Home   Forum   Wiki   Notes   Register   FAQ   Sitemap   About Us   Contact Us  

Whatever happened to Illayaraja's symphony?

Topic started by Swaminathan N (@ infosys.inf.com) on Wed May 14 15:38:06 EDT 1997.
All times in EDT +9:30 for IST.

---

Responses:

• Old responses
  
• From: DieHard Fan of the Maestro (@ 152.163.195.176) on: Mon May 20 18:51:48 EDT 2002
  
  Before I die, I want to hear the Symphony please. I am sure there must be a few like me ;---)
  
  
• From: SENTHIL (@ 136.148.1.94) on: Tue May 21 12:14:45 EDT 2002
  
  YES ONE IS ME.I AM EAGERLY WAITING FOR YEARS TO LISTEN TO IT.MUSIC VIMARSIPAR SUBUDO WAS LUCKY THAT HE LISTENED TO IT.HE TOLD THAT THE SYMPHONY WAS GOOD AND IR HAS A THEME IN HIS MIND FOR IT.THIS WAS TOLD IN AN INTERVIEW.
  
  
• From: Anoop (@ ) on: Thu Nov 28 22:36:19 EST 2002
  
  Don't worry guys. It is not going to release! The producer is not happy with the symphony and he don't want to spend his money for a crap like that.
  
  
• From: vanavasi (@ 203.199.204.120) on: Fri Nov 29 01:08:20 EST 2002
  
  anoop!
  
  it is not
  
  1. it is not going to release!
  
  2. he don't
  
  it is:
  
  1. it is not going to be released
  
  2. he does not
  
  you arr fans!!!!
  
  
• From: Kupps (@ 156.153.255.134) on: Fri Nov 29 02:06:13 EST 2002
  
  "Before I die, I want to hear the Symphony please. I am sure there must be a few like me ;---)"
  
  There WAS atleast one who expressed the same sentence as you. He was fortunate enough to have a listening of it and praised it. He is in his 80s. If u r also one such u might also be fortunate ;-)
  
  But v r not :-(
  
  vanavasi,
  forget about those grammatical mistakes.
  
  
  "Don't worry guys. It is not going to release! The producer is not happy with the symphony and he don't want to spend his money for a crap like that. "
  i pity u anoop
  
  
• From: ! (@ 64.12.96.72) on: Sat Nov 30 12:39:49 EST 2002
  
  venkat: www.themahal.com has the two plus Indian 24 hours for $7 or so!
  
  Regarding Symphony not releasing, IR is not a genius without having the sharpest mind this century. He is a master strategist too. He did not write a symphony to release it then. He did it to keep the attention coming to him plus he was after new ideas. I think he has composed some more than symphonies to release at the right moment thru his children I think. Maybe, KR or YSR must be traininng to be conductors of his symphonies, concertos etc... I didn't think he expected even 10 years to be a reasonable time, but it is happenin. I think with the BBC poll, IR may be getting the world attention and he may be compelled to release his mysterious works that we are not aware of including Symphonies (There is not just one, but more than one, i am sure. U think he goes abroad to look around, he doesn't even listen to his own songs - that is another mystery. most artistes go on examining theri past works, replaying it hundrred times and enjoyin tours etc.. IR doesn't even glance bakc to any composition, other than playing some crap at his film concerts once in a rare while)
  
  Anyway, I think 60th birthday of IR, 2003 June-July we can expect some exciting news from IR.
  
  That is my guess. So, we have to be patient.
  
  
• From: yaaro (@ 195.93.34.7) on: Sat Nov 30 14:26:37 EST 2002
  
  http://www.dinamani.com/NewsItems.asp?ID=DNK20021128082655&Title=Kadhir&lTitle=%A7%5DU%A6+L%A7o&Topic=0
  
  
• From: Anu (@ 170.140.253.7) on: Sat Nov 30 15:58:21 EST 2002
  
  Well-written informative article on Dinamani.
  Thanks Yaaro.
  
  For those who can't read Tamil, the article talks about Symphony and summarizes the lives of composers such as Bach, Beethoven and Mozart and credits IR for introducing at least the word Symphony to the common Tamil music fan, though his own symphony that was played by the Royal Philharmonic, London has not been released yet.
  
  The writer also touches upon the BBC poll. About the Rakkamma song he says, "Isn't it a foot-tapping great melody that he composed combining lines from the ancient Tamil masterpiece ThEvaram with Western music?
  Isn't the message that Ilaya Raaja conveyed through this song the following? that our musical legacy encompasses all global characteristics..."
  
