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Salil Choudhry and Ilayaraaja

Topic started by rf (@ pppa55-resalerockford1-3r7238.dialinx.net) on Sat Aug 18 22:08:06 EDT 2001.
All times in EST +10:30 for IST.

Could not find any 'open' able topics on Salil Choudhry so this new one. Here is an interveiw with Antara Choudhry and some good revelation!

http://www3.estart.com/india/entertainment/salil.html

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Responses:

• Old responses
  
• From: Normal Man (@ 210.84.144.92) on: Sat Sep 1 01:48:43 EDT 2001
  
  mahabs ---> The best way to avoid and see to that some junks a$$es are instigated to post some stupid posts, IGNORE THEM. There are lot like that kind in the forum these days, writing and posting pages & pages, with no clue about what they are trying tell. Totally ignore them, sans saving our time and energy.
  
  
• From: yaaro (@ 172.190.139.206) on: Sat Sep 1 09:04:37 EDT 2001
  
  what about mahakavi bharathiar? simply because he is not known outside tn, you would say that he is not a genius!
  what about KVM, kannadasan, mahendran and countless others?according to makky they are all fools are they?when did acceptance from northies become the yardstick for genius?
  
  
  
• From: makky (@ 216.34.56.12) on: Sun Sep 2 09:36:15 EDT 2001
  
  mr mahabs and other IR FANS again u r reacting to the same way as usually. and in this u have raised the name of maha kavi bharathi. this is like anaikku arram enral kuthiraikku kurram argument. bharathi wrote poems for emancipation of tamils. he never tried his hand in hindi poems . and music is entirely a different matter. infact in the 60s when i was a boy and studying in tamil medium not knowing a single word of hindi but still used to hear hindi movie songs and liked it. and from the beginning i am saying that the music set by hindi music directors of 1950 to 1970 is the real golden period of indian film music. tamil film music comes only second
  to it if not equal to it during this period.but the hype which was going on for so many years is really astounding . u r quoting bharathi and bharathi never tom. tommed that he is a better poet than shakespear or rabindranath tagore (refer the recent saying beethovan came and told me in my ears that even i have committed mistakes but yours is the only without any blemish.)people can build castles in air but the same people should also take the resposibility to absorb and withstand when it comes crashing down.
  makky
  
  
• From: PissedOff (@ 64.173.10.156) on: Mon Sep 3 00:38:32 EDT 2001
  
  Is there a spelling mistake in your name makky ? :) oru kalaignanukku garvam irukkaththAn seyyum..people who cut and paste and who are not original may have to be apolegetic..not people who do sincere work.
  Do you know anything about bhArathi ? What did he ask the Travancore king ? He wanted a grand welcome. Dont mix up personality issues with the output..ilaiyaraja is a genius that the tamil land has produced..we should all be proud of him ..(it does not mean that ARR is stupid or anything).
  
  
• From: makky (@ 206.65.190.134) on: Mon Sep 3 11:18:54 EDT 2001
  
  mr pissed off atleast ur spelling is ok i suppose. regarding cut and paste the same goes to ur fAVOURITE ALSO. A CURSORY GLANCE OF VIJAYALAKSHMI NAVANEETHA KRISHNAN WORK ON FOLK SONGS WILL TELL THE STORY.if u feel he is great ok.but dont thurst on others. moreover only perfomance will have to speak.in that ARR HAS GONE FOR AHEAD, CAPTURING THE HEATRTS OF TAMILIANS, SOUTH INDIANS AND NOW THE ENTIRE COUNTRY AND INCHING TOWARDS THE WORLD GLORY. NO AMOUNT OF HYPES CAN CHANGE THAT.AND HUMILITY PERSONIFIED NEVER UTTER A SINGLE WORD AGAINST ANY ONE HOWEVER SMALL OR BIG. HE NEVER TOM TOMS BUT HIS PERFOMANCE REPLIES TO ALL HIS CRITICS.I WOULD STILL REQUEST U PEOPLE TO LISTEN TO THOSE GREAT HINDI MUSIC DIRECTORS, SALIL CHAUDRY, S.D.BURMAN,MADAN MOHAN ,C.RAMAACHANDRA, NAUSHAD,KHAYYAM.AND IN TAMIL A. M. RAJA, G. RAMANATHAN AND THEN COMPARE. FOLK MUSIC IS NOT THE ONLY MUSIC.I HOPE U WILL UNDERSTAND MY POINT.
  MAKKY
  
  
• From: haris (@ ) on: Fri Oct 11 20:10:20 EDT 2002
  
  http://www.salilda.com/filmsongs/films.shtml
  
  //He is often quoted as the thinking man's composer. Salil always wrote his own songs. He wrote the lyrics, composed the melody, the background, the prelude and the interlude. He wrote down the notation and the chord-charts. A full sevice! There was no one in those days (even now!) who came even close to him. //
  
  hmm.....
  
