Very much the case.One person from chennai who was seated next to me had bought the free pass for 500 rs. And those who bought those passes couldnot get the free cds and posters.Quote:
Originally Posted by Anban
Very much the case.One person from chennai who was seated next to me had bought the free pass for 500 rs. And those who bought those passes couldnot get the free cds and posters.Quote:
Originally Posted by Anban
I got free cd and posterQuote:
Originally Posted by ashivanji
NEPV Effect is sure to bring some current directors to Raja. Its just that Raja has to agree!
http://tamil.oneindia.in/movies/news...ck-161806.html
Quote:
Originally Posted by app_engine
TV rights is way bigger than any other income for this type of programmes. Even a mokkka 'kail nigazhi' can get 1 Cr. Personnally I know kalaignar TV paid nearly 1.5+ cr for Yuvan's first live concert (dubai). It is noted that his dubai concert is not successful as his second one held at Chennai.
Nehru Indoor status is for Tennis. right? Then, what about the crowd sat inside the court? .Quote:
Originally Posted by sakaLAKALAKAlaa Vallavar
Me too think so:-)Quote:
Originally Posted by San_K
I'm sorry for raising that query yesterday without watching the whole program.
It was towards the end that Gautam says 'money from tickets' goes to charity.
So, it's very clear that the expenses for the event got funded otherwise (by movie producer / TV rights / sponsors). Just the revenue from entry tickets / passes went to charity :-)
Nehru indoor stadium is not meant for tennis. This indoor stadium was built for the SAF games 1995 and is meant for games like Table tennis, Basketball, Volleyball, etc.. (same purpose as for any indoor stadium)
Watched the entire program via Yupp TV. I really liked RK Selvamani's speech. Instead of going overboard with empty praise he was frank (respectfully) about the reality of working with IR.
I am glad Gautham took the effort in organizing this event. It is unimaginable and a long time dream come true. As someone mentioned the facial expressions of musicians reflected their joy in performing in IR's music.
Loved the bit when Sivamani joined in during the aasai nooru vagai.
IR mentioned in the end that the conductor Nick had to recreate the notes for the orchestra. What happened to the original notes IR wrote for the orchestra? I must have missed something.
Gokul
three ppl in TFM who benefitted the most / maximum from IR during the 1980s were absent at the NEPV music launch function:
1. Mike 'kokila' Mohan - without IR's music, he would have still been a bank employee !
2. Ramarajan - without IR's music, his films wud have felt like dubbed/dumbed up versions of other language films.
3. Kovai Thambi - one producer whose sole source of success was IR !
there were others who shd have been there to speak abt their association with IR - Panju Arunachalam, Mani Rathnam (GVM's mentor isnt he ?), Sangili Murugan, Manivannan etc..
irir, it was already packed. And also this is not the last function for IR.
Above all, even tho the likes of mike mohan, ramarajan etc benefitted immensely becos of Raja, they know nothing about music. If they speak, it will be pure crap! Better save the headache!
Why cornering only mike mohan and gramarajan? Include kamal, rajini, balu mahenra, bharathi raja films too.
Finally, successfully "detoxified" my mind from NEPV with the powerful 'isai mEdaiyil' goosebumpy start (I get goose pimples EVERY time I listen to the start of this great song)!
Why detoxify? Because the addiction has become so bad that Yuvan came in my dream last night :shock:
In the soppanam I was in front of the monitor with a dev tool that's a kalavai of Peoplesoft App Designer and Kronos WIM and Yuvan came asking a doubt :lol: "How to get contextual help in a particular screen" - I seriously explained the right-key-click or select-and-press-F1, even demonstrating.
