். நான் எழுதிய வரிகளை விட பத்துமடங்கு சிறப்பாக இருக்கிறது என்று பரவசப்பட்டுப் போனேன். அன்று எனக்கு ஒன்று புரிந்தது. பாடலில் திருத்தம் என்பது சிதைப்பது அல்ல; செதுக்குவது என்று.

அதன் பின்னர் நிறைய பாடல்கள் எழுதினேன். ஒவ்வொரு முறை அவர் அறைக்குள் நுழையும்போதும் என் கைகால்கள் நடுங்கத் துவங்கும். அவர் எப்போதும் என்னை அமரவைத்து, நகைச்சுவையாகப் பேசி என்னை இயல்புக்குக் கொண்டுவருவார். ஒவ்வொரு முறை பாடல் எழுதும்போதும் அவரிடம் ஒரு புதிய விஷயத்தை நான் கற்றுக்கொள்வேன். எப்படி எளிமையாக எழுத வேண்டும்… எப்படி மக்களுக்குப் புரியும் வகையில் எழுத வேண்டும்… போன்ற பல விஷயங்களை அவரிடம்தான் கற்றுக்கொண்டேன்.

‘தோணி’ திரைப்படத்தின் கம்போஸிங்கிற்கு "முத்துக்குமாரையும் கூட்டி வாருங்களேன்," என்று சொல்லியனுப்பியிருந்தார். போயிருந்தேன். அது ஒரு பரவச அனுபவம். முதல் முறை அவருடன் கம்போசிங்கில். ஒரு முக்கால் மணி நேரத்தில் வரிசையாக 5 டியூன்களைப் போடுகிறார். நான் கண்களை மூடி அமர்ந்து கேட்டுக்கொண்டிருக்கிறேன். கடவுளிடம் நேரடியாகப் பேசுபவர்கள் குழந்தைகளும் இசைக் கலைஞர்களும் என்று சொல்வார்கள். அந்த தருணத்தில் அதை நான் கண்டுகொண்டேன்.

என் மகனுக்கு தினமும் கண்ணே கலைமானே...

இன்றைக்கும் நான் இசைஞானியின் பாடல்களைக் கேட்காமல் தூங்குவதில்லை. என் மகனுக்கு நான் தினமும் பாடும் தாலாட்டு ‘கண்ணே கலைமானே’ பாடல்தான். ஒரு பாடலாசிரியராக என்னுடைய குருவாக அவரை நினைக்கிறேன். ஒரு சில பாடல்களே அவர் திரைப்படத்திற்கு எழுதியிருந்தாலும் அவர் எழுதிய பாடல்களுக்கு இன்றைக்கும் நான் ரசிகன். அழகி திரைப்படத்தில் எழுதியிருப்பார்…

"கோயில் மணிய யாரு ஏத்துறா?
தூண்டா வெளக்க யாரு ஏத்துறா ?
ஒரு போதும் அணையாம நின்று எரியணும்..”

அதே படத்தின் வேறொரு பாடலில்...

“இருள் தொடங்கிடும் மேற்கு - அங்கு
இன்னும் இருப்பது எதற்கு?
ஒளி தொடங்கிடும் கிழக்கு
உண்டு பொதுவினில் ஒரு விளக்கு”

இதை எந்தக் கவிஞனும் எழுதி விடலாம். ஆனால் அதன்பின்னர் வரும் 'ஒளி இருக்குமிடம் கிழக்குமில்லை மேற்குமில்லை' என்ற வரிகள் அத்தனை சிறப்பானவை. அதே போல நாடோடித் தென்றல் படத்தில்,

'யாரும் விளையாடும் தோட்டம்
தினந்தோறும் ஆட்டம் பாட்டம்
போட்டாலும் பொறுத்துக் கொண்டு
பொன்னு தரும் பூமி இந்த மண்ணு நம்ம சாமி
கோபங்கள் வேண்டாம் கொஞ்சம் ஆறப்போடு
ஆறோடும் ஊரைப் பாத்து டேரா போடு'

என்ற வரிகள். இந்த பூமியை, மண்ணை அவர் நேசிக்கும் அழகை அத்தனை அற்புதமாக்ச சொல்லியிருப்பார்.

நான் சிறுவயதில் தாயை இழந்தவன். அந்தத் தனிமை எப்போதும் என்னுடன் இருந்துகொண்டே இருக்கும். அப்போது ‘ஆவாரம்பூ’ படத்தில் ஒரு பாடல் கேட்டேன்.

ஆலோலம் பாடி அசைந்தாடும் காற்றே..!
அதைக்கேட்டு தூங்கும் ஆவராம்பூவே..!
தனியானால் என்ன துணை இங்கே நான் பாடும் பாட்டுண்டு

இந்த வரிகளைக் கேட்டவுடன் அவரின் இசைக் கரங்களை நான் பிடித்துக்கொண்டேன். அதன் பின்னர் வரும்,

தாய் இழந்த துன்பம் போலே
துன்பம் அது ஒன்றுமில்லை
பூமி என்ற தாயும் உண்டு
வானம் என்ற தந்தை உண்டு
நீங்கிடாத சொந்தம் என்று
நீரும் காற்றும் எங்கும் உண்டு

என்ற வரிகள் எனக்கு தன்னம்பிக்கை அளித்தன. அன்று பிடித்த அவரின் இசைக் கரங்களை இன்றுவரை நான் விடவில்லை," என்றார்.

அதுவரை நிசப்தத்தில் இருந்த அரங்கம் ஒரு நிமிடம் ஸ்தம்பித்து அதிர்ந்தது!

[thumburu]

Thanks skr and MumbaiRamki for sharing your experience. The statistics regarding how many tea kadai's played which MD's songs[Whose observation is this one, skr, urs?] and Nasser's faux pas regarding "thendral vandhu theendum bodhu" made for an interesting read.
Enakku oru uNmai therinjaanume - the movie name is the thamizh word "thoNi" or the cricketer name ?

[KV]

That the thamizh word 'thOni' would also fit, and even bring a metaphorical reference to life (as in.. vaazhkaye alai pOle, naamellaam adhanmEle, Odam pOle vaazhndhiduvOme, vaazh naalile), would only make piragasraasan happier if he were to know. vEndaamna solluvaar? :razz:

[skr]

Statistics Naan sollala pa.
Nasser only said this after making a count during his journey from Chennai to Chidambaram. :)

[Hulkster]

Gautham Menon wth Ilaiyaraaja, looks like this is going to be a full jazz based romantic album. Thalaivar has been in jazz mood of late and Gautham menon's films have been featuring harmonious melodies of late. Lets get ready :D

[wizzy]

urban love story+IR..all good signs..only downer is GVM being Shekhar kapur of TFI in announcing movies..first copy varattum :neutral:

[skr]

Actor Jeeva 's tweet

<3raja + <3menon = full <3songs Yes The music director of Nethanae yen ponvasantham is our one and only isainyani Ilayaraja ...

[jaiganes]

like wizzy, i reserve my reaction.
indha manushanayum avar trendayum ennaala purinjukkave mudiyalai.
<feels like goundamani after he cries out loud citing lollu mannan's non stop crying at 'thaatha' picture in maaman magal while lollu mannan is all calm after a brief foray into tear ducting>

[sakaLAKALAKAlaa Vallavar]

Looks like its true bot not for this film - http://www.tamilcinema.com/CINENEWS/Hotnews/2012/jan/300112a.asp


இந்த நிலையில் தானும் ஒரு வில்லேஜ் படம் எடுக்க வேண்டும். அதுவும் தனது ஸ்டைலில் இருக்க வேண்டும் என்று நினைக்கிறாராம் கவுதம் மேனன்.

எத்தனையோ கிராமத்து படங்களை தன் இசையால் மட்டுமே ஓட வைத்த இசைஞானியைதான் இந்த வில்லேஜ் படத்தின் விளக்காக நினைக்கிறாராம் கவுதம். இருவருமே விரைவில் இணையப்போகிறார்கள் என்பதுதான் இந்த வருடத்தின் ஸ்வீட் செய்தி.

[KV]

இந்த நிலையில் தானும் ஒரு வில்லேஜ் படம் எடுக்க வேண்டும். அதுவும் தனது ஸ்டைலில் இருக்க வேண்டும் என்று நினைக்கிறாராம் கவுதம் மேனன்.

sEmpil -
ponnu: amma, naa collegekku poittuvaren
amma: careful baby...paathu poittu va

inference -
aaniya pudunga vEndaam.

[San_K]

Sakala don't confuse even after Jeeva's tweet

[sakaLAKALAKAlaa Vallavar]

who am i to confuse? i am just posting what i read.

better lets wait for official conf

[skr]

@menongautham
I'm going to live a dream. Make a dream come alive. ILAYARAJA sir..

[sakaLAKALAKAlaa Vallavar]

http://www.luckylookonline.com/2012/01/blog-post_8655.html

மனிதநேயக் கலைஞன்

இசைஞானி இளையராஜாவைப் பற்றி டிரம்ஸ் கலைஞர் சிவமணி எழுதுகிறார் :

அவரைப் பற்றி எழுத நான் யார்?

இந்தக் கேள்வியை எனக்குள் நானே இரண்டு நாட்களாகக் கேட்டுக் கொண்டிருக்கிறேன். நான் ஒரு இசைக்கலைஞன். அவரோ இசைக்கே அரசர். அவரைப் பற்றிக் கட்டுரை எழுதக் கலைஞன் என்ற தகுதி மட்டுமே போதுமா? ராஜா அண்ணனைக் குறித்து யோசிக்கும்போதே பல்வேறு அனுபவங்களும், நிகழ்வுகளுமாக, என் இதயம் புயல் அலையில் ஆடும் ஓடம் போலத் தத்தளிக்கிறது

அவருக்கும் எனக்குமான உறவு என்பது இசையோ, தொழிலோ மட்டுமல்ல என்பதை அழுத்தமாக உணர்கிறேன். அவர் என்னுடைய குரு. என்னை ஆன்மீக வழியில் செலுத்திய சித்தர். கோடி சாமிகள் என்கிற மாபெரும் மகானை நான் அடையக் காரணமாக இருந்தவர். என் வாழ்வின் பாக்கியம் ராஜாவால் வந்தது. அவர் எனக்கு குருநாதர் மட்டுமல்ல. அண்ணனும் கூட.

இளையராஜாவுக்கு அப்போதெல்லாம் டிரம்ஸ் வாசித்துக் கொண்டிருந்தவர் நோயல். அவரது வேலை ராஜாவுக்கு ரொம்பவும் பிடிக்கும். நோயலின் மறைவுக்குப் பிறகே நான் ராஜாவோடு பணியாற்ற ஆரம்பித்தேன். நோயலின் இழப்பை ஈடு செய்யும் வகையில், அவர் பாணியிலேயே நானும் வாசிப்பேன். எனவே, ராஜாவுக்கு என்னுடைய இசையும் பிடித்துப் போனதில் ஆச்சரியம் இல்லை. "பாற்கடலில் கடைந்தெடுத்த அமுதத்தைத் தேவர்கள் உண்டார்கள்" என்று படித்திருக்கிறோம். இளையராஜாவோடு பணியாற்றும் போது எனக்கும் அமிர்தம் உண்ட உணர்வு ஏற்படும்.

அவர் ரெக்கார்டிங் செய்யும் அழகைக் காண எத்தனையோ கோடிக் கண்கள் இருந்தாலும் போதாது. அவர் வயலின் அரேஞ் செய்த பிறகு பொழியும் இசையைக் கேட்கும்போது, என் கண்களில் கண்ணீர் கொட்டுவதை என்னால் கட்டுப்படுத்தவே முடியாது. ஏன், இளையராஜாவின் இசை ஜீவனுள்ள இசை என்று சர்வதேச அளவில் இசைமேதைகள் பேசுகிறார்கள் என்பதை அப்போதுதான் உணர முடியும். பணக்காரன் படத்திற்கு அவர் அமைத்த பின்னணி இசையை எத்தனை முறை கேட்டுப் பார்த்திருப்பேன் என்று எனக்கே தெரியாது.

