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Rahman the conductor was a letdown!

Topic started by lk (@ 210.210.36.54) on Sat Apr 24 10:07:58 EDT 2004.
All times in EST +10:30 for IST.

Karthikeyan Nagarajan | April 24, 2004 11:12 IST
http://in.rediff.com/movies/2004/apr/24rahman.htm

When I heard that the City of Birmingham Symphony Orchestra had asked A R Rahman to conduct two live concerts in March this year, I was very happy and proud as an Indian and a Tamilian.

Earlier, I had felt proud in 1993 when Ilayaraja had recorded his first classical orchestral work with the Royal Philharmonic Orchestra of London. I was executive producer of that project.

It was Ilayaraja's first full-fledged classical work and it was recorded under the baton of John Scott. Unfortunately, Ilayaraja has still not released that work.

Hence to know that another composer from our midst has come to the world music arena was thrilling news. Rarely do musicians from our part of the world get such an opportunity.

But it was a big fiasco.

Rahman's popular film songs were converted into orchestral scores to be played by a classical symphony orchestra. They proved to be pale shadows of his original songs. And the predominantly Indian crowd did not appreciate them much.

It was obvious that not much thought had gone into the score. The objective should have been to retain the original melodic flavour suited to a symphony orchestra without electronic instruments and vocals.

Greater disappointment was his total non-preparation for conducting on stage. I consider that highly irresponsible. If Rahman thought conducting a symphony orchestra in concert was similar to a studio session, the people who risked allowing him to do it should be blamed.

I am surprised he has not fully understood the importance of the role of a conductor in a classical symphony orchestra.

Conducting is one of the most important aspects in a classical orchestra's live performance. People like Zubin Mehta have not become legends for nothing. Zubin is one of those rare talents who will conduct even the most difficult and complex symphonies like Mahler's 8th Symphony -- called the Symphony of a Thousand because Mahler's original debut concert required nearly 1,000 performers-musicians and choral groups -- without once referring to the score. Every bar of music is conducted from his memory, with total control and confidence of the orchestra.

As someone who has spent a lot of time on the UK music circuit over the last few years, I assumed Rahman would have done his homework and prepared the music as well as for his new role as conductor of a live concert, that too with a top-notch orchestra like the CBSO.

Rahman should have reminded himself that he was going to wield the baton of Sir Simon Rattle, who became CBSO conductor at 25 (in 1980) and made it one of the best orchestras in the world.

As a BBC reviewer wrote, "I cannot help feeling cheated by the concert. Though the orchestra were highly organised, Rahman seemed slightly uninterested to be there. Audience reactions were also mixed. The audiences were given opportunity to ask him questions to which he often replied with one-word answers. Rahman did conduct the orchestra for a short period, but later sat back with the audience and watched another conduct his music."

As with anywhere else in the West, most orchestras are going through a difficult time with dwindling concert attendances and slow music sales. Add to this the problem of population remix among local patrons.

By 2020, for example, Birmingham is tipped to become the first black majority city in UK. Now, its population is a mix of Asians, Africans and Chinese apart from the native whites.

Hence, orchestras are ready to try anything to bring people into the concert halls. And collaborations with musicians from Asia, titled Classic Asia, are part of the mission.

For the 84 year-old CBSO, it must have been a momentous, difficult decision. They took it because their survival depends on their ability to chart new paths.

With his exposure to the UK music industry through his collaboration with Andrew Lloyd Webber, it was not a surprise that Rahman got the project.

But his botching it up is.

I believe Rahman has not been able to transcend the barrier where his own singing and others are vital for his musical pieces. Obviously, there is an inability to compose music free of the composer/performer. He seems to have attempted something for which he is not yet ready intellectually.

In the end it was totally disappointing.

Rahman's confession -- "I messed it up. Will come next time with much more preparation" -- does not redeem him at all.

Karthikeyan Nagarajan is a Chennai-based software technologist.