  
• From: Vicky (@ 12.89.130.7) on: Fri Oct 11 21:37:09 EDT 2002
  
  Salil Chowdhury....an extraordinary composer has always produced a fund of melodic pieces that have penetrated deep into the conciousness of the masses. The songs mentioned below have originated from a composer of more modest pretensions. To name a few:
  
  "Dharti Kahe Pukahar Ke"-Lata & Mannadey-Shailendra-Bimal Roy Productions (1953)-Do Bigha Zamin
  
  "Dil Tadap Tadap Ke"-Lata & Mukesh-Shailendra-Bimal Roy Productions (1968)-Madhumathi
  
  "O Papi Bichhua"-Lata & Mannadey-Shailendra-Bimal Roy Productions (1968)-Madhumathi
  
  "O Sajana Bharka Bahar Aayi"-Lata-Shailendra-Bimal Roy Productions (1960)-Parakh
  
  Tasveer Tere Dil Mein-Lata & Rafi-Majrooh-Light of Asia Films (1961)-Maya
  
  Rajanigandha Pool Tumhara-Lata-Yogesh-Devki Chitra (1974)-Rajanigandha
  
  He can be regarded as the most accomplished composer in Indian Film Music of the third quarter of the nineteenth century. His compositions were mostly in a lighter style. Indeed, his many innovations in the field contribute to the whole rennaisance period in film music. The rennaisance movement in Hindi film music owes much to its celebrated composer Salil Chowdhury for his grand grand style of vocalization and orchestration.
  
  It is becoming incresingly unnecessary to defend the compositional excellence of Salil, as he belonged to a generation of composers who embraced professional standards of compositional techniques and in the process creating extraordinary musical materpieces.
  
  
• From: Speaker (@ 202.156.2.219) on: Fri Oct 11 21:49:12 EDT 2002
  
  Makky, why stopped at world glory, proceed for Milky way galaxy.. Now even in Vaikuntam, Vishnu wakes up hearing dippu dippu only. Shiva dance to chaiya chaiya. Here we are all moved by IR music not by IR as person. Even then how much you know of IR, you are judging by what magazines and media say. Greats who closely moving with him never mentioned any thing bad. In this forum, there are lots of people who are closely associated with IR. None on them said anything bad.
  
  
• From: makky (@ 216.148.246.70) on: Fri Oct 11 22:30:26 EDT 2002
  
  mr speaker thanks for ur comment. one thing is correct nobody including ARR fans wrote any thing bad about IR. compared to all the filth written against ARR.( by whom i leave it ur guess)BBi I entirely agree with u on this point. coming to shiva dancing it is now proved that atleast outside india atleast in the west people have come to know who is ARR through BOMBAY DREAMS.
  
  
• From: mali (@ 216.148.246.70) on: Fri Oct 11 22:41:15 EDT 2002
  
  and unfortunately with great fanfare and hype some body who thinks he is better than beethoven created so called sympony but we do not hear any thing so for. or is it released only to selected hypers. in this i would like to quote few tamil proverbs, it goes like this kana mayil (peacock) ada kanda VANKOZHI thanum adu polave ada asaippatudam u know the result thanks. still i rekon salil choudary, s.d burman, c. ramachandra A.M.raja, g, ramanathan visu-ramu are far far better than the present day MDs except ARR.expect a favourable reply from speaker.
  
  
• From: melodiously and meticulously explaining (@ 172.162.101.80) on: Fri Oct 11 23:48:09 EDT 2002
  
  It is no doubt that IR was highly influenced by SC. But, IR is a confluence of several composers and that makes for IR. At that time SC was IR, today IR is IR, if u see the point - If there was one IR at that time, it was SC. or, put it this way today' IR is IR himself, tomorrow's IR will be IR only for a long time to come. But, before IR, that is pre-IR era, SC was the IR. Hope this explanation not been confusing. But, pls be clear about thiss fact, IR rules, IR is IR, but SC was IR before IR. aaaah, i got it, it means IR is not SC, but SC was IR...
  