  
• From: ! (@ 205.188.208.37) on: Sat Nov 30 19:55:41 EST 2002
  
  Isn't the message that Ilaya Raaja conveyed through this song the following? that our musical legacy encompasses all global characteristics..."
  
  
  That is the point!!!!1
  
  
  
• From: Greatest fan (@ 219.65.105.139) on: Sun Dec 8 06:13:39 EST 2002
  
  Dear IR die hard fans,
  Why waste time. Our thalaivar IR is currently lagging behind in BBC Poll. So pls do not waste time. Poll in as many votes as possible.
  
  
  
• From: , (@ 172.183.128.151) on: Sun Dec 8 17:55:45 EST 2002
  
  thanx to curses and 'attention admin' thread,
  
  i escaped the torture
  
  
• From: Raja Fan (@ ) on: Tue Jan 7 05:35:58 EST 2003
  
  Article from "THE HINDU - International Edition" September 4, 1993
  A SYMPHONY OF SUCCESS
  
  With 3,500-odd songs in 650 films, Ilayaraja now occupies an unrivalled No. 1 spot in Tamil cinema. The ace music director added yet another feather to his cap recently by writing a Western symphony and having it played by the Royal Philharmonic Orchestra, London, thus becoming
  the first composer from Asia to do so. How did it all come about?
  If genius is one per cent inspiration and 99 per cent perspiration, the man who has lived up to it to achieve international fame and fortune through music is Ilayaraja whose name is now synonymous with success in the Tamil film industry. From the obscure village of Pannaipuram in Madurai district, where he was born on June 2, 1943, to the pinnacle in the world of music -- writing a symphony and having it played by the Royal Philharmonic Orchestra, London, recently – it has been for him an arduous climb uphill through adversity. From setting tunes to his brother Pavalar Varadarajan's songs for stage plays to an unrivalled No. 1 spot in Tamil film music and then on to the latest distinction, Ilayaraja has indeed come a long way. Until 'Annakili' (1976) catapulted him to fame, it was no path of roses for him after he came to Madras in 1968 with his two younger brothers, Bhasker and Gangai Amaran, to try his luck in films. But after 'Annakili' it was accolades all the way. Ilayaraja attributes it all to the mercy of God. Recently he talked to The Hindu. Excerpts:
  Q: How did you get the offer to write a symphony?
  Pyramid International, a recording company based in London, asked me whether I would be interested in writing a symphony. Writing a symphony needs much concentration. I said, "If I agree to write a symphony, how do you propose to market it? The people there who listen to classical music do not know about me. How do you make it possible for them to hear my music?" They said, You leave that part to us." Only then did I agree to it.
  That made them get in touch with several orchestras and eventually they chose the Royal Philharmonic Orchestra (RPO), considered the best in the world, which plays only great Western classical composers.
  The RPO people said that they did not know about me. They said that I might be a very good composer, but what about my caliber in Western classical music? So complete details about me were sent to them. My two discs, 'Nothing but Wind' and 'How to name it,' were sent. That convinced them of my capability to write a symphony.
  Q: So you started writing the symphony?
  No. I asked for a co-ordinator. They sent Michael Townsend. He can conduct, arrange. He is a one-man army as far as music is concerned. He came and saw me work in films. He said, 'When you were writing the score, you did not struggle for any ideas. You did not take your pen off the script before finishing it. I have never seen such a composer before. Your dedication is remarkable.' When he saw the re-recorded film, he was moved. He was really stunned to by the synchronisation of the music with the film. He told the RPO that this time they were going to record the work of a composer who was different.
  Q: So you agreed to write the symphony for the RPO?
  Yes. They laid certain conditions. The foremost was that I must send the score at least three months in advance. I accepted, but my film commitments made me give the score only a month before the recording. In fact, I gave the last piece only 12 days before the recording.
  But when the recording was over in London, all the musicians broke into a standing ovation. They started tapping the floor with their feet. I was thrilled and thanked the Almighty for giving me this opportunity to write a symphony and have it recorded.
  
