Anything about IR found on the net - Vol 1

Nice share V_Sji!

Excellent interview - the man's music / movie related knowledge is as immense as his creativity / skills!

No wonder he ended up doing "look down" upon other "puzhu-poochchees & padhars" of the TF field Most of them not only possess far inferior skills but also lack knowledge / info related to their field.

The interviewer is an excellent example of "கற்றாரைக் கற்றாரே காமுறுவர்"


BTW, I've often posted about the pre-PVN Rao era's difficulties in importing. This interview had been taken during that era and I can totally understand where IR is coming from (w.r.t. difficulty in getting kwality stuff).

People of the post-liberalization era can easily make comments about audio quality / cheap cassettes / cheap keyboard / this / that because they didn't know what kind of stupidity existed in customs and gov policies when IR was at peak! pAvam...that way, the post-90's artists (and sports persons and techies and traders and every TDH in India) have a lot of advantage...

Maestro with Embar S KaNNan clarifies the raagam of amudhE thamizhE and neelakkuyilE.


Source: ILayathalam

Many thanks

V_S wrote:Maestro with Embar S KaNNan clarifies the raagam of amudhE thamizhE and neelakkuyilE.

Many thanks

Thanks.. pleasure to see IR interacting with knowledgeable people (always smooth vs interaction with general press).
How did IR accumulate this much knowledge in carnatic music without much formal training ? Amazing.
Only with the doyens (like BMK) he is circumspect, but very confident with all carnatic musicians !!!

Thanks V_S for sharing the video. Hoping this Q&A sessions continue. Wonderful to hear the answers directly from the Maestro and it will be definitely be enlightening for those who love his music.

The interview with Baskar Chandavarkar was simply outstanding, the quality of the interview when the right people interview and the way IR opened up, it's an interview to treasure. Thanks V_S & skr for sharing.

kiru wrote:
How did IR accumulate this much knowledge in carnatic music without much formal training ? Amazing.

Per Vaali, IR was given carnatic lessons by TVG. He has mentioned that IR used to do his lessons early in the morning (say 5 AM) prior to arriving at studio at 7 AM.

His dedication to learning something new was praised by him in that article - details may be incorrect but this is the gist...that way, IR had "formal training"

BTW, amazing video on rasiga ranjani!
(Who claimed that it was poorvi kalyANi? Was it twitter-pugazh-ammaNi's mother?)

app_engine wrote:(Who claimed that it was poorvi kalyANi? Was it twitter-pugazh-ammaNi's mother?)

I don't know who is the recent trouble-maker for this amudhE thamizhE...but a few years back, that lady (i.e. twitter-ammaNi's-ammA) said :

Therefore its not Rasika Ranjani.

Next part. Pls keep em coming. இனிமே ஒரு பய சூப்பர் சிங்கர்-ல ஜட்ஜ்-ஆ ஒக்காருவான்? Also Mahathi, so sad.

app_engine wrote:

app_engine wrote:(Who claimed that it was poorvi kalyANi? Was it twitter-pugazh-ammaNi's mother?)

I don't know who is the recent trouble-maker for this amudhE thamizhE...but a few years back, that lady (i.e. twitter-ammaNi's-ammA) said :

Therefore its not Rasika Ranjani.

Charulatha Mani http://www.thehindu.com/features/friday-review/music/for-a-calm-mind/article4561428.ece

loving this dressing down, someone should ask him about Singer Srinivas's qualms about ennodu va va

Wizzy wrote:Charulatha Mani http://www.thehindu.com/features/friday-review/music/for-a-calm-mind/article4561428.ece

loving this dressing down, someone should ask him about Singer Srinivas's qualms about ennodu va va

nanRi Wizzy!

A commenter writes there :

Rajendra Kumar wrote:

'Amude Tamizhe' and 'Edhilum ingu' are based on a raga called VarNa RoopiNi'(sa ri1 ga3pa dha2 Sa) and there is no trace of 'ma' anywhere though the first mentioned has the 'ni' in two lines in the charaNam making it Malayamarutam(only that portion). Moreover, there are no prayogas of Poorvi KalyaNi anywhere in the two songs. This being the case,on what basis does the article classifies the two songs under 'Poorvi KalaNi'? It misleades the lay reader too..
Please make the necessary corrections immediately and carry a 'correction' in the print edition.

Ranjani becoming Kalyani and another person arguing "no-no, it's Roobini"

என்னமோ ராகம் என்னென்னமோ தாளம்
தலைய ஆட்டும் புரியாத கூட்டம்

kEttachu! Enjoyed the conversation. Looks like Embaar Kannan knows IR's grammar of music more than those gimmick articles.
So coming back to the question, what is the raagam of sorgamE endraalum and sundari kaNNaal? I think we discussed earlier in hub about sundari kaNNaal and it seems a blend of kosalam and kalyani. Can any one please confirm?