  ;--)
  
  
• From: Raji (@ 203.166.96.237) on: Sat Oct 12 04:53:20 EDT 2002
  
  Makky
  You are showing how educated you are. Stop your nonsense. I am not from India. But I am proud of being an Indian because of Bharathi. DO you know that Bharathy had connections with English poets.He was well read person. He was a fan of Byron, Shelly and other poets. Don't give any bad impressions on Bharathi. Thanks for not talking about that great poet.
  
  
• From: avr (@ 132.206.52.156) on: Sat Oct 12 20:52:51 EDT 2002
  
  Salil C thread! Wow. There is so much to write about Salil Chaudhary. www.salilda.com has a whole list of songs by him. That site till recently had a whole list of songs uploaded, but the server is now non-existant. Salil Chaudhary was undoubtedly one of India's finest composers.
  
  (1)He has composed in various languages. He regarded Lata as the epitome of singing and has given her some of his most intricate compositions. Indian classical, Indian folk from various states, the crazy and sad genre of songs, the BGM and the interludes all made Salil chaudhary one of India's most innovative composers. It is recommended to listen to his songs like "saawan ki raaton mein aisa bhi hotaa hai" by Lata and Talat Mehmood. Rarely can one hear such a "different kind" of romantic song. I cannot explain here what I mean by "different". One must simply listen to it to understand what I meant.
  
  Here are some more reasons why I love Salilda's music.
  
  2)Salil Chaudhary was a masterful BGM composer. He
  was simply miles ahead of all other HFM composers inthis aspect. And mind you - it wasnt always merely WCMthat he used for his BGM. His knowledge of folk musicis exceptional. And he used all that in his BGM. Or indocumenatry films/title music sequences.
  
  (3)Moreover, his interludes were often exquisite and often as refreshing as the song itself. Unlike the highly repetitive dholak+shehnai+200 violins used by LP,KA et al.
  
  (4)Salil Chaudhary's tenure as a composer is very
  large. He began in the 40s (shortly after the quit
  India movement) and his career ended with Swami
  Vivekananda.
  
  (5)Salil Chaudhary is one of the very few composers who have crossed the north-south barrier effectively. But I am sure he could have done a lot more films in the South.
  
  
  (6) He has composed the best of devotional songs
  - like "jaagiye gopal laal" and "jaago mohan pyaare"
  http://www.parrikar.prohosting.com/janmasthami/jawahar.ram
  http://www.parrikar.prohosting.com/bhairav/jagteraho.ram
  http://www.parrikar.prohosting.com/bhairav/musafir.ram
  These are very different tunes given by the same
  composer who composed many a ditty based on WCM.
  He has composed the best of qawwalis like those in
  Mere Bhaiyya and Jhoola. He has composed the most
  soul-stirring of ghazals like "jab tumne mohabbat
  chheen lee", "ulfat ke kaam niraale" and "raat ne kya kya khwaab dikhaaye". And the mujra "suniye ke na suniye" (madhumati)
  
  (7) Now classical songs. Yes, Salil has composed
  several songs with Hindustani classical overtones that are amongst the very very best of the Classical Hindi songs. To begin with, is Lata's "chham chham naachat aayi bahaar". The opening prelude itself is awe-inspiring. A small "chikaari" on the sitar,followed by a jaltarang interlude followed by the most brilliant dholak piece, and then a wonderful sitar-violin combo, with Lata taking over in her melodious voice. What a song! Another such is the Lata - Manna duet in Parivar "jaa re mai.n tumse naahin boluun kanhaiyyaa", or "naa jiya laage naa" in Anand
  by LM again, Asha's "thhandi thhandi saawan ki
  phuhaar". Yet again, we have "oh sajana barkha bahaar aayi". Very rarely has a classical composition sounded so refreshingly light, and all that despite the heavy sitar interludes between the stanzas. And no description of Lata or Salil can be complete without mentioning the song "jhhannaana jhhhannan baaje bichhuaa baaje" in Chand & Suraj. What a song and what
  an end to a song! Have a listen is all I can say!
  
