Ilayaraaja the best .. is he still ? (was Re: Mozart Vs Ilayaraja)
san...@arch4.ho.att.com
First of all let me apologize for this repeat on s.c.t.
I goofed and did not cross post to other groups that I
was planning to cross post.
Sandeep.
Those who read my article before can hit "n" and spare me
any possible flame.
In article <hI1Rd0P....@delphi.com>,
Anu Vedam <anuv...@delphi.com> wrote:
>What Ilayaraja tried in "How to Name it?"
>
>Ilayaraja is the first to attempt, I repeat, first to attempt to create
>a true fusion between western and carnatic music. All other people who
>claim to compose fusion music, basically play one of the ragas with
>western pop music instruments (Good example 'DUET' by Rahman).
>
>If you listen to Composition No. 6 (Chamber welcomes Thia..), you will
>understand. This composition is based on kalyani with brilliant
>bachian style orchestration. The melody itself is in kalyani with
>brilliant orchestration. He once again proved that he could compose in
>Mozart's style in the album "Nothing but wind". The composition
>"Mozart I Love you" has traces of kalyani and completely orliginal
>composition.
>
>Ilayaraja's strength is orchestration. Orchestration does not mean
>that you have to use 50 instruments. To make a good arrangement, one should
>have a good knowledge of strenghts and weaknesses of the instruments.
>
>
>Somebody had mentioned that Ilayaraja had copied from BACH in the album
>"HOW TO NAME IT?"
>
>Not really. In composition No. 8 "We had a talk", he attempts to (I do not
>think he was bad; he could have done better) give a counter melody
>(known as counterpoint) in Indian classical to one of Bach's composition.
>
>Ilayaraja is one of the few Indian composers who have mastered the art
>of counterpoint.
>
>Let me give a simple illustration of counterpoint in one of the tamil songs.
>
>"Thevan koil, deepam onru
> Ragam paadum, Neram enru"
>
>Please listen the second interlude of this song. Listen to S.Janaki's version
>(This is recorded in stereo while other one is mono).
>
>If you have a headphone it is better.
>
>Just after the interlude starts, wait until you get to the guitar.
>There are two guitars played on left and right channel respectively.
>Close one of the channels and listen the music. The music will sound
>complete. Close teh other channel and listen to the music. Still
>the music will sound complete. This is because, Both guitars play
>melodies which can be heard separately as well as together.
>
>This is Ilayaraja's creativity. It does not matter if he copies
>100 songs per year as long as he can give original music when
>required. Come on, He is in business. He has to survive.
>
>But ofcourse, Ilayaraja has to retire from film music now. Music
>he has been composing for last two years has been absoulte crap.
>His interludes are not as imaginative as they used to be.
>
>The last time he sounded interesting was DEVAR MAGAN.
>DALAPATHI - Sundari.. Kannaal...
>This song proved that he has the potential to compose a
>symphony.
>
>One of the best arrangements to date.
>
>Nothing more. Well, Sorry for this long reply. I have listening
>to Ilayaraja's music since Annakili days. What can I say?
>The genius is fading. Rahman looks promising.
>
>Thanks,
>
>Paayum Puli.
Very well written with balanced view on Ilayaraaja's strength
and his current (not so great compositions) status. I was going
to write a similar article; but you have coverred the most.
Let me add a few of my thoughts here:
I feel, with my limited knowledge of Indian and Western
classical music, Ilayaraaja can be compared with other
musical genius like Mozart, Bach etc. But please do not
compare him with other film musicians.
In the past I have shared on different newsgroups about how
great the CDs "How to name it" and "Nothing but wind" are. Like
you pointed out they are excellent original work here. And,
Ilayaraaja in his own way acknowledged the other composers who
have inspired him. I would have seem him acknowledge them
more explicitely. Hey each one has his own shortcomings. What
can I say.
He is the first one in Indian film Industry to set new
standards. I recently returned from my trip to India where I
got several cassettes of Telugu, Kannada and Tamil. One common
thing I found in all those songs are that they all have
influence of Ilayaraaja. I had already heard Ilayaraaja's
influence in Hindi film music, most of Anand-Milind are sounding
like his music. (At the same time I am feeling bad that no new
style is emerging; except for A. R. Rahman.
I have to wait more of Rahman's music to comment about him.
What I have heard so far is like hearing western songs in
Indian lyrics [barring some ROJA songs])
Now getting back to Ilayaraaja, I heard one of his latest
cassette, and I forget the movie name, Ilayaraaja has used
similar voice recording technique like Rahman. This is one
good influence of Rahman on Ilayaraaja music, I would
say. This gives a different sound to his music. In this movie
he has sung a song. For the first time I could enjoy his voice
in this song (some exceptions exist for some folk songs he has
sung in the past). I think it is because of the recording
technique.
I hope A.R. Rahman's entry creates enough competetive spirit
and creates even better music, for us listeners, to listen.
Sandeep