Then recognizing it's Yuvan, I told him "Hey, I liked your singing in NEPV - those songs are great - honestly, I never liked your singing before and hardly listened to any songs you sang - BTW, I'm a big fan of your dad for 35 years" (:rotfl: Even in dream, I'm so true to myself, talking like typing in the hubbu). Yuvan romba vetkappattAr...
ivvaLavu AnadhukkappuRamum if I keep this addiction, it will be injurious to health :-)
one common thread/theme/denominator that could be discerned from almost every interview/speech of IR's, as well as, from the narrations of directors/producers who have worked with him is this:
do not mess with his creative process by referring to 'i want a song which is like the other one' and so on - once it is done, then a template gets formed in his subconscious and however he might try, it wont go away and somehow kills his creativity!
GVM is probably one of the very few who let him do what he wanted - leaving aside the pre-condition of 'i want the guitar placed there' and so forth!
so if we want some mind-bogglingly creative stuff from IR, the benchmark for approaching him would be:
1. just explain the situation to him - and make sure the person explaining is passionate abt what he/she does!
2.articulate the situation with as much visual imagery and finest details as possible
3. most importantly articulate the thought/emotional outcome that one expects from the musical product!
4. having done this, give him - budget permitting - the freedom to choose the recording studio/orchestra!
even if 4 is not possible, the first 3 would ensure some extraordinary music from IR !
if 4 is possible, then we are likely to get albums 10 times or more the quality of NEPV !
may all filmmakers/producers who approach him in the future use the above template!
:rotfl:Quote:
Originally Posted by app_engine
+1 Well said. Everyone benefited from IR's music and his music mainly helped many (not just actors) shaping their careers, which has never ever happened in the history of Indian cinema with other music directors. I think what irir123 was referring to, who were only dependent on IR, nothing else (not even their talent). Definitely as you said, the list cannot be limited to those three only, it is endless.Quote:
Originally Posted by venkkiram
Avarai ethukku izhukkureenga?!? Intha whole Planet laye, IR pathi musically technically logically quantitatively qualitatively financially feasibly ethically excellently intelligently extra-ordinarily educationally entertainingly culturally classically commercially prepositionally functionally ella ally yum pesina pesitrukkura pesapOra aaL ivar mattum thaan. Intha function kkum avari koopittu, ithanaala avar panna vendiya function ai function pannaama irukkurathaala, naanga nadatha vendiya function nadatha mudiyaama thalli pOguthu. Freeya vudungappaa anthaaLaiQuote:
Originally Posted by venkkiram
IMO, Kamal, Rajini et al are either difficult to reach, or both to be present at the same function wud have probaly not only lead to logistical complications, but also led to us hearing some 'arachha maavu' stuff at least from kamal, who has said enough, incl equating to IR's music making abilities to some magician discovering the musical equivalent of the 'higgs boson' particle in musical notes!! i dont know what Rajini would have said, difficult to guess
leaving these big stars apart, it is the voice of yesteryear celebrities who rode high solely on IR's music i would have like to hear from!
is the Hindi version/project of NEPV still on ?
when Suresh Krishna spoke abt IR, he had no clue what he was talking abt !
and it was obvious why - his films with IR had Kamal who took care of the music composing sessions with IR with SK hardly getting involved !
veerA?Quote:
Originally Posted by irir123
prEmA (Telugu)?
Also, vaLaiyOsai has been composed as an instrumental track originally for NBW album (as per Kamal). So, it was 'ready-made' by IR, no Kamal involvement :-)
Obviously, Suresh Krishna didn't belong to the club, simply because his works with IR are far too few to be considered interview-worthy; in addition, he is another MR-like traitor (aNNamalai / bAtchA etc). So, would have felt shy ("ennaiyellAm idhula sEkkuRangaLE")...may be Gautam likes him :-)
Gautam likes Sathya
Quote:
Originally Posted by irir123
+100. Great advice for IR filmmakers.
How does that explain such extraordinary songs for dabba films like Solla Thudikkuthu Manasu? These films in totality and the picturisation of the extraordinary compositions were cringe-worthy to say the least. So, how did the creative juices flow in such cases? The inspiration could have come from within, perhaps?