இசையில் மட்டுமல்ல. நட்புகளை, உறவுகளைப் பேணுவதில் அவர் ராஜாதான். சிவா என்றுதான் என்னை அன்பாக அழைப்பார். வேலை பார்க்கும்போது எவ்வளவுக்கு எவ்வளவு சீரியஸாக வேலை வாங்குகிறாரோ, அதே சீரியஸ்னஸ்சை மற்ற நேரங்களில் அன்பைப் பொழியும்போதும் காட்டுவார்

’47 நாட்கள்’ என்றொரு படத்திற்கு இசையமைப்பு வேலை நடந்து கொண்டிருந்தது. எம். எஸ். விஸ்வநாதன் இசையமைப்பாளர். பாடகர் எஸ்.பி.பாலசுப்ரமணியம் வர அன்று ஏதோ காரணத்தால் தாமதமாகி விட்டது. மதிய நேரம், எனக்கோ பசி வயிற்றைக் கிள்ளிக் கொண்டிருந்தது. ஸ்டுடியோவில் இருந்த ராஜாவின் கம்போசிங் ரூமில் இருந்து எனக்கு அழைப்பு வந்தது. டேபிளில் வாழை இலை விரிக்கப்பட்டு இருந்தது. 'உட்காரு சிவா! சாப்பிடு!' என்றார். எப்படித்தான் என் பசி அவருக்குத் தெரிந்ததோ? இதனால் தான் அவரை சித்தர் என்கிறேன். ஞானி என்கிறேன். ‘இல்லண்ணே..! எஸ்.பி.பி. வந்துட்டாருன்னா ரெக்கார்டிங் ஸ்டார்ட் ஆயிடும்' என்று தயங்கினேன். நான் தயங்கியபடியே எஸ்.பி.பி.யும் வந்து விட்டார்.

உடனே ரெக்கார்டிங் ரூமில் இருந்த இஞ்சினியர்கள் இருவரையும் ஃபோன் செய்து அழைத்தார் ராஜா. அவர்களிடம் ஏதோ பேசிக்கொண்டு இருந்தார். நான் சாப்பிட்டு முடிக்கும் வரை பேசிக்கொண்டே இருந்தார்.

“பசியோட வேலை பார்க்கக் கூடாது. இப்போ உன்னாலே ரெக்கார்டிங் லேட்டுன்னு யாரும் சொல்லிட முடியாது. ஏன்னா ரெக்கார்டிங் பண்ண வேண்டிய இஞ்சினியர்கள் கூட நான் பேசிகிட்டு இருந்தேன். அதனால், என்னாலேதான் லேட்டு." என்றார். மனித நேயம் அருகிக் கொண்டிருக்கும் உலகில், ராஜாவுக்குள் இருக்கும் இந்த ஈரம்தான் அவரை உச்சத்துக்குக் கொண்டு சென்று நிறுத்தி இருக்கிறது. சக மனிதர்கள் மீதான இந்தப் பண்பும், அன்பும் அரிதிலும் அரிதானது.

கலைஞர்களே பிரமிக்கும் கலைஞர் அவர். ரீ-ரெக்கார்டிங்கின்போது சில நொடிகளே வரும் அருமையான பிட் ஒன்றினைக் கொடுப்பார். அப்படியே அள்ளிக்கொண்டு போகும். அந்த சில நொடி பிட்டுகளையே நான் ஐந்து பத்து நிமிடங்களுக்கு தொடர்ச்சியாக வாசித்துப் பழகுவேன். இதுபோலச் செய்வது ஒரு தியானத்துக்கு ஒப்பானது. இசைக்கு இதைப் போன்ற ஆன்மீகப் பலம் நிறைய உண்டு.

இளையராஜா பேசுவது, சிலருக்கு சில நேரங்களில் புரியாது. அவரது பேச்சில் நேரடி அர்த்தத்தை எதிர் பார்த்தால் அப்படித்தான். அவர் ஒரு யோகி. உன்னிப்பாக கவனித்தோமேயானால், அவரது பேச்சில் பன்முக அர்த்தங்கள் பொதிந்திருக்கும். வாழ்வுக்கு உபயோகமான கருத்துகள் அடங்கியிருக்கும். இவரைப் போன்ற ஜாம்பவான்களோடு பணியாற்றும், பழகும் வாய்ப்பு எனக்குக் கிடைத்தது என்பது என் பெற்றோர் செய்த புண்ணியமாகத் தான் இருக்கும்.

ஒரு முறை வாழ்த்து அட்டை ஒன்றில் இவ்வாறாக எழுதி எனக்குக் கொடுத்தார். "உன்னை இன்னொருவனால் உருவாக்க முடியாது. நீ எதைச் செய்ய விரும்புகிறாயோ அதைச் செய்."

அண்ணன் என்ன சொன்னாரோ, அதைத்தான் நான் இப்போது செய்து கொண்டிருக்கிறேன்.

சந்திப்பு : யுவகிருஷ்ணா

(நன்றி : புதிய தலைமுறை)
எழுதியவர் யுவகிருஷ்ணா at Monday, January 30, 2012

[sakaLAKALAKAlaa Vallavar]

"தென்றல் வந்து தீண்டும்போது" பாடல் பிறந்த கதை.. ! (https://www.facebook.com/photo.php?fbid=331381416905961)

'தோணி' திரைப்படத்தின் ஒலிப்பேழை வெளியீட்டு விழாவில் நடிகர் நாசர் உரையில் இருந்து... ”1994ல் நான் இசைஞானியிடம் சென்று..‘சார்..! ஒரு படம் பண்ணலாம் என்று இருக்கிறேன்..!’
‘எதுக்குய்யா.. ?? பிஸியா நடிச்சிகிட்டு இருக்க..! எதுக்கு இப்போ Produce பண்ணிகிட்டு?
‘இல்ல சார்..! நான் டைரக்ட் பண்ணலாம்னு இருக்கேன்’
‘இப்போதான் பிஸியா இருக்கியே..! இப்போ எதுக்குய்யா?’
‘இல்ல சார்..! சில விஷயங்கள் தோணும்போது பண்ணனும்’..!
‘ஓ! தெளிவா பேசுறதா நெனப்போ ஒனக்கு? சரி என்ன படம்..?’
“சார்..! ஒரு சின்ன கிராமத்துக்கதை.. தெருக்கூத்தை வைத்து… …”
“தெருக்கூத்தா..? என்னய்யா? நான் வேற Journey-ல இருக்கேன்..! ம்ம்ம்..?? சரி..! பார்க்கலாம்’ என்றார். நான் ஏமாற்றம் அடையவில்லை. படப்பிடிப்பிற்குச் சென்றேன். படம் எடுத்தேன். தொகுத்தேன். பின்னணிக்குரல் சேர்த்தேன். பின்னணி ஒலிகள் சேர்த்தேன். ஒரு நாள்..“சார் நான் படத்தை முடிச்சுட்டேன்..”
“என்ன அதுக்குள்ளேயா?”
‘ஆமா சார்..! நீங்க படம் பார்க்கணும்”
“சரி” என்றவர் படம் பார்த்தார். அந்தப் படம் ‘அவதாரம்’..! படம் முடித்துக் காரில் ஏறி, ‘வீட்டுக்கு வா’ என்றார். எனக்கு ஒரே பயம். பல நூறு படங்களைக் கண்ட ஒரு மாபெரும் கலைஞன் என் படத்தைப் பார்க்கிறான். ஒரு விமர்சனம், ஒரு பாராட்டுதல் இல்லாமல் ‘வீட்டுக்கு வா’ என்றால் என்ன அர்த்தம்? ஒரு வேளைத் திட்டப் போகிறாரோ? என்று பயந்துகொண்டே சென்றேன். அவருடைய வீடு சாத்வீகமாக, ஒரு கோயில் போல இருந்தது.

‘எப்படிய்யா இப்படி ஒரு படம் பண்ணியிருக்க..? நல்லாயிருக்கே..! சரி நாளைக்கு ரெக்கார்டிங் வச்சுக்கலாம்’
‘சார்…! நாளைக்கு…. … வச்சா … … .. ப்ரொடியூசர் ஊரில் இல்ல சார்..’
‘ப்ரொடியூசர் எதுக்குய்யா? டைரக்டர் நீ இருக்க..! மியூசிக் டைரக்டர் நான் இருக்கேன்..! வா.. பாத்துக்கலாம்..!’
‘சார்..! அதில்ல சார்..!’
‘புரியுதுய்யா..! போய்யா அதெல்லாம் ஒண்ணும் வேணாம்..! ப்ரொடியூசர் எங்க இருக்காரு?’
‘சார்… வந்து... அமெரிக்காவில்’
‘சரி..! வரட்டும் ..! அப்பறம் பாத்துக்கலாம்..! ரெக்கார்டிங் நாளைக்கு…”
உங்கள் எல்லோருக்கும் தெரியும். சினிமாவில் அட்வான்ஸ் என்ற ஒன்று இல்லாமல் ஒரு காரியமும் நடக்காது. பலவிதமான Excitement-க்கு நடுவே இதனால் எனக்குத் தலைகால் புரியவில்லை. அடுத்த நாள் ஆறு மணிக்கு வரச்சொன்னார். பதைபதைப்புடன் போனேன்.

வெள்ளை வெளேர் என்ற ஒரு அறை. கருப்பு வெள்ளையில் ரமண மகரிஷியின் ஒரு புகைப்படம். அதனருகில் அம்மா என்கிற ஒரு ஆத்மாவின் புகைப்படம். அதே கருப்பு வெள்ளை 3D Animation போல அருகில் இளையராஜா, அவர் பக்கத்தில் ஒரு கோப்பையில் இறக்குமதி செய்யப்பட்ட சாக்லேட்டுகள்..! இவைகளைத் தவிர அந்த அறையில் இருந்த மற்றொரு முக்கியமான விஷயம் ”அமைதி”. நான் சென்றபோது ஏதோ எழுதிக்கொண்டிருந்தார். நான் உட்காரவா வேண்டாமா என்று தயங்கி நின்றுகொண்டிருந்தேன். உட்காரச் சொன்னார். உட்கார்ந்தேன். ஒரு சாக்லேட்டை எடுத்து என்னிடம் போட்டார். நான் அதைப் பிடித்தேன். அந்த சாக்லேட் பேப்பரின் ஒலிதான் அந்த அறையில் நான் நுழைந்து ஐந்து நிமிடங்களில் நான் கேட்ட முதல் ஒலி. ”இதைப்பிரித்தால் சாக்லேட் பேப்பரின் ஒலி இவரை Disturb செய்துவிடுமே..? இதைப் பிரிக்கலாமா வேண்டாமா? சாப்பிடுவதா இல்லையா?” என்று எனக்கு யோசனை.

அவர் எழுதிக்கொண்டே இருக்கிறார். எழுதிக்கொண்டே இருக்கிறார். வேகமாக எழுதுகிறார். கோபத்துடன் எழுதுகிறாரா, பாசத்துடன் எழுதுகிறாரா, யாருக்கு எழுதுகிறார், என்ன எழுதுகிறார், எதுவும் தெரியவில்லை. நான் உட்கார்ந்துகொண்டே இருக்கிறேன். மெதுவாக எனக்குக் கோபம் வரத்துவங்குகிறது. ”என்ன இது? நான் ஒரு டைரக்டர்..! என்னை வரச்சொல்லிவிட்டு இவர் எழுதிக்கொண்டிருக்கிறார்..! அவர் சொந்த விஷயத்தை எழுதுவதற்கு என்னை எதற்கு வரச்சொன்னார்? ஒரு பத்து நிமிடங்கள் கழித்து வரச்சொல்லியிருக்கலாமே?”

