Maestro ilaiyaraaja news & titbits

[sureshmehcnit]

மூன்று படங்களின் இசையையும் ஒப்பீடு செய்ய உங்களுக்கு இசை ஞானம், நேரம், ஆர்வம் அதிகம் இருந்திருக்கிறது. அதை ஒரு ஆராய்ச்சி கட்டுரையாக எழுதி வெளியிட்டதும் பெரிய விஷயம்.

எழுத, பேச உங்களுக்கு உரிமை இருந்தாலும், இது தேவை இல்லாத செயல். மூவரும் திறமை சாலிகள் என்றாலும், சாம்பார், சாம்பார் தான். அம்மா வைக்கும் சாம்பாருக்கு, மனைவி வைக்கும் வைக்கும் சாம்பாருக்கும், மகள் வைக்கும் வைக்கும் சாம்பாருக்கும் வித்யாசம் இருப்பதில்லையா? இருந்தாலும், யார் பெஸ்ட் என்று அதை எதற்கு பீத்த வேண்டும்?

அவரவருக்கு தெரிந்ததை மூன்று படங்களிலும் செய்திருக்கிறார்கள்.

தேவை இல்லை தான். என்ன பண்ணறது. சைட்-kku traffic increase பண்ண அப்பப்ப இப்படி ஏதாவது sensationalaa எழுத
வேண்டியிருக்கு

[V_S]

In that specific shot you mentioned, I don't think Vijay's action or reaction is reference for Ilaiyaraaja's musical idea in that scene. It is the overall mood that Ilaiyaraaja is interested in.

That's what my point to, you cannot go by acting alone, the overall mood or the situation (how I call it) is what matters the most for music directors. There are many such stone-faced actors/actresses here, if you go by them, you are bound to fail.

Thanks for your response. I really appreciate your effort in stitching those videos together writing this post.

[sakaLAKALAKAlaa Vallavar]

I was worrying for the constant -ve opinions coming for SureshMechinit's post, atleast we shud appreciate the effort right? Finding all 3 movies, cutting, editing etc...

[Nerd]

Back on the topic, Sri Rama Rajyam Tamil trailer:

Any idea who's the female singer in "jagadananda kaaraka" (tamil version)?

And is it Chinmayi singing Sri Raama Lera in thamizh?

[Plum]

Full marks for effort Mehcnit. (Idhai paarkumbodhellaam mehdi hassan dhaan gnaabagan varudhu). I don't think the comparison is valid in terms of instruments used, general mood created etc. But net-net. What I read from your post was that you were implying that while Raja was scoring from the pov of mood shifts among the characters and specifically for the moment, Rahman caught a generic mood of the scene early(pallavi's mother) and referred to it when convenient. To be honest. I think this is a microcosm of Raja vs Rahman BGm scores. You think I am just interpreting your post and creating this narrative? I guess suresh65 and some others can recall that this is what I claimed as the difference in bgm philosophy of Raja vs Rahman many moons ago. I take this as affirmation for my belief . Thanks for your monumental effort which corroborates my lazy theory formed based on pieces of various mental images and sound processing alone.

[Plum]

To add to that, some people like Feeyar rubbish my theory saying that it is not possible for a score to represent specific moments and generic mood creation only is possible. That too is optional apdinnu solluvaar.

[Plum]

I think I used to callit "macro emotional BGM" vs "micro emotional BGM". Google searchla oru pazhaya postum sikka mAttEngudhu

[Plum]

The difference In composing philosophy between Rahman and Raja is fascinating for me. For example, I read often that Kathir picked a tune/song that Shankar also wanted etc. So part of Rahman's work involves parts of pre-composed products they can choose from. Obviously, this is not the case with Raja. I belive specificity vs genericity factors itself in right there. +bviously, not to be interpreted as all Rahman works are pre-meditated. Just the general philosophy seems to come out in the habits too. I personally include spontaneity as a criterion for evaluation of individuals. In their field of specilaisation - given that I generally don't appreciate Raja songs specifically because they were instantly composed, I also have a theory that at some level, the spontaneity gets embedded in the product and appeals sub-consciously.

[sureshmehcnit]

What I read from your post was that you were implying that while Raja was scoring from the pov of mood shifts among the characters and specifically for the moment, Rahman caught a generic mood of the scene early(pallavi's mother) and referred to it when convenient.

You hit the nail on the head. Thank you.

[sureshmehcnit]

To add to that, some people like Feeyar rubbish my theory saying that it is not possible for a score to represent specific moments and generic mood creation only is possible. That too is optional apdinnu solluvaar.

For anyone who grew listening to Ilaiyaraaja's movies, scoring for specific moments is the most obvious way of scoring background music. I realized later from A.R.Rahman's and many Hollywood scores that it is okay to go with a generic mood to deliver a perfectly right score.