  (8) There is no beating Salil when it comes to crazy songs (the masti-bhare geet as the Hindi speakers say). Half Ticket, a Kishore Madhubala starrer is one such movie full of crazy songs. EVERY song is a sparkling gem! This movie is there on http://www.musicindiaonline.com - enjoy Lata's
  operatic highs in "woh ek nigaah kya mili". This song will always be one of my dearest favourites. Madhumati too has the crazy Rafi song "jangal mein mor naacha kisne dekha" picturised on Johnny Walker. Or the sensuous and unique "o bichhua....chhad gayo paapi
  bichhua". You should see the way he has used the wind instruments (reminiscent of aadivaasi music). Again look at the song arrangement in Talat "aankhon mein masti sharaab ki" in Chhaya. A class act!
  
  Two more movies by Salil deserving special mention are Maya and Annadata. Maya is famous for the Rafi-Lata duet "tasweer teri dil mein" known for its hairpin bends :-), the plaintive strains of "jaa re ud jaa re panchhi" steeped yet again in delighful violin pieces all through and the sad Dwijen Mukherjee song "ai dil kahaan teri manzil" that has operatic highs by Lata
  for the interludes backed by a soothing chorus
  support. (Lata sounds so different here! Again,
  Salil's use of the chorus was excellent as is seen in "mere man ke diye" (Parakh) and the haunting "raaton ke saaye ghhane" in Annadaata. )
  
  I suggest you go through the entire site on Salil
  Chaudhary -> http://www.salilda.com
  This site had a lot of songs....so I would have loved to provide you with many more links...but the songs arent there any more. That being the case, you have to resort to purchasing of CDs, though you might find a couple of songs on musicindiaonline.com :-) The site
  has a brief description of the songs/BGM of nearl
  every movie Salil did. Give it a shot - the movie Prem Patra in the early 60s has the most exquisite title music, BGM and songs. Its soundtrack is worth buying.
  Who else could have composed "saawan ki raaton mein aisa bhi hota hai" (lata,talat) and "yeh mere andhere ujaale na hote"(lata, talat)? The former duet is easily one of the best romantic songs ever composed -IMHO. But the film flopped :-(. The unpredictable changes in pitch are one of the salient features of SCs tunes - in short a signature tune of SC, and are
  amply displyed in both these duets. Or take the
  example of a KJY-VJ duet "killikil..." in Malayalam - its either in raagam or in raasaleela, "aaha rimhhim ke ye pyaare pyaare geet liye". Superlative innovations IMO!
  
  i shall now stop else I will get carried away. :-)
  
  ***
  However Ilayaraaja has done all of the above. Ilayaraaja's speed of composing is unbelievable. And Ilayaraaja has also done wholly classical themes, which Salilda never got a chance to do.
  Ilayaraaja has a symphony to his credit and has invented raagas. He is considered to be one of the greatest of Carnatic legends. Besides Ilayaraaja has done 900 films in 27 years, whereas Salilda did about 200 in a period spanning over 50 years. Besides lots of non film songs too, though.
  
  
  *** PLEASE COULD THE WCM EXPERTS OF THIS FORUM JOIN US AND ANALYSE SALILDA'S COMPOSITIONS, AND DO A COMPARISON WITH ILAYARAAJA? **
  
  
• From: avr (@ 132.206.52.156) on: Sat Oct 12 20:53:46 EDT 2002
  
  SALIL CHAUDHRAY AND PADMA SUBRAMANYAM.
  
  
  START QUOTE:
  I found this interesting information in the following
  two sites:
  
  http://www.narthaki.com/info/profiles/profil10.html
  
  The well known Bharatanatyam dancer Padma Subhramanyam
  learnt music
  from Salil Chaudhry. According to the article,
  "...Thirty-five years
  ago, she was the first dancer to introduce Pushpanjali
  as a dance
  piece. She was the first dancer to use a "meera
  bhajan" to
  be scored to suit the grammar of "Pada
  Varnam". She has
  also composed the first Bengali Varnam, set to the
  lyrics by Salil
  Chaudhry..."
  
  http://www.kutcheribuzz.com/news/20020802/padma.asp
  
  She adds, "During my college days, I've given even
  light music
  concerts and I learnt from Salil Choudhry. My Guru for
  carnatic music
  was B. V. Lakshman."
  
  Considering Padma's many innovations, such as
  re-configuring the
  karaNAs/adavus, I wonder what the Bengali varnam is
  like? Is there
  any commercial recording of this varnam available?
  
  I always knew that Salil Chaudhry had a major impact
  on South Indian
  Film Music scene, but this information impressed me
  even more. It
  clearly shows the regard both popular and classical
  musicians had for
  this musical genius.
  END QUOTE
  
  

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