பக்கம் பக்கமாக வேகமாக எழுதியவர், நிமிர்ந்து ‘புரு...’ என்றார். அவர் கூறியது ஒரு நான்கு அடி தள்ளி அமர்ந்திருந்த என் வரைக்கும்தான் கேட்டிருக்கும். ஆனால் வெளியில் இருந்து ‘புரு’ என்கிற ஆறடி உயர ‘புருஷோத்தமன்’ வந்தார். அவர்கள் இருவருக்குள்ளும் அப்படி ஒரு Intimate communication..! Sheets எல்லாம் அவரிடம் கொடுத்துவிடுகிறார். ‘இதை Distribute பண்ணிடு’ என்கிறார்.
”சரி..! அவர் வேலை முடிந்தது..! இனி நம் வேலைக்கு வருவார்” என்று நினைத்தேன்.
‘என்ன சார்..?”
‘அது போய்டுச்சுய்யா’
'சார்.. ..'
‘அதுதான்.. அந்த first பாட்டு..! போய்டுச்சுய்யா..’
‘சார் .. எந்த Scene?’
‘யோவ்..! அதான் உன் படம் சொல்லிடுச்சேய்யா..! எந்தெந்தப் பாட்டு எங்கெங்க வரணும்னு’
‘அப்டியா சார்?’
‘ரொம்ப நல்லா வந்திருக்குதுய்யா.. கேளு..’ என்றவர், பாடத் துவங்குகிறார்.. ‘தன்னனன தான தான தான நான நா…. (தென்றல் வந்து தீண்டும்போது)’. அவர் போட்டிருந்த டியூன் எனக்குப் பிடிக்கவில்லை.
‘என்னய்யா? என்னய்யா யோசிக்கிற? கேளு..!’ என்றவர் மறுபடி ‘தன்னனன’ பாடத் துவங்கினார்.
அப்போதான் தெரிகிறது. நான் எவ்வளவு பெரிய ஞானசூன்யம் என்பது. ’நல்லாயிருக்குது என்று சொன்னால் எது நல்லாயிருக்குது என்று கேட்பார். நல்லாயில்லை என்று சொன்னால் என்னய்யா நல்லாயில்ல என்பாரே’ என்ற யோசனையுடன்..
‘இல்ல சார்..! இதற்கு முன்னால் வரும் பாடலில் காட்சிகள் கொஞ்சம் வேகம் குறைந்ததாக இருக்கும். இது கொஞ்சம் வேகமான பாட்டா இருந்தா நல்லா இருக்கும்.’
‘அதுதான்யா இது..! நல்லா வரும்யா..!’
’சார்..! கொஞ்சம் Tempo-வாவது ஏத்த முடியுமா?’
............ என் மேல் உள்ள அன்பா அல்லது ரீரெக்கார்டிங்கின்போது என்னுடைய நடிப்பைப் பார்த்துவிட்டு என் மேல் ஏற்பட்ட நல்ல ஒரு உணர்வா எதுவென்று தெரியவில்லை. வேறு எந்த மியூசிக் டைரக்டரிடம் நான் இதைச் சொல்லியிருந்தாலும் என்னை அடித்து ‘போடா வெளியே’ என்று துரத்தியிருப்பார்கள். ஒரு ஞானியிடம் சென்று ஒரு ஞானசூன்யம் சொல்கிறது ‘கொஞ்சம் Tempo ஏத்துங்க’..!
அவர் சிரித்தார். எனக்கு வேலை இருக்கிறதா என்று கேட்டு பின்னர் நாலு மணிக்கு வரச்சொன்னார்.

நான் சென்றவுடன் என்னுடைய Assistant Directors எல்லாம் டியூன் எப்படி இருந்தது என்று கேட்டார்கள். 'ஏதோ இருந்தது' என்று சொன்னேன். அதற்கு அவர்கள் ‘அவர் அப்படித்தான் சார் போடுவார். நாமதான் சார் நாலஞ்சு டியூன் போடச் சொல்லிக் கேட்டு வாங்கணும்’ என்றார்கள். நான் அதற்கு, ‘விடுங்கய்யா.. நாலு மணிக்கு வரச்சொல்லியிருக்கிறார். நான் Tempoவை கூட்டச்சொல்லியிருக்கிறேன்” என்றேன்.

நாலு மணிக்குச் சென்றேன். ரெக்கார்டிங் ஸ்டுடியோ ஒரு கல்யாண மண்டபம் போன்று இருந்தது. பலவிதமான வாத்தியக்கருவிகளின் பலவிதமான சப்தங்கள்..! பரவாயில்லை. நம் பாட்டுக்கு இவ்வளவு பேர் வேலை செய்கிறார்கள் என்று ஒரு சந்தோஷம். சரியாய் நாலரை மணிக்கு சொல்கிறார்…
’…புரு….!’ (இம்முறை கொஞ்சம் சத்தமாக). சரி ஒரு மானிட்டர் பார்க்கலாம்’
எங்கும் அமைதி…!
1…..! 1..2..3..4..
‘தானத் தம்தம் தானத் தம்தம் தானத் தம்தம் தானத் தன்னானா..’ பாடலின் கோரஸ் துவங்குகிறது.
'....... ...... ....'
'....... ...... ....'
I cried..... நான் அழுதேன். பக்கத்தில் அவர் முழங்கால்கள் இருந்தன. அவற்றைப் பற்றிக்கொண்டு.. ‘சார்..! தயவுசெய்து என்னை மன்னிச்சுடுங்க சார். நான் தெரியாம எதோ சொல்லிட்டேன்’ என்றேன்.

‘இருய்யா..! முழுசாக் கேளுய்யா’ என்றார்.

அப்படி உருவானதுதான் ‘தென்றல் வந்து தீண்டும்போது’ பாடல். எனக்கு ஆச்சரியமான விஷயம் என்னவென்றால் எப்படி ஒரு மனிதன் சரளமாக, ஒரு கவிஞன் கோபத்தில், காதலில் அல்லது வீரத்தில் எழுதுவது போல இவ்வளவு வேகத்தில் இசையை எழுதமுடியும் என்பதுதான் (கைகளால் காற்றில் வேகவேகமாக எழுதிக்காட்டுகிறார்).
இளையராஜாவின் வெற்றிக்கு மற்றொரு காரணம் ‘கற்றல்’. எப்போதும் கற்றுக்கொண்டே இருக்கிறார். அவதாரம் திரைப்படத்தின் ஒரு மூன்று காட்சிகளை..
‘யோவ்..! இந்த மூணு சீன் ரொம்ப திராபையா இருக்கேய்யா’ என்றார்.
‘இல்ல சார்..! அவன் திரும்பத் திரும்ப எப்படியாவது என்னைக் கூத்துக்குழுவில் சேர்த்துக்கொள்ளுங்கள் என்று கெஞ்சுகின்றான். அதை விளக்குவதற்காகத்தான் அந்த மூணு சீனையும் வைத்திருக்கிறேன். அது எனக்கு ரொம்ப தேவை சார்’ என்றேன்.

‘உனக்குத் தேவைய்யா..! ஆனால் பார்க்கிறவனுக்கு Interesting-ஆக இருக்கணும் இல்லையா?’ நீ அரை நாளில் ஷூட் பண்ணுவது போல இந்த இடத்தில் ஒரு பாட்டு போட்டுக்கொடுத்துவிடுகிறேன்’ என்றார். அந்தப் பாடல்தான் ‘அரிதாரத்தப் பூசிக்கொள்ள ஆசை’. அதாவது ஒரு ஏழரை நிமிஷத்து வறட்சியான மூன்று காட்சிகளை மிக அழகாகக் கொண்டுவந்து விட்டார். அவதாரம் படத்தின் ஒவ்வொரு பாட்டும் முத்தான பாடல்கள். அந்த ஐந்து பாடல்களும் இரண்டரை நாட்களில் பதிவு செய்யப்பட்டவை. இன்றைக்கு மாதங்கள் ஆகின்றன. சிலருக்கு வருடங்கள் ஆகின்றன.

போன வருடம் ஒரு படப்பிடிப்பிற்காக சென்னையில் இருந்து சிதம்பரத்திற்கு ரோடு வழியாகச் செல்லவேண்டியிருந்தது. அது ஒரு விழாக்காலம் என்று நினைக்கிறேன். ஒவ்வொரு ஊரைக் கடக்கும்போதும் டீ கடைகளிலும், கோவில் விழாக்களிலும் பாடல்கள் ஒலித்துக்கொண்டு இருந்தன. சரி.. மக்கள் யாருடைய பாடல்களை கேட்கிறார்கள் என்று ஒரு கணக்கெடுக்கலாம் என்று நினைத்தேன். மேடைக்காக மிகைப்படுத்திச் சொல்லவில்லை. நான் கேட்டதில் ஏழு எம்.எஸ்.வி. பாடல்கள், மூன்று ஏ. ஆர். ரகுமான் பாடல்கள், இருபத்தெட்டு இளையராஜா பாடல்கள். தமிழ் சமூகம் இளையராஜாவின் பாடல்களுடன் வாழ்ந்துகொண்டிருக்கிறது."

இசை என்பது வியாபாரம் மட்டுமே அல்ல. இந்தியா கிராமங்களில் வாழ்கிறது என்று காந்திஜி கூறினார். கிராமங்களில் வாழும் மனிதர்களின் மனதில் இன்னும் இளையராஜா பாடல்கள்தான் கேட்டுக்கொண்டிருக்கின்றன. இப்படி ஒரு விழா இளையராஜாவுக்கு மிகச் சிறியது. ஆனால் எங்கள் மனது பெரியது” என்றார்.

[K]

http://tamil.oneindia.in/movies/music/2012/01/na-muthukumar-s-sensational-speech-aid0136.html


தாயை இழந்த எனக்கு துணையாக வந்தது இசைஞானியின் இசைக்கரங்களே. அன்று பிடித்த அவரது கரங்களை இன்றுவரை நான் விடவில்லை என்றார் பிரபல பாடலாசிரியர் கவிஞர் நா முத்துக்குமார்.

சென்னை அண்ணா பல்கலைக்கழக நூற்றாண்டு விழா அரங்கில் பிரகாஷ் ராஜின் தோணி பட இசைவெளியீட்டு விழா கடந்த சனிக்கிழமை மாலை நடந்தது.

இசைஞானி இளையராஜா இசையமைத்துள்ள படம் அது. படத்தின் இசைவெளியீட்டை, இளையராஜாவுக்கு சிறப்பு செய்யும் விதத்தில் அமைத்திருந்தார் பிரகாஷ் ராஜ்.

இதுவரை தன் வாழ்க்கையிலேயே முதல் முறையாக தான் இசையமைத்த பட இசை விழாவில் அந்தப் படப் பாடல்களை லைவாக இசைக்க வைத்து, வந்திருந்தவர்களுக்கு ஆனந்த அதிர்ச்சி தந்தார் இளையராஜா.

நான்கு பாடல்கள் இசைக்கப்பட்டன. நான்கும் முத்தான பாடல்கள் என்று சொல்லும் அளவுக்கு மிக இனிமையாக, அர்த்தமுள்ளதாக அமைந்திருந்தது சிறப்பு.

இந்த இசை வெளியீட்டு விழாவுக்கு தமிழ் சினிமாவின் ஜாம்பவான்கள், சாதனையாளர்கள், இளையராஜாவின் அபிமானிகள் அத்தனை பேரும் குவிந்திருந்தனர். மாலை 7 மணிக்கு தொடங்கிய நிகழ்ச்சி, இரவு 9.30ஐ தாண்டிய பிறகும் நீடித்தது. ஆனால் ஒருவரும் வெளியில் எழுந்து செல்லவில்லை. அப்படியொரு ஈர்ப்புடன் அமர்ந்து நிகழ்ச்சியை ரசித்தனர்.

இளையராஜாவுடனான தங்கள் அனுபவங்கள், அவரது இசையின் சிறப்பு, இளையராஜா எனும் அற்புதமான கலைஞனின் தொழில்முறை நேர்த்தி என பல விஷயங்களைப் பகிர்ந்து கொண்டனர் பிரபலங்கள்.

இயக்குநர்களின் ஆதர்ச நாயகனாகக் கருதப்படும் மகேந்திரன், இயக்குநர் சிகரம் எனப் புகழப்படும் பாலச்சந்தர், எஸ்பி முத்துராமன், இயக்குநர்கள் பார்த்திபன், கேஎஸ் ரவிக்குமார், ஆர் வி உதயகுமார், ஜெயம் ராஜா, ராதா மோகன் என ஒவ்வொருவர் பேசியதையும் தனித்தனி கட்டுரைகளாகவே வெளியிடலாம். அத்தனை சிறப்பாக அமைந்தது பேச்சு.

குறிப்பாக நாசரின் பேச்சு, சுவாரஸ்யமிக்கதாக அமைந்தது.

இந்த விழாவின் ஹைலைட் என்றால் அது கவிஞர் நா முத்துக்குமாரி்ன் பேச்சு. அந்தப் பேச்சை கண்கலங்காமல் கேட்டவர்கள் அநேகமாக வெகு சிலராகத்தான் இருந்திருப்பார்கள்.

அவரது பேச்சு முழுவதுமாக:

இசைஞானி அவர்களுக்காக முதல்முறையாக நான் தோணி திரைப்படத்திற்காக அனைத்து பாடல்களையும் எழுதியிருக்கிறேன். ஜூலி கணபதி படத்துக்காகத்தான் அவரை நான் முதல் முறையாக என் குருநாதர் பாலுமகேந்திராவுடன் சந்தித்தேன். அந்த சந்திப்பு மறக்க முடியாதது. ஒரு பரீட்சை எழுதப்போகும் மாணவனின் பதைப்புடன் அவர் அறைக்குச் சென்றேன்.