Manivannan

அப்போல்லாம், பாரதிராஜா படங்களுக்கு இசைஞானி இளையராஜா இசையமைக்கும்போது, அவருக்கு பாடலுக்கான சூழ்நிலையை சொல்வது, பாடல் வரிகளை எழுதி வாங்குவது என அத்தனை வேலைகளையும் நான்தான் செய்து வந்தேன். ஒரு முறை அவர்தான் என்னை தயாரிப்பாளர் கலைமணிக்கு அறிமுகப்படுத்தி, நம்ம பையன்தான்.

நல்ல திறமை இருக்கு. ஒரு வாய்ப்பு கொடுங்கன்னு சொல்லி கோபுரங்கள் சாய்வதில்லை படத்தை இயக்க வாய்ப்பு வாங்கிக் கொடுத்தார். இளையராஜாவாலதான் நான் இயக்குநரானேன். ஆனா இன்னிக்கு அந்த இசைஞானியை இந்தப் படத்துல பயன்படுத்த முடியல. காரணம் பட்ஜெட். இந்தப் படத்து பட்ஜெட் அதுக்கு இடம் கொடுக்கல. ஜேம்ஸ் வசந்தனைப் பயன்படுத்தியிருக்கேன்” என்று கூறினார்.

Does it mean IR charges a lot nowadays?

And films like 'sengAththu bhoomiyilE' can afford him but Manivannan who did around 20-30 films earlier with IR cannot? idikkudhE...

Nice collection of Raja's 90's duets.

I bought this one. Very nice collection. I don't miss listening to it every night.

:?:Fantastic shares , Embar Kannan's Q with Maestro, V_S ji and Nerd.
Even though I was correct wrt Rasika Ranjani for "Amudhe " and "neela kuyile". the araivEkkAdu in me got a stinging "paLaar" on my face for "SorgamE endraalum". ivLO naalaa Hamsanadham nu oru maayailaye irundhuttEn.
Yes, V_Sji , now what can be the actual ragam? Is it Saraswathi/ Haimavathhi something like that?? Some raaga expert enlighten please.

:Question:

mythila wrote:now what can be the actual ragam? Is it Saraswathi/ Haimavathhi something like that?? Some raaga expert enlighten please. :Question:

Yes, mandaiyE vedichirum pOla irukku as Raja and Embar Kannan tossed a googly that it is not. I too know the raagam desperately. May be someone who knows embaar Kannan can clarify. I am truly bowled when he said sundari kannaal is not kalyaani.

Part 2 and 3 here

Didn't know that this Amudhavan is a "tumourist" (term ubayam plum)

Now I'm wondering why at all I wasted a few posts in his blog...

In any case, this Mathimaran seems to be a staunch IRF

He is doing Q & A in a Thamizh mag called "Thangam" it seems. One of them is quite interesting :

http://mathimaran.wordpress.com/2011/03/18/article-379/

எம்.எஸ்.வி, இளையராஜா; தமிழ் சினிமாவின் அறிவாளிகள் இசையமைப்பாளர்கள் மட்டும்தான்

Debajyoti Mishra

I don't know much about him (some northie musical) but his reply to a question caught my eye...

What about the current trend of roping in more than one composer for a film? You seem to detest it...

Sanjay Leela Bhansali had once asked me do the background score of Devdas. Songs were composed by Ismail Darbar and I took a stand of not doing it. But my name features on the acknowledgement list. When Subrata Sen was making Nil Nirjane, I had no clue that Cactus too was composing for it. They, in fact, did a great job. I was upset, but then, Subrata and I do not share a professional relationship. We are friends. Again, if Ilayaraja is scoring for a film and I'm asked to do the background score, I'll do it. For Prosenjit's Purushottam, RD Burman composed the music, while I did the background score. I share a great rapport with most filmmakers, but they should choose one composer, otherwise, the sense of ownership gets lost. That's not good for cinema.

Does he mean that IR is special and so he'll do an exception for him?

Balki

"For me, music means Ilayaraja and Ilayaraja means music. I will do films as long as he accepts to score music for them," Balki, who had earlier worked with the musical wizard in Paa and Cheeni Kum reasoned.

Almost every news report / blog / article that published IR's Q&A for Kamal/Rajini has received harsh comments from readers (lot of "archchanai" to rAsA)

One fellow even stated that he started "hating" rAsA the moment he refused to sing on the Madurai stage of BR's AKKV (enna ezhavu connectionO theriyala ). All the usual comments on maNdaikkanam, thimir, ahangAram etc.

I'm very sure IR too expected such reactions from readers of kumudam (and otherwise) and very well knew that if anything, such a remark will only be blown out of proportion to hurt any remaining commercial interests for him (given that KH-RK have the biggest following in TF).