SVN,
For all the extraordinary songs that Raaja gave to sub-ordinary films (i presume 75% of his films will eventually come under this), only one theory can explain the phenomena: http://en.wikipedia.org/wiki/Randomness :-)
Sorry for the digression (as was needed by app_eng)Quote:
Originally Posted by app_engine
Just thought of sharing something at this hot NEPV moment when all are talking about the Symphonic orchestra. Refer to the you tube link as well as Wikipedia link (parallelly if possible)
Bolero by Maurice Ravel – YouTube Link
http://www.youtube.com/watch?v=KK23B...eature=related
Wikipedia on “Bolero”
http://en.wikipedia.org/wiki/Bol%C3%A9ro
(don’t miss the Table in this Wikipedia which explains the step by step the instruments being played in this orchestral piece. Compare visually with the You-tube. A good educational value stuff to know about the various orchestral instruments and their sounds)
One can hear predominantly the Charukesi ragam & Sankarabaranam (Major)
We also need such Wikipedia for IR. Don’t we !
Very informative link! Thanks for sharing!
:shock: is this grammar for real? :thalai suththal:
Thanks a lot for sharing, CSR!
Wikipedia on Oboe:
http://en.wikipedia.org/wiki/Oboe
Under subhead "Film-music" it states like this:
Quote:
Ilaiyaraja, a famous Indian film music composer, has also used the oboe in much of his film music. Examples include "Dalapathi" (1991); the title track of "Aditya 369" (1991); “Pazhassiraja” (2009); and “Nandalaala”(2010). The oboe has also been used by more recent Indian music composers, such as A. R. Rahman, who has used it in the movie "Jodha Akbar" (2008).
Un Quote:
Good ! Somebody is there ! Srirama rajyam, ASK, NEPV to be added with audio samples !
Thanks a lot CSR for the links. Will hear it in the evening. :smile:
Somehow NEPV magnet is not allowing me to do anything else even after 20 days of listening. Even if I try to listen to any other songs for a minute, it pulls me heavily to it. All other songs seems mundane to me. This is the second time I have experienced this behaviour in recent times, first being the monopoly SRR, last year. Was just comparing SRR with NEPV, could not believe the contrast and versatility in Maestro. Where is gali ningi neeru and where is pengaL yendraal. Where is Seetha seemandam and where is EnnOdu vaa vaa, the list goes on. Even if I start to write on these compositions, it asks me, ivvaLavuthaanaa? :oops: Ithellaam mana brandy maadhiri irukku.
Thanks SKR!
http://www.facebook.com/groups/Ilaya...7588585007080/
Neethaane En Ponvasantham Songs from a Rhythm (Thalam) and Scale (Ragam) perspective !!
Saaindhu Saaindhu - 4/4 Adhi Thalam Chatushra Nadai (goes as 3+3+2)
Composed in D Major , takes the ragam of Mohanam predominantly (there is an accidental Ni note too) , during the Charanam it changes to B Minor (Scale of Natabhairavi) but has a distinct Suddha Dhanyasi flavour.
Kaatrai Konjam - 7/8 Misra Chaapu
Composed in E Major (Shankarabaranam) , shifts to C# Minor during the Charanam (At Thalli Thalli) , and should have become Natabhairavi, but feel it is actually Varunapriya due to the heavy new presence of the note C (Ni3 in Carnatic terms).Again (At Saathi Vaitha) it returns to the scale of E Major and should have become Shankarabaranam but again the booming presence of note C (Da1 in this case) makes it Sarasangi. The introduction of the note C in Charanam is a pure masterstroke.
Mudhal Murai - 4/4 Adhi Thalam Chatushra Nadai
Composed in B Minor in the ragam of Natabhairavi (Ni3 is also used at times giving an extra effect)
Vaanam Mella - 6/8 Adhi Thalam Tisra Nadai
Composed in F Minor , takes the raga of Pushpalathika as it mostly avoids Dha.