எனக்குத் தந்த மெட்டுக்கு...

‘எனக்குப் பிடித்தப் பாட்டு அது உனக்குப் பிடிக்குமே
என் மனது போகும் வழியை உன் மனது அறியுமே
எனக்குப் பிடித்த நிலவு அது உனக்குப் பிடிக்குமே’

என்ற பல்லவியை அவருக்குக் கொடுத்தேன். படித்துப் பார்த்துவிட்டு ‘நன்றாயிருக்கிறது பல்லவி..! ஒரு சின்ன திருத்தம் செய்யலாமா?’ என்று கேட்டார். ‘தாராளமாக ஐயா’ என்று சொன்னேன்.

‘எனக்குப் பிடித்த நிலவு அது உனக்குப் பிடிக்குமே’ என்ற வரியை ‘என்னைப் பிடித்த நிலவு அது உன்னைப் பிடிக்குமே’ என்று மாற்றினால் அர்த்தம் இன்னும் சிறப்பாக இருக்குமென்றார். நான் எழுதிய வரிகளை விட பத்துமடங்கு சிறப்பாக இருக்கிறது என்று பரவசப்பட்டுப் போனேன்.

அன்று எனக்கு ஒன்று புரிந்தது. பாடலில் திருத்தம் என்பது சிதைப்பது அல்ல; செதுக்குவது என்று. அதன் பின்னர் நிறைய பாடல்கள் எழுதினேன். ஒவ்வொரு முறை அவர் அறைக்குள் நுழையும்போதும் என் கைகால்கள் நடுங்கத் துவங்கும்.

அவர் எப்போதும் என்னை அமரவைத்து, நகைச்சுவையாகப் பேசி என்னை இயல்புக்குக் கொண்டுவருவார். ஒவ்வொரு முறை பாடல் எழுதும்போதும் அவரிடம் ஒரு புதிய விஷயத்தை நான் கற்றுக்கொள்வேன். எப்படி எளிமையாக எழுத வேண்டும்… எப்படி மக்களுக்குப் புரியும் வகையில் எழுத வேண்டும்… போன்ற பல விஷயங்களை அவரிடம்தான் கற்றுக்கொண்டேன்.

‘தோணி’ திரைப்படத்தின் கம்போஸிங்கிற்கு "முத்துக்குமாரையும் கூட்டி வாருங்களேன்," என்று சொல்லியனுப்பியிருந்தார். போயிருந்தேன். அது ஒரு பரவச அனுபவம். முதல் முறை அவருடன் கம்போசிங்கில். ஒரு முக்கால் மணி நேரத்தில் வரிசையாக 5 டியூன்களைப் போடுகிறார். நான் கண்களை மூடி அமர்ந்து கேட்டுக்கொண்டிருக்கிறேன். கடவுளிடம் நேரடியாகப் பேசுபவர்கள் குழந்தைகளும் இசைக் கலைஞர்களும் என்று சொல்வார்கள். அந்த தருணத்தில் அதை நான் கண்டுகொண்டேன்.

என் மகனுக்கு தினமும் கண்ணே கலைமானே...

இன்றைக்கும் நான் இசைஞானியின் பாடல்களைக் கேட்காமல் தூங்குவதில்லை. என் மகனுக்கு நான் தினமும் பாடும் தாலாட்டு ‘கண்ணே கலைமானே’ பாடல்தான். ஒரு பாடலாசிரியராக என்னுடைய குருவாக அவரை நினைக்கிறேன். ஒரு சில பாடல்களே அவர் திரைப்படத்திற்கு எழுதியிருந்தாலும் அவர் எழுதிய பாடல்களுக்கு இன்றைக்கும் நான் ரசிகன். அழகி திரைப்படத்தில் எழுதியிருப்பார்…

"கோயில் மணிய யாரு ஏத்துறா?
தூண்டா வெளக்க யாரு ஏத்துறா ?
ஒரு போதும் அணையாம நின்று எரியணும்..”

அதே படத்தின் வேறொரு பாடலில்...

“இருள் தொடங்கிடும் மேற்கு - அங்கு
இன்னும் இருப்பது எதற்கு?
ஒளி தொடங்கிடும் கிழக்கு
உண்டு பொதுவினில் ஒரு விளக்கு”

இதை எந்தக் கவிஞனும் எழுதி விடலாம். ஆனால் அதன்பின்னர் வரும் 'ஒளி இருக்குமிடம் கிழக்குமில்லை மேற்குமில்லை' என்ற வரிகள் அத்தனை சிறப்பானவை. அதே போல நாடோடித் தென்றல் படத்தில்,

'யாரும் விளையாடும் தோட்டம்
தினந்தோறும் ஆட்டம் பாட்டம்
போட்டாலும் பொறுத்துக் கொண்டு
பொன்னு தரும் பூமி இந்த மண்ணு நம்ம சாமி
கோபங்கள் வேண்டாம் கொஞ்சம் ஆறப்போடு
ஆறோடும் ஊரைப் பாத்து டேரா போடு'

என்ற வரிகள். இந்த பூமியை, மண்ணை அவர் நேசிக்கும் அழகை அத்தனை அற்புதமாக்ச சொல்லியிருப்பார்.

நான் சிறுவயதில் தாயை இழந்தவன். அந்தத் தனிமை எப்போதும் என்னுடன் இருந்துகொண்டே இருக்கும். அப்போது ‘ஆவாரம்பூ’ படத்தில் ஒரு பாடல் கேட்டேன்.

ஆலோலம் பாடி அசைந்தாடும் காற்றே..!
அதைக்கேட்டு தூங்கும் ஆவராம்பூவே..!
தனியானால் என்ன துணை இங்கே நான் பாடும் பாட்டுண்டு

இந்த வரிகளைக் கேட்டவுடன் அவரின் இசைக் கரங்களை நான் பிடித்துக்கொண்டேன். அதன் பின்னர் வரும்,

தாய் இழந்த துன்பம் போலே
துன்பம் அது ஒன்றுமில்லை
பூமி என்ற தாயும் உண்டு
வானம் என்ற தந்தை உண்டு
நீங்கிடாத சொந்தம் என்று
நீரும் காற்றும் எங்கும் உண்டு

என்ற வரிகள் எனக்கு தன்னம்பிக்கை அளித்தன. அன்று பிடித்த அவரின் இசைக் கரங்களை இன்றுவரை நான் விடவில்லை," என்றார்.

அதுவரை நிசப்தத்தில் இருந்த அரங்கம் ஒரு நிமிடம் ஸ்தம்பித்து அதிர்ந்தது!

[rajaramsgi]

Humorous Raja @ Sengathu Bhoomiyile Press Meet:
http://www.youtube.com/watch?v=fQIsD8U4P2w
http://www.youtube.com/watch?v=rPiaulnJYu4

Dhoni Press Meet (overlap of certain scenes in 2 clips):
http://www.youtube.com/watch?v=LN-_nRFHiNA
http://www.youtube.com/watch?v=XdFy2DMxzNI
http://www.youtube.com/watch?v=tr0KJeN5reI
http://www.youtube.com/watch?v=cKH-gI5Vmuc

I don't think Raja got so much Public Relations and marketing in any of his recent films like he got with Dhoni. I like Prakashraj, but I never realized he is such a good business man, above all the way he admires Raja is really very inspiring.

[rajaramsgi]

sorry ya.. I meant to upload only the hyperlinks.. but it embedded the clips on to this page. If the admin can change this error it will be great, as I don't know how to.

[V_S]

SKV & K, How to thank you for sharing these two wonderful articles. kannu kalangidichu sir. When Nassar told 'avar muzhangal pidichu azhuthEn' after hearing the song, I could not control myself too. Sameway, when Na.Muthukumar expressed about 'aalolam paadi' and its lyrics. The way Nasser expressed how fast he wrote the song; he was not sure, if Maestro was writing a song, or he was writing something angrily, or was he writing for someone else, I was taken to floor. Idhai vida namakku enna sir perumai vEnum, being Raja fans.

[K]

http://www.isaignanibakthan.blogspot.in/2012/01/blog-post.html

Full coverage of audio launch:Dhoni.

[crvenky]

Dhoni audio release photos: Maestro with 2 grandsons:

http://www.supergoodmovies.com/29/38303/kollywood/news-gallery/prakashraj-s-dhoni-audio-launch-stills-gallery-image

[krish244]

Many websites are reporting (and some say it is official) that IR is scoring for GVM's NEPV. I wish to hear more frequent updates on the progress to really really confirm :). I hope this combo comes out with some melodious tunes (be it song tunes or ludes tunes). Also, hope he continues to use more of live orchestra with a contemporary touch (I am sure he can create magic).

http://www.behindwoods.com/tamil-movie-news-1/jan-12-05/gautam-menon-ilaiyaraja-31-01-12.html

http://www.supergoodmovies.com/38394/kollywood/the-legend-composes-for-gautham-menon-news-details

http://entertainment.oneindia.in/tamil/news/2012/ilaiyaraaja-gautham-menon-nep-310112.html

and many more sites...

Snippet from supergoodmovies news item:

"...It's official Isaignani Ilayaraja will be composing for Gautham Vasudev Menon's upcoming film 'Neethane Yen Pon Vasantham' starring Jeeva and Samantha in the lead roles..."

Snippet from oneindia website news:

"...Music Maestro Ilaiyaraaja is all set to work with ace filmmaker Gautham Menon. Yes, the 68-year-old has been signed to score the music for forthcoming Tamil movie Neethaane En Ponvasantham (NEP).

The music director has confirmed that he has signed Gautham Menon's film. Ilaiyaraaja claims that he will start the composition works soon. It is also noted that they have teamed up for the first time and the expectations have obviously reached sky high from this combo..."

BTW, this is a trilingual (tamil, telugu and hindi).

http://en.wikipedia.org/wiki/Neethaane_En_Ponvasantham

thanks,

Krishnan

[krish244]

MAA (MAA TV) music award for best background score went to IR for SRR movie. Not surprising!

http://www.indiaglitz.com/channels/telugu/article/77188.html

thanks,

Krishnan

[raja_fan]

Goutham Menon - IR combo is very important in one sense - After Maniratnam-IR split, I think this is the first time IR is joining hands with a director who comes close to Mani in market expectations..

[krish244]

IR among ten people receiving "People of the year" award at the unveiling of the 23rd Limca Book of Records. I guess he was not present though.

http://www.deccanherald.com/content/223420/gulzar-asha-bhosle-yesudas-limca.html

thanks,

Krishnan

[skr]

Do check this out
SPB praising Maestro and talking about the ragam of Sri Rama Lera
http://www.youtube.com/watch?v=p21ErhJnbVc

[rooky]

Suddenly all IR fans are showered with lots of good news and exciting stuff, and that too without any gap to breath in.
We had a music release to a movie we weren't aware of, Prasad. Then, much awaited DHONI audio release and IR performing live there.
We also had long awaited "Mayilu" audio release and now the big news of IR-GM combo.

GM is not only a director who gives so much importance to modern outlook and visuals, gives huge importance to Music and is seen as someone with good music sense.
I personally would expect to see a Balki-IR kind of Musical+Visual output, if i have to compare from the recent times. lot of excitement for sure.

Look at the link below.
http://www.sify.com/movies/february-film-fiesta-in-k-wood-news-tamil-mb5rW2cjcgg.html

Three movies with IRs' music to release in February. It is raining.

[app_engine]

As someone who had seen many "IR monsoons", I'm not very surprised :-)

BTW, that Nassar speech transcript is very nice to read :-)

:clap: & :thumbsup: to Nassar!

As a mark of appreciation, I gave a "parking-lot-high-volume-closing-eyes-listen" to 'thenRal vandhu theeNdum pOthu' this morning!

ERakkuRaiya sorgam!

[K]

http://tamil.oneindia.in/movies/specials/2012/01/joining-with-ilayaraja-is-my-dream-aid0136.html

ஆம்... இசைஞானி இளையராஜா சார்தான் நீதானே என் பொன் வசந்தம் பட இசையமைப்பாளர். அவரது ரசிகன் என்ற முறையில், அவருடன் இணைந்து பணியாற்றுவதை பெருமையாகக் கருதுகிறேன். விரைவில் இசைக் கோர்ப்பு ஆரம்பமாக உள்ளது. என்னுடைய நீண்ட நாள் கனவு இது... இந்தப் படம் முடியும் வரை நான் கனவில் மிதக்கப் போகிறேன்,"என்றார்.