Still, he didn't care

That is rAsA! No hypocrisy, flattery , sugar-coating etc

I think in today's film industry, he is the only one who can make such an open remark w.r.t KH / RK !

Finally, kumudam has done some "confession-redemption" for its "years-of-IR-ozhippu-thittam" by this Q & A section

app_engine wrote: Didn't know that this Amudhavan is a "tumourist" (term ubayam plum)

amudhavan wrote:சிங்காரவேலனேக்கும் அன்னக்கிளிக்கும் இடையில் ஒரு இருபத்தைந்து முப்பது ஆண்டுகளாவது இருக்கும். இடையில் ஜானகியின் எந்தப் பாடலும் பிரபலமாகாத நிலையில் இத்தனை ஆண்டுகளில் ஜானகியின் ‘சர்வைவல்’ நடந்தது எப்படி?

chumma adichchu vidraar paarunga. konjum salangai came in 1964 and annakkiLi came in 1976. Pure hate and nothing else.

V_S wrote:

mythila wrote:now what can be the actual ragam? Is it Saraswathi/ Haimavathhi something like that?? Some raaga expert enlighten please. :Question:

Yes, mandaiyE vedichirum pOla irukku as Raja and Embar Kannan tossed a googly that it is not. I too know the raagam desperately. May be someone who knows embaar Kannan can clarify. I am truly bowled when he said sundari kannaal is not kalyaani.

I don't know carnatic music, but came across these comments in youtube, maybe they'll help you kandupudichufy :

ARUN NARAYANAN

4 months ago

Just trying to dissect the components in the first interlude. Please correct me if I am wrong.

First group of violins leading to Trumpet/clarinet with counterpoints
on group violins in back ground, slowly leading to Two Key instruments
playing ma2 pa ma1 ri ma1 ma2

Second interlude .. rhythm melody using clarinet joined by Lady
rhythm and another rhythm pattern, then guitar and finally group violins

Experts, please add your comments. I wanna learn, how this piece of interlude is constructed

• Satheesh H
  3 months ago
  
  
  i have limited knowledge in BGM portions ....but the ragam
  is Hamsanadam...S R2 M2 P N3 S and same down .....beautiful
  composition by Raja sir .....
  
  in reply to ARUN NARAYANAN
  

• ARUN NARAYANAN
  3 months ago
  
  Hi Satheesh, Ragam is hamsanaadham.If you had noticed any of
  Maestro compositions in Hamsanadham, be it ..thendral vandhu, this
  sorgame endralum, om namaha, Isayil thodanguthuamma.. In all these
  compsitions, Maestro has used Dhaivatham.. Here in this song, in the
  pallavi.. Nammu ooru ..the swara is P M2 P Dha..I am curious to know
  why Maestro always composes Hamsanadam like this. Taking a foriegn note
  is acceptable, even then why Dhaivatam.
  
  in reply to Satheesh H
  

• Satheesh H
  3 months ago
  
  Hi Arun...very true.but for Hamsanadam Dhaivatam is not a
  foreign or a Bhasanga note...there are two versions of Hamsanadam
  ..the Dikshitar school of music followed the structure which I
  mentioned in the earlier post...The actual Hamsanadam a janyam of 60th
  Melam Neethimathi contains shatshruthi dhaivatham or D3.it follows S R2
  M2 P D3 N3 S and down the same...There are other ragams like Sri Ragam,
  Abheri , which have similar discrepancies between Dikshitar's and
  traditional system of music.
  
  in reply to ARUN NARAYANAN
  
• 
  

ARUN NARAYANAN
3 months ago

Thanks a lot Satheesh for this valuable information.Romba
naala.I was thinking abt this. So there are two raga structures.one
under dikshitar and actual hamasadham. So this explains. Pantu reethi
thyagarajar krithi.no deivatam. If possible, can u pls tell any online
source where I can get more info.Maestro is very consistent.even a
malayalam composition --minnarum in film guru by him uses Deivatam.

Ilayaraja, Mani Ratnam bury differences?

Director Mani Ratnam has not be working with Ilayaraja for the past two decades, especially after the director launched AR Rahman in 'Roja' in the early 1990 and the two haven't even met for quiet a while now. The duo who have given several hits, met recently in Mumbai and this meeting was arranged by renowned director Balki.

Ilayaraja was working on the re-recording of a film directed by Balki and apparently the director had arranged the meeting between the two legends. It is said that Ilayaraja andMani Ratnam shook hands and spoke at length after a long, long time. Well could this be the start of good things to come in the future.

http://timesofindia.indiatimes.com/entertainment/regional/tamil/news-interviews/Ilayaraja-Mani-Ratnam-bury-differences/articleshow/19398901.cms

Thanks vicks for sharing. That was some great analysis. Great to know two versions of Hamsanaadham.

SS,
Great news of the day! Thanks a lot. I don't expect anything further, but this gives a great feeling.