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Responses:

• Old responses
  
• From: Thamizhan (@ 61.2.225.162) on: Wed Apr 28 07:14:00 EDT 2004
  
  One more reason probably must be those who are so much inclined to acoustic orchestra feel that synthesizing kills the soul of the song(though i too accept this to some extent,we can't blame ARR's style of compositions altogether)..One can very well feel the way IR mesmerises the discerning listener with his Violin or brilliant piano,or guitar pieces..
  where Rahman resorts 'more'(not completely) to electronica than anything live.At times his fusion ends up as a confusion.ARR's experimentation has gone awry at some instances,and discerning listeners may find it hard to accept the grammar broken in the name of innovativeness.These are some instances where simply Rahman tried to establish his distinct style and possibly messed it at times.
  Other than these,if one simply finds ARR as a juvenile,its because of prejudice...or in your language it might be due to 'Vaiyetherichall' too.
  
  
• From: Thamizhan (@ 61.2.225.162) on: Wed Apr 28 07:23:03 EDT 2004
  
  Expecting someone who is unbiased ,have some knowledge in music,giving opinions in the correct way..rather than chidishly throwing mud on each other.Such a time-pass has started to get boring.
  There can be a healthy discussion on where IR excels,where ARR excels...
  Surely these two ppl could not have made this big without good stuff.But that's a point usually forgotten by ppl at both sides(at IR and ARR).
  
  
• From: J@cky (@ 61.1.202.75) on: Wed Apr 28 07:42:56 EDT 2004
  
  romba think panringa tamilan!
  
  Intha forum la vayatherichal irukara karam that 4 letter word :)
  
  IR excels in giving music in the simplest form like Nirpathuvey nadpathuvey, Melody is the key, he is contented to use tablas and flutes still the song is amazing!
  
  
  
• From: MADDY (@ 203.94.234.143) on: Wed Apr 28 07:46:49 EDT 2004
  
  i'll tell u the reasons for such a huge anti-ARR tirade throughout TN for more than 12 yrs:
  
  1.He breaks the rules simply.....converted the whole recording procedure..
  2.Fusion music......he breaks the carnatic raagas and pastes them with western classic bit and stuff like that...HC carnatic fans dunt like this....
  3.couldn't digest someone other than IR.....until ARR came IR was like "Thanikaattu raaja" but ARR gave them a rude shock....
  4.Muslim factor....the most stupid but prevailing fatcor.....ppl. hate him for his religion......
  5.Typical tamil attitude......IR fans are "Kenathu Thavalais".....they think watever holds true for TN, holds true for whole world.....that's y they miss out ARR's achievements outside TN..........
  and there are so many more reasons that had been burdening my heart for the last 12 yrs.....
  
  
• From: F e r r a r i (@ 202.56.254.13) on: Wed Apr 28 07:54:54 EDT 2004
  
  Irakki vachindunga.
  Manasula irukkara baaratha erakki vachidunga.
  
  
• From: J@cky (@ 61.1.202.75) on: Wed Apr 28 08:00:15 EDT 2004
  
  Anti ARR wave in TN ....12 years?
  
  Last one year i am in chennai i haven't seen any obvious Anti arr wave except in newtfmpage.com
  
  Even outside India we use to get this kumdam, AV, kalkandu goli gunu kamarkattu and all those magazines :), Anti arr wave nu nan ethuvum alarming ah parthathu ellai :)
  
  
• From: Thamizhan (@ 61.1.200.146) on: Wed Apr 28 09:15:48 EDT 2004
  
  //IR excels in giving music in the simplest form like Nirpathuvey nadpathuvey, Melody is the key, he is contented to use tablas and flutes still the song is amazing!
  //
  Yeah,got one more point...
  OK,support is excellent.. with ARR,i can think of one instance immediately 'Thendralae' from 'Kaadhal desam' Rahman's piano pieces will be amazing in it, but i was wondering why Rahman takes the song to different mood in the First and second interludes of the song(with heavy percussions and female humming,totally unrelated to the main tune).You can never expect such things from IR.IR either will make his interludes simple,else will do it with aesthetics,whereas Rahman takes his space for experimentations,which at times kills the very idea,IR's consistency is amazing,whereas Rahman tries to be diff(he succeeds at times,faulters like this at times)
  Some songs like
  'Raaasathi enusuru..'-Thiruda Thiruda,
  Or the recent 'Azhagiya cinderella' are devoid of such effects,sounds simple but great.Those added effetcs in many ARR songs may sound exciting for some,those who are used to IR's music finds it hard to digest i guess.
  The Vayitherichal intrinsically has one more factor...Generation gap.
  Though one can't statistically point out..MSV fans would have criticised IR in the initial periods i guess.Trendsetters always try to differ from norms,and gets criticism from a section of ppl.But the worst hypocrisy here is ppl don't even accept ARR as trendsetter.
  