இதுகுறித்து இளையராஜாவிடம் கேட்டபோது, "ஆமாம்... இந்த ஆண்டு நான் சில முக்கியமான படங்களுக்கு இசையமைக்க ஒப்புக் கொண்டுள்ளேன். ஒன்று கவுதம் மேனன் படம். இன்னொன்று ராஜீவ் மேனன் படம். வேலை முடிந்ததும் விரிவாகப் பேசலாம்," என்றார்.

[jaiganes]

@K i think it is suresh menon - not rajeev menon.

[irir123]

suresh menon - the 'paridhaabamaana' face from the film pudhiya mugam!

[wizzy]

^could well be Rajeev menon...now Suresh Menon is a restaurateur.. his Telephoto Films office hosts Crimson Chakra.

[baroque]

Wow!

Rajeev Menon and Gowtham Menon with Ilayaraja!

all those of us not happy ManiR left IR,
there you go....

world of Urban cinema doesn't stop with ManiR,
Gowtham Menon is here.:thumbsup: Good news.

Rajeev Menon's KANDUKONDEN KANDUKONDEN is my most favorite
Rahman's album!:musicsmile: KK has some good moments like Ajith's first meeting-shooting spot book panna, Manivannan's panjayathu scene illaama padamaa...risk edukkaranga! , good climax too.


MINSARA KANAVU too nice album from ARR , dances with Prabu deva.

vinatha.

[RR]

As discussions on 'good taste' are getting to be in bad taste, have trimmed them. If you have any questions, pls pm me.

[KV]

sanda nadandhucha? syack... miss pannittEnE :(. RR, andha posts ellam enga paddikka mudiyum? :mrgreen:

[RR]

KV, beshaa padikkalam - if you can bribe me with a rare IR songs cd ;)

[KV]

ivvalo dhaana? kuduthutta pOchu! But anyway, enakku indha mini kalavaram paththi update kedachirchu!

[venkkiram]

விளையாட்டா படகோட்டி - ஹரிஹரன்

தொடர்ந்து கேட்டுக்கொண்டே. உணர்வுகள் இந்த வார்த்தைகளில்தான் என குறிப்பிட்டு சொல்லும்படி இல்லாமல் ஒவ்வொரு வார்த்தையிலும் அழகா வெளிப்படுத்தி இருக்கார். வருஷத்திற்கு இதுபோல ராஜா - ஹரி கூட்டணியில் மெலடிகள் தமிழில் நிரம்பனும்.

[K]

http://www.isaignanibakthan.blogspot.com/2010/08/2-2-1.html



பாலமுரளி கிருஷ்ணா பாடப்போகிறார்’ என்று கேட்டது முதலே எனக்கு பயம். காரணம், அவருக்கு தெரிந்த அளவுக்கு இசை எனக்குத் தெரியாது. “இசை மேதையாக ரசிகர்கள் கொண்டாடும் பாலமுரளி கிருஷ்ணா எனது இசையில் பாடப்போகிற விஷயம் தெரிய வந்ததுமே எனக்குக் கொஞ்சம் கவலையாகிவிட்டது. எல்லாம் நல்லபடியாக நடந்து முடிய வேண்டுமே?"

ரிகர்சலுக்கு வந்தார். பயத்தோடு பாடலைச் சொன்னேன். அவர் எழுதிக்கொண்டார்.

‘என்ன டியூன்’? என்றார். பாடிக் காட்டினேன்.

ஸ்வரத்தை பாடலின் வரிகளின் மேல் எழுதிப் பாடினார். அதுதான் ‘சின்னக் கண்ணன்’ அழைக்கிறான் பாடல்.



பாடலைப் பாடியவர், 'இதுதான் புதிது! சரணத்தில் உச்சஸ்தாயியில் இரண்டாவது வரிக்கு அமைத்திருக்கும் இசையில் ‘ஸகரிக மரினி’ என்று ஆரோகணபரமான பிரயோகத்தை, அவரோகணத்தில் அமைத்திருக்கிறீர்களே? அதை எவ்வளவு வேண்டுமானாலும் பாராட்டலாம்.

சாதாரணமாக கர்னாடக இசைக் கச்சேரிகளில் கூட வித்வான்கள் இந்த ராகத்தை நீண்ட நேரம் பாட மாட்டார்கள். அதை இவ்வளவு இனிமையான பாடலாக அமைத்து விட்டீர்களே!’ என்று மனம் விட்டுப் பாராட்டினார். என் இசைப் பயணத்தில் முக்கியமானதொரு ஊக்குவிப்பாக அமைந்து என்னை உற்சாகப் படுத்திய நிகழ்ச்சி இது!’ என்கிறார்.

[thumburu]

ivvalo dhaana? kuduthutta pOchu! But anyway, enakku indha mini kalavaram paththi update kedachirchu!

KV Saar, enakkum andha 'kisu kisu' pm pleaze

[KV]

On the GVM project, I'd initiated this discussion in the NEPV thread in the TF section, but it didn't quite take off. I think this would be a better place to get it going.
Well, what I'm basically looking at is collecting ideas on how we'd like to see this album (and future works of IR, if possible) take shape; what we'd want and not-want to get... an extension of sorts of the 'Raagams of new age IR' aadhangams. Now, don’t get me wrong for I’m certainly not intending to advise or give lessons on composing. These are just some of my wishes as a Raaja disciple, and I’m just betting on GVM's talent and reputation for extracting some lovely music from his MD's, to take across some of these thoughts to Raaja. Ofcourse, this could be like a crazy fancy, expecting for the impossible kinds, but I think this sorta group discussion during the song selection of ER concert had pretty decent results (I strongly believe our mails were read and atleast a handful of songs were picked from them. That a song like yaar thoorigai featured in the show, though only in the medley, is a proof of sorts to my belief). Call me naive, but I have some amount of trust in the power of social networking. Who knows, if our collated thoughts can somehow reach GVM or Raaja, we could we see some changes happening. Quoting a famous movie dialog... afterall, hope is not a bad thing! :)

Here's my rasigan viruppam list!
1.Live instruments/orchestra: not a synth-dominated soundtrack please!
2.No rehash/recycling/re-using old tunes.
3.Unplugged version of atleast one song (no plain repeat/singer change, etc)
4.Atleast a couple of instrumentals… in trademark Raaja brand WCM/jazz/Carnatic types!
5.Semi-classical numbers or songs set in some interesting raagam/thaalam base
6.Collaboration with artists like Guitar Prassana, Mandonlin Srinivasan, Rajesh Vaidya or the Budapest jazz folks (that they've already worked with Raaja and have great respect for him, could make it kinda possible and not something farfetched I think).
7. If I’m allowed to fancy a little extra, one full-fledged bass guitar dominated song/instrumental (complete with plucks/slides/taps,etc) please!

[sakaLAKALAKAlaa Vallavar]

இளையராஜாவின் மகிமைகள் (http://www.athishaonline.com/2012/02/blog-post.html)

நூறாவது நாள் திரைப்படம் குறித்து பெரிய அறிமுகம் தேவையில்லை. தமிழில் வெளியான குறிப்பிடத்தக்க சில த்ரில்லர்களில் முக்கியமான திரைப்படம். அப்படத்திற்கு ரீரிக்கார்டிங் செய்த கதையை இயக்குனர் மணிவண்ணன் சில மாதங்களுக்கு முன்பு திரைப்பட கருத்தரங்கு ஒன்றில் பகிர்ந்துகொண்டார். ''நூறுவாது நாள் படத்தின் மொத்த ரீரிகார்டிங்கையும் வெறும் அரைநாளில் செய்துமுடித்தாராம் இளையராஜா!'' அன்றைய தினம் அதே ஸ்டுடியோவிற்கு டாகுமென்ட்ரி ஒன்றின் ரிகாரிடிங்குக்காக வந்திருந்த வெளிநாட்டு இயக்குனர் ஒருவர் இதைகேள்விப்பட்டு அசந்துபோய் இளையராஜாவை பாராட்டிவிட்டு சென்றாராம்! அந்தப்படத்தின் பாடல்களைவிட பிண்னனி இசைதான் காலத்தை கடந்து இன்றளவும் பேசப்படுகிறது.

சிகப்பு ரோஜாக்கள் படத்தை பற்றியும் ஒரு தகவல் கிடைத்தது. இப்படத்திற்கான ரீரிகார்டிங்கிற்கு ஆன மொத்த செலவு வெறும் பத்தாயிரம்.. மூன்றே நாளில் வெறும் ஐந்தே ஐந்து இசைக்கலைஞர்களை கொண்டு அந்த படத்திற்கு இசை சேர்க்கப்பட்டதாம்!

இதையெல்லாம் கேட்கும்போது இளையராஜா குறித்து ஒரு அமானுஷ்யமான பிரமை உண்டாவதை தவிர்க்க முடியவில்லை. ஏன் என்றால் சமகால இசையமைப்பாளர்கள் ஒரே ஒருபாடலுக்கு ட்யூன் போட பல ஆண்டுகள் எடுத்துக்கொள்வதையும் , அதிலும் எனக்கு மிட்நைட்டில்தான் ட்யூன் போடவரும், அமெரிக்காவில்தான் பாடவரும் என சீன் போடுவதையும், பல லட்சம் செலவில் லண்டன்,ஆஸ்திரேலியா,சுவிட்ஸர்லாந்துக்கெல்லாம் போய் ரீரிகார்டிங் செய்வதையும் பார்க்கிற இன்றைய தலைமுறைக்கு நிச்சயம் இளையராஜா குறித்த இந்த தகவல்கள் ரொம்பவே ஆச்சர்யமுட்டுபவைதான்.

அதே தோனி பட இசைவெளியீட்டு விழாவில் பிரகாஷ்ராஜ் ஒரு புதுமையை செய்துகாட்டினார். ஒரு சீரியஸான காட்சி முதலில் போட்டுக்காட்டப்பட்டது.. பின்னணி இசை சேர்க்காமல். உடனடியாக இளையராஜாவின் பின்னணி இசையோடு போட்டுக்காட்டியபோதுதான் ஒன்று புரிந்தது.. ஏன் இந்த தமிழர்கள் அந்த மனிதரை கடவுளாக வழிபடுகின்றனர் என்பது! பிரமாதம் என்று சொல்லுவது சரியாக இருக்காது. அதை விவரிக்கும் வார்த்தைகள் என்னிடம் இல்லை!

விழாவில் பேசிய பலரும் ஒருகுறிப்பிட்ட பிரச்சனையை முன்வைத்து பேசினர். இன்றைக்கு திரையுலகம் சந்தித்துவரும் பெரிய சிக்கல்களில் ஒன்று புரொடக்சனுக்காக எடுத்துக்கொள்ளும் கால அளவு.. சமகால இசையமைப்பாளர்கள் அனைவருமே ஒரு பாடலுக்கு கம்போசிங் செய்யவே வருடக்கணக்கில் நாட்களை எடுத்துக்கொள்ளுவதை பெருமை பீத்தலாகவே செய்துகொண்டிருக்கின்றனர். பின்னணி இசை சேர்க்க லண்டனுக்கும் ஐரோப்பிய நாடுகளுக்கும் செல்வது இன்னும் மோசம். மணிவண்ணன் ஒருகூட்டத்தில் சொன்னதுதான்.. புதிய தொழில்நுட்பம் நம்முடைய உழைப்பு நேரத்தை செலவை குறைக்கவேண்டுமே தவிர அது இருக்கிற வேலையை நேரத்தை அதிகமாக்க கூடாது என்பதுதான்!

வெறும் ஐந்தே பேரை வைத்துக்கொண்டு உயிரை உலுக்கும் இசையை சிகப்பு ரோஜாக்களில் கொடுக்க முடிகிற இளையராஜா மாதிரியான உன்னதமான கலைஞர்கள்தான் இன்றைய சினிமாவுக்கு தேவையே தவிர ஆண்டுகணக்கில் யோசித்து மொக்கையான இசையை கொடுக்கிற பீட்டர்கள் அல்ல!

[vssathish]

IR and GVM were in Prasad studios yesterday and has completed the first song recording for Nee thane En Pon vasantham.