Pidikkala Mamu - 4/4 Adhi Thalam Chatushra Nadai
Pidikala Mamu is composed in E Major (Shankarabaranam) , Vidhi Pathadhe is in 6/8 and composed in F Minor and follows Suddha Dhanyasi Ragam
Ennodu Vaa Vaa - 4/4 Adhi Thalam Chatushra Nadai
Composed in E Minor and follows Natabhairavi Ragam
Pengal Yendral - 4/4 Adhi Thalam Chatushra Nadai
Composed in B Scale and follows the ragam of Gowri Manohari
Sattru Munbu - 4/4 Adhi Thalam Chatushra Nadai
Composed in D Scale , difficult to slot into a raga as it uses almost all notes but is predominantly in Keeravani
v_sji, same pinch! :razz:.Quote:
Originally Posted by V_S
I'd placed NEPV and SRR in the same order in Flipkart. Been listening to these two since they were delivered. What mind blowing differences in the music and styles! idhayum thaandi, the variety in styles within each album itself is remarkable!
raasa... avatharam ya nee :bow:
thanks for that link CSR.Quote:
Originally Posted by csramasami
Rediff interview of Gautam
Quote:
For the first time, the director has roped in Ilayaraja as the music director. The album, released recently, is a huge hit.
In this interview, Gautham Vasudev Menon talks about the magic of working with the maestro.
Thanks to the link from CSR .. I have two or three versions of Bolero ..mainly bought for a better and better recording. I always thought it sounded Arabic but never identified the similarity with our raagams.
And I wandered off to other concert videos in youtube ..suggest Ave Maria (Schubert) as an antidote for the NEPV addiction to a_e :-)
Thanks for the link... 3 days, 14 tunes, 8 tunes were picked,... my fav of the album is also Kaatrai Konjam. Lovely song.Quote:
Originally Posted by app_engine
That was stunning!. Started with just one flute, gradually adding instruments one by one, culminating in a superb finish (with even a scale change). Most of the wind/woodwind instruments sound pretty close, easy to miss clarinet for oboe, oboe for oboe d'amore/cor anglais. Bassoon was quite different. Still if they all play together, it is very difficult to even say which of these are played. Very educational post and link. Thank you very much CSR sir.Quote:
Originally Posted by csramasami
BTW, the conductor was funny. :D
kARRai konjam is one of the genres IR does. But IMHO, his favorite or the genre that he is focussed on and trying to innovate is - saRRu munbu or even something like muthal muRai. I only wish saRRu munbu is popular with the general audience just like where these two are running at the top in our polls.Quote:
Originally Posted by brigs
Thanks V_S, Kiru, KV and all. Yes the conductor looks funny. But articulation of dynamics of the composition (with utmost soft start to the adrenalin pushinh crescendo in the end) was the bottomline for this song and he makes it visibly extraordinarily brilliant. See his start with utmost controling his breath and cueing the snare drum and at the end he himself gets into raptourous mode with entire orchestration goes wild. This is what expected from symphony players and they deliver. When you know you are having such team to support you, the creator in you will go full blast with assured output. (My answer to people asking why IR needs London and European people and why not Chennai, this video speaks for itself. Also, if one gets into the details of the each individual instruments intricacies w.r.t. paramters like range, difficulties in playing certain phrases, dynamics etc. you need the experts to produce the creativity of the genius like IR. I know, this will create very heated debates in this tfmp, let me stop this digression)
The other side note, one could have watched the snare drummer all the time looking for the notes as well as Conductor and playing continuously till end; (the 2 bar notes of which is given in the wikipedia under sub-head "Structure of song"); though by any standard of today, just a looped recorded synth playing would have achieved this ? No! What he is faithfully following is the dynamics as written in the sheet notes as well as controlled by the conductor. Amazing I feel. Normal routine to them.
Even the dynamics picked up by the Angel studio has not been picked up by the Jaya TV/Nehru stadium arrangement and that's the sad state of affair here. Why a Ressul Pokkutty/Shridhar not required for such stage shows of IR calibre ?