  OK,ippadiye ponal..we will get heaps of points which will sum up the differences between Rahman and IR.
  
  //4.Muslim factor....the most stupid but prevailing fatcor.....ppl. hate him for his religion...... //
  That point may trigger a wrong digression here,please... i guess nobody takes religion as a factor.I really believe tamilians have religious tolerance more than any other Indian.
  
  
• From: F e r r a r i (@ 202.56.254.13) on: Wed Apr 28 09:47:08 EDT 2004
  
  Yes. Tamilians dont fight between religions. Where do they have time?
  They are busy fighting inbetween the caste, so where does one get time and energy to fight between religions?
  
  
• From: Thamizhan (@ 61.1.200.28) on: Wed Apr 28 10:38:25 EDT 2004
  
  //
  
  
  From: ambleen (@ 61.8.210.76) on: Mon Aug 4 00:57:11 EDT 2003
  
  
  Karthik S,
  
  What you say is correct for people like IR, Jerry Goldsmith and Bernard Herrmann and many other masters. Sometimes they also do it as homage and sometimes they wanna have fun with their predecessors or colleagues music. They do it consciously and they do it admittedly. These are the Greats. They have no problems coming up with their own compositions. When they pay homage they make it 'clear'.
  
  Not for ARR, Deva and the rest. They are limited when it comes to original composition. Deva copies left right center while ARR does it in his own scheming way. Once when Simi Garewal interviewed ARR on Rendevouz(star world) and asked him abt some English tabloid labelling him "Mozart From The East", his immediate reply was that 'I think Taal set the standard'. Can you believe that? Even he didn't feel humble or coy abt it and accepted title. What's more, what's the connection between Taal's music and Mozart? OR better still, what's the connection between any ARR music and Mozart? Even ARR fans don't dare to use that label when they refer to ARR 'coz they know how ridiculous it is. But Mr.Rahman, known to others as being a gentle and humble person didn't really want to say 'nay' to that title. But still many know where his music comes from and all the dejavu feeling we get when we hear his music.
  
  So therefore, your statement "Every composer would have such instances and these do not amount to conscious lifting/ copying" does not apply to ARR, Deva, An(y) Malik and many others.
  
  
  
  From: Karthik S (@ 164.164.82.29) on: Mon Aug 4 01:43:41 EDT 2003
  
  
  Ambleen:
  
  I understand your point of view. I suppose it all boils down to whether you believe Rahman is humble and honest in his statements. I do!
  
  Also, when Simi was asking him about that wierd title he was merely responding to where it would have started from - in my opinion! But again, if you genuinely do not believe Rahman is honest I perfectly agree that one is bound to think he's pompous. Fair enough.
  
  
  //
  
  The above postings ...i got them from another thread in newtfmpage.
  Mr.Ambleen for years has been maintaining and asking the same Q ,i think.
  Karthik.S has given a sensible answer for it,Do you know who is it?,he maintains a site where he tracks plagiarism in Indian music.Even after such a response from a guy who knows abt music better than you and me,still Ambleen has not got the point,so it's a total waste that we tried to explain things to him.
  
  http://www.iespana.es/i2fs/
  is the site maintained by Karthik.S,ARR has got 10 copies....but only effects..no tune copies..whereas even the great Maestro whom i admire has two tune lifts.
  (you ppl may know this,but am a newcomer so posting this all)
  
  
• From: J@cky (@ 61.1.202.169) on: Wed Apr 28 10:52:18 EDT 2004
  
  Thamizan,
  I remember the following songs which are simple, didn’t have heavy percussions or unrelated humming
  Kankalil enna eramo – uzavan
  Katru katru – uzavan
  Khamosh raat – thakshak
  Bondesen baathen didn’t have heavy percussions, it was the tune plus Sujatha trivedi’s voice.
  
  Not all the songs with unrelated humming were bad, try listening to Jan janey – SPB asha bhonsle number from Daud.
  
  
  
  

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