Source : In Yesterday's FM program Neega Nan Raaja sir, compere Senthil confirmed that he saw them work together in Prasad studios yesterday and the atmosphere was electric

[raajarasigan]

Sakala, Thanks for sharing :)
மணிவண்ணன் ஒருகூட்டத்தில் சொன்னதுதான்.. புதிய தொழில்நுட்பம் நம்முடைய உழைப்பு நேரத்தை செலவை குறைக்கவேண்டுமே தவிர அது இருக்கிற வேலையை நேரத்தை அதிகமாக்க கூடாது என்பதுதான்!:clap:

[app_engine]

A comment on the blogpost that SKV has posted led me to this link :
article (google book) worth reading (https://docs.google.com/viewer?url=https://venkatramanan.wiki.zoho.com/_attach/1.0/Ilayaraja.pdf&pli=1)

[RR]

KV,

+1 ! Nice ideas. My only wish is: IR not compose yet another album with 5 songs in a jiffy and throw at GVM. If GVM can truly inspire him, I think we'll be in for a treat. Let's hope it turns out to be big commercial hit in tamil for IR.

[raja_fan]

// IR not compose yet another album with 5 songs in a jiffy and throw at GVM //

Exactly !
That is my concern too..
IR cannot just go with his "at the moment" tunes/music and complete this album..
Whether IR cares or not,
Gowtham comes to IR with a fantastic history of musicals with Harris and ARR.
If IR-Gowtham combine fails to deliver that standard, fingers are already ready to point to IR ( again irrespective of IR cares or not )..
Either Gowtham has to be bold enough to extract stuff from IR or IR has to take his time to do the job..
When I think of Gowtham-Harris hits like Vaaranam Aayiram, I get nervous if IR can catch young minds like that..

[raja_fan]

Btw,,I read somewhere that Gowtham had already said the music director of NEP will be a surprise anouncement.
And that the film is already 50% shooting completed..
Probably Goutham wanted to complete the film to some point and then show IR to get the feel while composing ?
When can we expect the release ?

[skr]

KV , thats a fantastic idea
I have posted your wishlist in the official FB page of Gowtham Menon.
https://www.facebook.com/GauthamVasudevMenons
Hope Gowtham Menon reads it and gets inspired :)

Will post the same in Twitter , lets start putting the pressure on GM.

[app_engine]

I guess there's nothing to worry about IR delivering goods to Gautam.

He knows what's at stake and Gautam also knows what he should get.

Nice thoughts, KV!

Did you take out the 'tsk-tsk' thingy here? :-)

skr, can you please add that one :lol2:

[K]

http://vinaiooki.blogspot.in/2012/02/blog-post.html


தமிழ் அல்லாத சூழல், இந்தியா என்றாலே பாலிவுட் என்று மட்டுமே அறிந்திருக்கும் சராசரியான ஐரோப்பியச் சூழல், எனது கைபேசி ஒலிக்கிறது. குறைந்தது 5 பேராவது, திரும்பிப்பார்க்கிறார்கள், மூன்று பேராவது இது என்ன இசை, யார் இசைத்தது, எனக் கேட்கின்றார்கள்... ஒருவராவது இதனின் எம்பி3 வடிவத்தை எனக்கு அனுப்புகின்றாய எனக் கேட்பதுண்டு.... ஸ்வீடன், போலாந்து, பின்லாந்து தற்பொழுது இத்தாலி எனத் தொடருகின்றது... அது, பல்லவி அனுப்ல்லவி என்ற கன்னடப் படத்தில் இளையராஜாவால் போடப்பட்ட சின்ன இசைத்துணுக்கு...

சிலமாதங்களுக்கு முன்னர் ஓர் இந்திப் பேசும் மாணவன்,”வடக்குத் தெற்கு இடைவெளியால் நாங்கள் இழந்தது இளையராஜாவின் இசையை” சீனிகம் , பா படப்பாடல்களைக் கேட்டப்பின்னர் சொன்னான்.

[skr]

App , i have already posted it and 2 people have liked it and one has mentioned that he totally agrees with this.
Unfortunately you cant edit posts in FB :(

I request ppl to come like the status and even posts comments to ensure it stays on top and GM reads it.
Namma muyarchi seyivom :)

[Sureshs65]

Well, Sathyan Anthikad went to Raja for the first for 'Kochu Kochu Santoshangal'. He says in an interview that he went at 7 am to tell him the story. He told the story, Raja gave him the tunes and everything was done by 11 am!! Sathyan, who was used to MDs taking a minimum of one day to come with a tune or even more was stunned. He had expected the whole thing to go for a week or more. And here he was, less than half a day has passed and Raja says all songs are done. He gets nervous and calls director Fazil, who was the one who recommended Raja to him. Fazil laughs and says once Raja's hands touch the harmonium tunes just flow. Sathyan then goes on to say that the songs of 'Kochu Kochu Santoshagal' went on to be great hits. And what lovely songs they were: 'koda manjin', 'sivakara damaruka' and 'ghanashyama vrindaranyan'. There is no evidence that Raja took three days for 'andhi mazhai' or 10 days for 'Poonkadhave' or one month for 'panivizhum malarvanam'. All were done with the same speed. So as app says we don't need to worry.

Second, it was the same Raja who gave 'Cheeni Kum' and 'Paa'. Was 'mudi mudi' not youthful. And he would have given lot more in that movie had Balki not asked him to reuse 'thumbi vaa'. Again he gave a wonderful 'chinna polike' for the movie 'Om Shanthi' (Telugu) and 'Edaya Baagilu' for the movie "Suryakanthi' (Kannada). 'Sihigaali' still continues to be a favorite amongst Kannadigas and 'rangu rangu' (Prem Kahani) is often played on the FM Channels. It is just that he has been getting all village based subjects in Tamil and so you have to content with the music which suits the subject. Now that he has got an urban subject, he will work his magic here. I have no doubts about it.

As for giving our requests, I would have done it had Raja stuck to one style. But he has been changing his style constantly and surprising me with different things. I mean I am blow by the jazz work in 'vangum panathikkum' in Dhoni as much as I am by the rhythmic and symphonic work in 'Chengkadir'. So I will probably let him take a call. For he will not repeat himself and I am very confident he will give something new and fresh. Lets wait and watch.

[Sureshs65]

And always remember, whenever the stakes have been high, Raja has delivered everytime without fail: 'Dhalapathi', 'Kaala Pani', 'Guru', 'Oru Yatra Mozhi', 'Hey Ram', 'Virumandi', 'Tiruvasagam' 'Paa', 'Pazhassiraja'. As app says, Raja very well knows about Gautham and what this means. So just chillax. We are in for a treat.

[KV]

R_F, for once, I'm gonna agree with you!

skr, thanks for posting it in fb, but that could do with some editing! (don't know if he'd be able to follow 'Raagams of new age IR aadhangams', ER concert discussions,etc!)

Sureshji, I was expecting this response from you! :-). Enna, ungalukku contentment jaasthi, enakku konjam kammi! (like vadivel says, avar isai avalo kEtturkkOmla, andha poorippu! :grin:)
While I too agree that Raaja's style is more on-the-fly regardless of how complex/lovely a song can be, lemme try and explain my POV.
True, the tunes generally gush out of the man's finger tips... but my concern, though being about the tunes as well, is more pertaining to the orchestration. Now, I don't think he writes the entire score/orchestration during the session with the director. It's probably only the tunes that get okayed by the director in these sessions. The orchestration probably then happens in the later phases. This, like what we've discussed so many times before, depends on the story, the director's musical demands, Raaja's state of mind at that time, budget, etc. If the man isn't really 'inspired' in anyway, it'd mostly result in ordinary/get-the-job-done orchestration. A director with a clear 'vision' about his film and its music would, IMO, gain more attention and respect from Raaja (contrary to the belief that he'd be snobbish to such guys), thereby driving him to work on giving something special/fresh. This is what probably has happened with Paa, Pazhasi, ASK etc.
As to what's on Raaja's mind when he does the composing, none of us can guess. If we are to assume, he probably thinks that this kinda orchestration and tunes are perfectly ok with his directors and fans (considering that this is what most MDs churn out nowadays that get lapped up so well, becoming chartbusters/cashcows). Maybe he's of the opinion that this current junta has no liking for acoustic/real music or complex/classical tunes (like in the 70s/80s). We're (adhaavadhu, naan) simply trying to send a smoke signal that there's a bunch of us who's willing to see him explore more of this kind and who are not looking at cutting edge synth sounds/loops. If he could give us some albums in this style, I'm sure a majority of us would welcome it wholeheartedly. Simply imagining the extent of the musical beauty of such an album gives me so much thrill! Why not try a shot in the dark nu thOnuchu, post pannEn, avalo dhaan.

[app_engine]

Curiosity question - how many TF directors have come to work with IR AFTER they did a movie with ARR?

And who are they?

(To my knowledge, there is none...the directors who left IR and went to ARR never came back, even when ARR was not available or wasn't interested anymore to work with their duds, they went to Deva / VS / GVP kinds but never back to rAsA. Same case with people who started with ARR.)

That way, is Gautam taking a rare step :roll:

Ofcourse he never "left IR for ARR" or "started with ARR" but still coming to IR after working with ARR...

[app_engine]

http://www.thehindu.com/multimedia/dynamic/00908/31mp_Dhoni_Audio_La_908034f.jpg

Nice report from The Hindu paper (http://www.thehindu.com/arts/cinema/article2845008.ece)



Dadasaheb Phalke awardee Balachander said that he came to the function mainly for the sake of Ilaiyaraja. “There's a family wedding today, but I am here to be with Ilaiyaraja. Raja enhances the beauty of a film with his haunting music. I have worked with M. S. Viswanathan and when I wanted to try a different composer, I sought his permission and approached Ilaiyaraja for ‘Sindhu Bhairavi.' When the song ‘Padariyein Padipariyein' was to be set to tune, he asked me for a day's time. The next day he was ready with the tune — a folk song with a blend of Carnatic music; only someone like Ilaiyaraja could come up with such a composition...."

[skr]

Kv ,
Yeah I could have perhaps edited a bit. Oru unarchi.
However i feel he will understand about ER concert , not sure about the new age IR Aadhangams. The main crux is there in those 7 points which i hope he will see.
Gowtham has made a post "I'm going to live a dream. Make a dream come alive. ILAYARAJA sir.." , will try to post an edited version in the comments section.

App ,
Add Suresh Menon to the list.
He is someone who worked with ARR in Puthiya Mugam and now gonna work with IR in his next venture.

[venkkiram]

Curiosity question - how many TF directors have come to work with IR AFTER they did a movie with ARR?

And who are they?

(To my knowledge, there is none...the directors who left IR and went to ARR never came back, even when ARR was not available or wasn't interested anymore to work with their duds, they went to Deva / VS / GVP kinds but never back to rAsA. Same case with people who started with ARR.)

That way, is Gautam taking a rare step :roll:

Ofcourse he never "left IR for ARR" or "started with ARR" but still coming to IR after working with ARR...

Outside of TF, one director who already done this : RGV

[app_engine]

App ,
Add Suresh Menon to the list.


adhu innum uRudhi illaiyE? Someone posted here that he is into restaurants...and not in movie field anymore.

So, it could be some other mEnOn that IR meant :confused:


Venki,
Yes, RGV is already well-known (rangeelA to shivA 2006)...but it was not TF

[app_engine]

True, the tunes generally gush out of the man's finger tips... but my concern, though being about the tunes as well, is more pertaining to the orchestration.

Actually this is not of concern at all :-)

Just look at the amazing orchestration for cheeni kum (or pA, for a moment forgetting the melody part).

Weren't they "hip" enough for even Mumbai crowds? If he freaks out like cheeni kum / mudhi mudhi / jAnE dO nA, that should be catchy enough IMO...

Rest of the things (standard of chorus, vocal harmony kashamushA , bass-boosting etc) will probably be managed better, thanks to better budget. We had seen such things happen on a different scale for MR compared to others even in 88-91 (or the kAlApAni / guru later on, that had funds).

[V_S]

True, the tunes generally gush out of the man's finger tips... but my concern, though being about the tunes as well, is more pertaining to the orchestration. Now, I don't think he writes the entire score/orchestration during the session with the director. It's probably only the tunes that get okayed by the director in these sessions. The orchestration probably then happens in the later phases.


நான் சென்றபோது ஏதோ எழுதிக்கொண்டிருந்தார். அவர் எழுதிக்கொண்டே இருக்கிறார். எழுதிக்கொண்டே இருக்கிறார். வேகமாக எழுதுகிறார். கோபத்துடன் எழுதுகிறாரா, பாசத்துடன் எழுதுகிறாரா, யாருக்கு எழுதுகிறார், என்ன எழுதுகிறார், எதுவும் தெரியவில்லை. நான் உட்கார்ந்துகொண்டே இருக்கிறேன். மெதுவாக எனக்குக் கோபம் வரத்துவங்குகிறது. ”என்ன இது? நான் ஒரு டைரக்டர்..! என்னை வரச்சொல்லிவிட்டு இவர் எழுதிக்கொண்டிருக்கிறார்..! அவர் சொந்த விஷயத்தை எழுதுவதற்கு என்னை எதற்கு வரச்சொன்னார்? ஒரு பத்து நிமிடங்கள் கழித்து வரச்சொல்லியிருக்கலாமே?” பக்கம் பக்கமாக வேகமாக எழுதியவர், நிமிர்ந்து ‘புரு...’ என்றார். அவர் கூறியது ஒரு நான்கு அடி தள்ளி அமர்ந்திருந்த என் வரைக்கும்தான் கேட்டிருக்கும். ஆனால் வெளியில் இருந்து ‘புரு’ என்கிற ஆறடி உயர ‘புருஷோத்தமன்’ வந்தார். அவர்கள் இருவருக்குள்ளும் அப்படி ஒரு Intimate communication..! Sheets எல்லாம் அவரிடம் கொடுத்துவிடுகிறார். ‘இதை Distribute பண்ணிடு’ என்கிறார்.
”சரி..! அவர் வேலை முடிந்தது..! இனி நம் வேலைக்கு வருவார்” என்று நினைத்தேன்.
‘என்ன சார்..?”
‘அது போய்டுச்சுய்யா’
'சார்.. ..'
‘அதுதான்.. அந்த first பாட்டு..! போய்டுச்சுய்யா..’
‘சார் .. எந்த Scene?’
‘யோவ்..! அதான் உன் படம் சொல்லிடுச்சேய்யா..! எந்தெந்தப் பாட்டு எங்கெங்க வரணும்னு’
‘அப்டியா சார்?’
‘ரொம்ப நல்லா வந்திருக்குதுய்யா.. கேளு..’ என்றவர், பாடத் துவங்குகிறார்.. ‘தன்னனன தான தான தான நான நா…. (தென்றல் வந்து தீண்டும்போது)’. அவர் போட்டிருந்த டியூன் எனக்குப் பிடிக்கவில்லை.
‘என்னய்யா? என்னய்யா யோசிக்கிற? கேளு..!’ என்றவர் மறுபடி ‘தன்னனன’ பாடத் துவங்கினார்.
அப்போதான் தெரிகிறது

My thought about this whole issue..

Even though the director approves the main melody, Maestro immediately writes the orchestration part for every instrument. Nasser's above article proves that. I believe Maestro is maestro and genius only because of this spontaneity. That is a gift, not many has. If he thinks twice (except if the director has not approved the tune), then that becomes a profession and not his life. I know, out of love for him and his music we wanted him to be back. He is always there, and many fail to notice that which is the biggest pain. He is the best judge and he has never failed anyone. There are numerous examples right from 70s till Hey Ram till today which we already know. In the case of ASK, even the director would have been clueless what Maestro is going to do after he showed the entire film. Sameway for Dhoni. Imagine those three songs in ASK and how it fitted the film and the picturization. Can anyone think of even attempting that? When he opted for musicians from Hungary for the BG score of the film, many would have thought why? We witnessed its effect in the recent show. Sameway for Nandalala, Pazhassi Raja and the recent SRR. No composer is as versatile as our Maestro. He knows what to give and he also understands every minute things going around, as he has one fine example at his home itself (yes, I mean Yuvan). I sometimes feel we are keeping GVM at a higher pedestal even compared to Maestro. May be his film songs would have been popular and bigger hits, by that, I believe we should not estimate or belittle or fear our Maestro's capability based on that (IMHO). Have we not seen much bigger hits than these? He is just few films old and our Maestro is a Monster. Innum avar ithuvaraikkum pOtta paattayE namma life'la muzhusa ketka mudiyuma theriyala. NaamaLe namma maestro'va purinjikalaina vEra yaar sir purinchipaanga? I know, even this news is true and Maestro scores big, there would still be lot of complaints and concerns. Because only with Maestro we can complain, it is granted, having given his life to music. Sorry if my post is harsh, but I am not happy with the whole issue.

[Sunil_M88]

My thought about this whole issue..

Even though the director approves the main melody, Maestro immediately writes the orchestration part for every instrument. Nasser's above article proves that. I believe Maestro is maestro and genius only because of this spontaneity. That is a gift, not many has. If he thinks twice (except if the director has not approved the tune), then that becomes a profession and not his life. I know, out of love for him and his music we wanted him to be back. He is always there, and many fail to notice that which is the biggest pain. He is the best judge and he has never failed anyone. There are numerous examples right from 70s till Hey Ram till today which we already know. In the case of ASK, even the director would have been clueless what Maestro is going to do after he showed the entire film. Sameway for Dhoni. Imagine those three songs in ASK and how it fitted the film and the picturization. Can anyone think of even attempting that? When he opted for musicians from Hungary for the BG score of the film, many would have thought why? We witnessed its effect in the recent show. Sameway for Nandalala, Pazhassi Raja and the recent SRR. No composer is as versatile as our Maestro. He knows what to give and he also understands every minute things going around, as he has one fine example at his home itself (yes, I mean Yuvan). I sometimes feel we are keeping GVM at a higher pedestal even compared to Maestro. May be his film songs would have been popular and bigger hits, by that, I believe we should not estimate or belittle or fear our Maestro's capability based on that (IMHO). Have we not seen much bigger hits than these? He is just few films old and our Maestro is a Monster. Innum avar ithuvaraikkum pOtta paattayE namma life'la muzhusa ketka mudiyuma theriyala. NaamaLe namma maestro'va purinjikalaina vEra yaar sir purinchipaanga? I know, even this news is true and Maestro scores big, there would still be lot of complaints and concerns. Because only with Maestro we can complain, it is granted, having given his life to music. Sorry if my post is harsh, but I am not happy with the whole issue.

+1, Absolutely, Bang on, You've hit the nail on the head, 100%, Top banana et al. the other phrases that indicate the superiority of the highlighted statement above.

Well said, V_S sir!

[raja_fan]

I have another fear..

Sonnaa adikka varuveenga ( already I have a lot of good name here ).

irundhaalum solren..

Few directors who had established with other MDs , when they came to IR they failed or disappeared..

1. Cheran - He gave memorable hits with Deva. The films he did with IR - Desiya Geetham and Mayakkannadi both bombed. After Mayakkannadi, I am not sure if he ever was successful as a director.

2. Agathiyan - After a series of hits with Deva, his only film with IR was Kathal Kavithai. Catchy melodies came out, but the film was a flop. After this film, he disappeared.

3. Myskkin - His latest was Nandalala with IR. We know the fate of the film.

We know that all these were not due to IR, but still is there any JINX ? I am afraid of GM now..

[Bala (Karthik)]

Sureshji, I was expecting this response from you! :-). Enna, ungalukku contentment jaasthi, enakku konjam kammi! (like vadivel says, avar isai avalo kEtturkkOmla, andha poorippu! :grin:)

+1 :razz:



We're (adhaavadhu, naan) simply trying to send a smoke signal that there's a bunch of us who's willing to see him explore more of this kind and who are not looking at cutting edge synth sounds/loops.
The problem is that when he moves away from acoustic percussion, what we get is NOT cutting edge sounds. Appadi irundhalavadhu parava illaye-ngaren....

Moreover, i will vehemently disagree with the notion that "sound la enna irukku, idea dhaan mukkiyam" by citing two small examples - "Aayiram thaamarai Mottukkale", "Ilamai Idho idho"

[Bala (Karthik)]

IMVHO, the most recent example of how i want his songs to *sound* is "Mudi Mudi" (contemporary mod songs la solren) - perfect. Naan Kadavul domain ellaam vera range, absolutely no complaints there. Jaiganes sonna madhiri "Om Sivoham" ellaam "summa adhirudhilla" stuff

[V_S]

Thanks Sunil :smile:

r_f,
Sari sir unga vazhikke varen.

Cheran - Desiya geetham was his second film after Bharathi Kannama. Yes, Bharathi Kannama was quite successful with songs also becoming hits. It was a film about 'paasam' between brother and sister. In his second film, Desiya Geetham, he opted for a political subject that too it was little bit against the then Chief minister MKK. We even know the history how this film was abused by the political party. So there itself lies the problem. Still he got Filmfare award for Best director. What can Maestro do here? After that he went back to other MDs like Bharadwaj for Autograph (again a love and safe subject), Sabesh Murali for Thavamai thavamirundhu. He was very successful as a director then. As per your jinx thing, after he came to Maestro for his second film, he should not be a successful director after that, right? And that again in 1998 where Maestro was past his peak (according to you all). But after that only his two biggest hits came. Can I take this positively because he worked with Maestro in his earlier film, that's why he got his biggest hits in his career.

Again he came to Maestro for Mayakkanadi. The film bombed because it was recap of all his earlier films, again Maestro cannot help there. That was in 2007. After that he started acting in more film like aadum koothu, pirivom santhippom, raman thEdiya seethai. May be there he lost the steam as a director. When he directed again in 2009 for Pokkisham, it bombed because the film was too slow (I liked that film). Again Maestro did not score for the film. Don't blame Maestro here. Now again, he is into acting more seriously. We have seen that in Yuddam sei, Muran etc.

So please don't blame/think Maestro for Cheran's career and his plot of films.

Do you want to talk about Agathiyan. OK
His only hit film was Kathal kOttai and to some extent gokulathil seethai. Both was in 1996. Just imagine if a director is having confidence in his music director, why is he jumping to another one? He already saw hits in these two films. Still he opted for IR for his next film, Kathal Kavithai because he thought for that script he needed IR. IR didn't disappoint, we know still everyone loves those songs. Unlike you said, this film was declared hit. You can browse through. After that he remade Kathal Kottai in Hindi named Sirf Tum. Everyone wants to get recognized in bollywood immediately right. Fame, money. Even after this loss, he wanted to do another Hindi film. Hum Ho Gaye Aapke. That was his decision, again why do you want to bring IR jinx here?

Do you still want to talk about Mysskin. I am ready. Please let me know. Please remember he gave super hit Yuddam Sei after his Nandhalala. He never disappeared.

I feel we are thinking too much negatively while there are so much positive avenues to think about Maestro. Whenever we are trying to dig and nitpick about IR (not his music), Why we are not thinking about how many producers, directors, actors have got their life because of Maestro. Even now, Maestro is behind every small producers and new directors. How many films he did for free. After his so-called past prime how many new directors like Bala, Balki, Susheendran have approached him and become successful. Even take Sathyan Anthikaad. He was with another director, after he came to Raja, he never went back. The period when he joined Maestro was in 2001 again past his prime, right? Suseendran also worked with other MDs before coming to Maestro. After that also, he is still there. Same way GMV too. No worries. They all are clever guys.

Also regarding GVM, his last film already bombed or atleast it was not a hit. Please don't bring jinx here saying that since he already thought about Maestro for his next film while he was doing nadunisi naaygal, that's why NNN bombed.

[Plum]

The judgement about IR not living up to hit-status of GVM is not a doubt on I'm but the lower standards demanded by today's youththu and even seasoned TFM fans - who, basically have an urge to sound "I am moving with times; open-minded; not fan boy; hence I I will accept any trash that comes out now and establish my still I am yeng credentials". This crowd has lower standards and goes with the trend and dismisses ir as uncool. We have seen clear examples in this very forum recently. Therefore, mozart's 25th symphony mAdhiriquality and catchoiness IR kuduthaalum indha gumbal will say uncool only. Indha gumbal is the dominant consumer these days. Therefore the fate of this movie is pre-detewrmined to be flop. Hidden gemsngaradhaiyE insultnu ninaikkum indha gumbal irukkaRa kAlathula namma TFM fansO irukkOmE adhu namma thalai ezhuththu

[V_S]

"Hidden gemsngaradhaiyE insultnu ninaikkum indha gumbal irukkaRa kAlathula namma TFM fansO irukkOmE adhu namma thalai ezhuththu"
Well said and very well put Plum! Can't believe this but. :sad:

[app_engine]

adadA, why this negativity?

I'm 200% sure of getting at least a veRRi vizhA if not a agni natchaththiram :-)

IMO, en iniya pon nilAvai ippadikkoNdAdum oru ALAl rAsA kitta irundhu class+mass vAngAmal irukka mudiyAdhungOv!

Plum, who knows, with the kind of acoustic guitar inclinations of Gautam, we may even get some eeravizhikkAviya stuff!

Contrary to many here, I'm increasing my expectations :-) full ekiRal!

[app_engine]

makkaLE, from the continuous blues from 1992 of people leaving IR, we got a tremendous reversal of a "HJ-ARR" loyalist coming to IR fold!

That too not a loser - someone riding on success!

Time to celebrate yAr - enna ippadi orE pulambals :roll:

[RR]

Curiosity question - how many TF directors have come to work with IR AFTER they did a movie with ARR?

And who are they?

(To my knowledge, there is none...the directors who left IR and went to ARR never came back, even when ARR was not available or wasn't interested anymore to work with their duds, they went to Deva / VS / GVP kinds but never back to rAsA. Same case with people who started with ARR.)

That way, is Gautam taking a rare step :roll:

App,

I think few already tried. There was grapevine that ManiRatnam asked IR for Iruvar but he refused. So it could be the case that IR was not keen on these parties.. In that sense, it may be IR who is taking a rare step.. :)

raja_fan, On films flopping, there are so many factors influencing it. Can't blame just music for that.

Anyway I'm only interested in great music (not just 'good' ones like Dhoni) - which will hopefully become a chartbuster. As you guys said, both GVM & IR should know what's at stake, so let's be open-minded and hope for the best.

[Bala (Karthik)]

:lol:

I think apart from (or rather than) the "i'm cool/yeng" syndrome, it's an attempt to be "i like good music no matter who gives it", or to be perceived as someone with that attitude (athichuvadi). Actually i don't necessarily mean "attempt" in a dismissive tone, as in some people might actually keep trying to like or find good aspects in all music - akin to fan-boys (including IR's) trying to repeatedly listen to their idols album and kind of force themselves to like it.
To me, the problem with such kind of "equanimity" is that it betrays a lack of passion in music appreciation. Vithuvaan thathuvaan-a irukkanum nu avasiyam illa. Aaruvakkolaarum, isai pasiyum irundha podhum. Usually, with passion comes a natural tendency to discern. And it is this discernment that separates an HJ composition with the Maestro's (at least for us). I'm not talking about mere fan-boy positions which summarily dismisses every "other" there is. Not to say all HJ compositions are bad. IMO, some HJ comps might even be > than some of Raaja's, adhu vera vishayam but degree nu onnu irukkulla? If you can't identify that signature that sets your favorite apart, then the loss is yours - whether it is Raaja or MSV or Rahman. Apparam fan nu eppadi sollikka mudiyum? avanga signature, style, technique (big word but namakku purinja varaikkum), impact - idhellaam unaraama "all are good/equal", "i'm neetral" nu solradhula enna perumai?

The judgement about IR not living up to hit-status of GVM is not a doubt on I'm but the lower standards demanded by today's youththu and even seasoned TFM fans - who, basically have an urge to sound "I am moving with times; open-minded; not fan boy; hence I I will accept any trash that comes out now and establish my still I am yeng credentials". This crowd has lower standards and goes with the trend and dismisses ir as uncool. We have seen clear examples in this very forum recently. Therefore, mozart's 25th symphony mAdhiriquality and catchoiness IR kuduthaalum indha gumbal will say uncool only. Indha gumbal is the dominant consumer these days. Therefore the fate of this movie is pre-detewrmined to be flop. Hidden gemsngaradhaiyE insultnu ninaikkum indha gumbal irukkaRa kAlathula namma TFM fansO irukkOmE adhu namma thalai ezhuththu

[Plum]

Bala, I meant the latter part of your post only. Neetral statuskavendi kaNdadhaiyum rasikka manasa pazhakkikkaRadhu. DiscriminationgaRa important attribute-a negativeA pAkkaRadhu.

[V_S]

Bala, I meant the latter part of your post only. Neetral statuskavendi kaNdadhaiyum rasikka manasa pazhakkikkaRadhu. DiscriminationgaRa important attribute-a negativeA pAkkaRadhu.
wow! exactly, Plum nuch'nu solliteenga:thumbsup:

[P_R]

If you can't identify that signature that sets your favorite apart, then the loss is yours - whether it is Raaja or MSV or Rahman. Apparam fan nu eppadi sollikka mudiyum? vaasthavam dhaan. konjam munaippA contemporary music kEkkaNum. Mainstream-ai vittu vilagi irukkuRa current IR albaums thodarndhu kEkkaNum. michchadhum kEkkaNum. appo dhaan uruppadiyA opinion form paNNa mudiyum. Highly popular, TV-FM repeat based hearing mattum irundhA oNNum solla mudiyAdhu. Basically I am sOmbEri.

[KV]

Oh gosh! Ivalo damage agi pOcha? Manchikangaba :(
V_Sji, A_E and others… I’m very little ‘worried’ about the way this album is gonna shape up. Not for a moment have I doubted if Raaja will live up to GVM’s musical reputation. The very thought is a farce! Come on, what are we talking… 5-6 albums v/s Raaja’s musical output? I’d have to be lobotomized to think of something as crazy as that, forget even comparing the two! :evil:
Had I been keeping GVM at a higher pedestal and doubting Raaja, I’d have requested songs like other contemporary composers from him… asking him to do ennamo edho/po nee po/iragai pOle and the likes. This is NOT what I’m hinting at. Like I said before, as a fan, I have some wishes… what I’d love to get from him… because I know only he’s capable of something as magical as that. Yes, I’m biased towards the real/acoustic style and not a big fan of synth, but that isn’t the base of my aadhangam. I’m simply (maybe foolishly) attempting to find ways of getting him more inspired. Yes, he’s been giving us some lovely music every year, be it Ponnar Shankar or SV or Dhoni and many others. Listening to his music day-in/day-out has made me greedy and I can’t help but crave for more. Ganja adikkaravan maadhiri aaitten.
The musical ideas in the man are stunning, but time is running out… when else can we expect to see these ideas take shape if not for now? Whether he connects with this generation or not, I care a damn. Give the man his space, the freedom to fully execute his thoughts, the funding he’s proposing and keep him musically inspired in whichever way possible. Idhu dhaan enakku vEnum. I rest my case. :neutral:

[KV]

naalai mudhal polamba maattEn, saththiyamadi thangam :oops:

[Gregorysab]

Too much speculation going on for GVM-IR combo. I think all these theories will be pointless if the cd doesnt get release :-) ofcourse, at this stage, chances are less for such a thing to happen... but even otherwise, i feel too much is being written about if IR can deliver or if GVM can inspire! if anything, I have my doubts on GVM being able to get the best out of IR and not the other way round. I see GVM as more of a Harris Jeyraj-oriented director rather than a ARR oriented although VTV is a hit. Because GVM-HJ had multiple albums together and GVM-ARR had only 1. And lets not forget that GVM came to ARR because he had a tiff with HJ. Now, for this venture GVM came to IR. Good. But we cannot jump to conclusions that he will remain with IR. He might. he might not. we never know. Even Balki's next venture, english-Vinglish, has music by Pritam (i think) and not by Raaja (though i wish so). But again, it is evident that GVM likes raaja's music a lot. That he didnt approach IR before is perhaps due to reasons we dont know.

But I am surprised to see that GVM is regaled to the status of Maniratnam (with just VTV as example). MR started in 1983 and whatever he has mastered, he has done it the hardway (given that he was unique back in 80s when his films were very different from the rest). GVM's films cannot be compared to MR's films. GVM's taste in music cannot be compared to MR's taste in music. On that count, i think it unfair to have a MR-IR like expectations from GVM-IR combo. We should definitely be glad that IR has got a big-venture in Tamil where the premise is more urban & contemporary (looking at posters atleast). Thats about it. If the combo really delivers high, then it is always a good thing. In short, I keep expectations grounded, so that there will not be huge disappointments (worst-case).


And finally, did any director get back to IR after trying ARR? as someone answered, RGV. There is one more director - Rajkumar Santoshi, who came to Ilaiyaraaja, for Lajja's background score, after he made Pukar which had ARR's score. And Maniratnam did try to rope in Raaja, for Iruvar and Kannathil Muthamittal; although both attempts failed.

I will be interesting to see - given Raaja's recent change in personality (he is more open to media, he is attending functions, speaking a lot, interviews, giving concerts etc etc) - which i think has some bearing on he accepting a GVM film, will Raaja, in the same way, accept a MR film if MR approaches him for his next film? MR's attempts for Ponniyen Selvan didnt materialize and MR moved on to his next that will have ARR as usual. But in future, will MR try again? and if he does, will this new IR accept?

[San_K]

I hope the following persons will join IR apart from GVM in near future

1) Kamal (who else)
2) Venkat Prabhu (already said his wish in twitter)
3) Selvaragavan (he is another GVM, I meant he gets what should want from MD)
4) ARM (though he already did)
5) Shankar (will he?)

veru yaaraiyaavathu vittu vachuirukkenA? :)

[raajarasigan]

2) Venkat Prabhu (already said his wish in twitter):shock: are you sure? VP is becoming a curse to direction, IMHO. He is taking direction for granted.

[raja_fan]

V_S and RR,

Please read my post again.
I even told "We know these ( flops of Cheran etc ) are not due to IR".
I am only worried about the jinx or bad luck whatever we call it...

[krish244]

KV,

+1 ! Nice ideas. My only wish is: IR not compose yet another album with 5 songs in a jiffy and throw at GVM. If GVM can truly inspire him, I think we'll be in for a treat. Let's hope it turns out to be big commercial hit in tamil for IR.

Totally agree with KV and RR. So many thoughts came to my mind as well (on similar lines of KV), but I have become extremely lethargic & lazy (if there are other synonyms...put it here :) ) to post my thoughts here.

- If the storyline (and/or the way it is perceived), director (GVM) can genuinely inspire IR, then the output will certainly be fresh and special. I know that tunes sort of comes out naturally and instantly to IR irrespective of whether he is inspired or not. There may be many such tunes that have not been memorable, but there are many that have been memorable too. True/Genuine inspiration can certainly extract memorable music from IR, irrespective of whether the tune comes instantly or after a day or two. Some good singing will certainly better the cause. I am sure GVM will certainly picturise it well.

- I really wish that GVM does not compromise on what he accepts (from IR) till he gets genuinely satisfied. IR should also not leave GVM till he feels GVM got what he wanted :).

- I certainly wish IR use more of his live orchestra (guitar, base guitar, violins, cellos, flute, trumpets, sax, et al) along with his excellent rhythm arrangements and put everything in a modern context in a way that only he can achieve.

- Due to various reasons, the reach of many of IR's recent excellent songs was restricted to fans like us or liked by prominent musicians or sung in competition shows. Basically I am saying that these excellent songs were cherished by 40-50% of people. Unlike that, I wish the songs of this album, apart from being musically great, should become a commercial hit (like RR says)

On the whole I wish the musical output of this movie be a memorable one. I hope for the best. That said, my expectation level will be balanced.

thanks,

Krishnan

[Sureshs65]

KV,

romba nondhooteenga pola :lol: Don't worry. I am sure all of us have our own desires. So go ahead and keep posting your thoughts.

[krish244]

Kannada movie "Prasad" to be screened at Berlin Film Festival:

http://articles.timesofindia.indiatimes.com/2012-01-29/news-interviews/30673972_1_red-carpet-berlin-film-festival-pink-panther

"...Produced by Ashok Kheny for AKK Entertainment and directed by Manoj Sati with music by Ilaiyaraaja, Prasad will be viewed by the world's most discerning audiences at the Martin-Gropius-Bau (MGB)-KINO in Berlin. The Shah Rukh Khan blockbuster Don 2, which is a German co-production that was filmed in Berlin, will also be premiered at the film festival on February 11.

There are reports that Prasad - with its sensitive treatment of a physically challenged child winning over the expectations of his parents and adulation of his peers - has already caught the attention of the world media..."

thanks,

Krishnan

[Saagar]

A few more names : Outside of Tfm partly : Priyadarshan, worked with IR for Gopura Vasalile (Tamil) , then with ARR for Doli Sajake Rakhna (Hindi) and then with IR again for Kaalapaani (Malayalam). Raj kumar Santhoshi, with ARR for Pukar and then with IR for Lajja. Both of them keep changing their crew very often & there is no pattern in crew selection (though they have some favourites)...

I think KSRavikumars Periyakudumbam was after Muthu.

One who started with ARR & went to IR Family - Jothikrishna (E20U18) to Kedi (YSR). Then there's Shashilal Nair-One two ka Four (ARR) to Grahan (KR), not sure which one was first on this.