  
  Q: What exactly is a symphony?
  It is a form of orchestration. We have in our system of music different elements -- geetam, swarajathi, varnam, keerthanam. Film music is also a form, something like keerathanam with pallavi, anupallavi, and charanam. Symphony, which has three main elements, is a form too. What I do in films is also a kind of symphony. For a full-fledged orchestra, symphony is the mainstay.
  Q: How did you feel when every member of the RPO congratulated you?
  He (God) made it happen. It was unbelievable. There are thousands of people who are practising or composing music. But who got the chance? Who selected me? I did not do anything. He (God) selected me. I prayed to God in gratitude that He made me do it.
  Q: What do you think of the computer music coming up in a big way in films?
  Conductor John Scott also asked me about computer music. He has a computer and I too have one. Scott and I went to a bookstall and bought some books. To total the prices of the books, the store staff started searching for the calculator. But I calculated the total and told them before the
  calculator could do it. They asked me how I was able to do it. If you do not know arithmetical calculations, then you need a calculator.
  This is how I explain computer music. Anybody can buy a computer and make it play 'C' major. Anyone can compose music easily with a computer. But this is for the laymen. If you have the skill you do not need a computer ... In computer music, after a few songs, one gets fed up because the computer can give only certain variations as programmed. You will never get anything new in moods or emotions.
  Q: What are your 'bests' in films?
  The moment I can say that this is my best song or best music in films, I will stop giving music. I still do not know what music really is and I am trying hard to comprehend it. Once I know it, I will have my fulfilment and I will stop doing what I am doing now.
  Q: Six hundred and fifty films in 17 years, 3500-odd songs. If you still say you have not done anything, then ...
  For you, I am Ilayaraja. But for me, "Who am I?" I have not even started tuning my instrument properly. Then I must synchronise the tampura with the sruti, next practice it, and last comes the singing.
  
  Q: How many days did you take to write the symphony?
  One month. Some eminent composers have taken three to 14 years. Some others just three days.
  Q: It seems that Pandit Ravishanker and L. Subramanyam have also done a symphony and that was also recorded in London.
  I do not know whether they have recorded a symphony or not. But the RPO's programme executive, Ian Maclay, wrote to me mentioning that I was the first composer from whole of Asia to write a symphony.
  Q: Have you named the symphony?
  No. Scott told me that he could name it 'Fantasy.' I said it was not fantasy. I have a couple of names in mind, but I have not decided on it.
  Q: Did any of the Carnatic music exponents congratulate you on your achievement?
  T. V. Gopalakrishnan, Mandolin Srinivas were there to receive me at the airport. The 'Bhishma' of Carnatic music, Semmangudi Srinivasa Iyer, came to my place twice to congratulate me.
  Q: What do you plan to do after this?
  Nothing is in my hands. We plan so many things. But can anyone predict what will happen? So I do not plan. Whatever comes, take it in your stride. If you aim at something and do not get it, you feel dejected ... He (God) is planning in His own way.
  Q: Does the Carnatic base help you in your chosen field?
  Carnatic music and Western classical music are two different cultures, though the sounds are the same. The difference between the two systems is: one is like living with the people and the other like living alone. Carnatic music is like living in solitude and doing meditation like our sages. Western music needs harmony, counterpoints and many accompaniments. It is like living with
  people.
  
  Q: From Pannaipuram to films -- do you think you have achieved what you wanted?
  No. I do not think of anything as my achievement. Today's record may be betterd tomorrow.
  [S. R. Ashok Kumar]
  
  
• From: Raja Fan (@ ) on: Tue Jan 7 05:38:09 EST 2003
  
  Michael N Townend
  Maestro Ilaiyaraaja: A Very Special Talent from Madras
  
  
  MICHAEL N TOWNEND was the Orchestration Adviser and Music Producer for the Symphony project with the RPO. An eminent composer, orchestrator and arranger, he works in a wide spectrum of music from Jazz, Pop, and Classical to films and TV serials. As music co-ordinator for this project, he first visited Madras in February 1993 for initial discussions with Ilaiyaraaja. He shares his experience in this article which was published in the 1993 Autumn News Letter of the Association of Professional Composers (APC), London.
  
  Earlier this year I was fortunate enough to be invited to visit Madras as the guest of an Indian composer who is known-very well known as I later discovered- simply as ILAIYARAAJA. The reason for my visit was that enquiries had been made on the Maestro’s behalf to various bodies, organisations, orchestral management and associations (including our own APC) to investigate the possibility of arranging a recording here in Britain of a new work that he was intending to write. He wished, in fact, to extend his already prodigious output in a more positively artistic and perhaps, intellectually demanding manner by composing and recording a Symphony, in the hope that in this way, his considerable musical talents would reach a wider and more international audience.
  
  In the event, the Royal Philharmonic Orchestra had been selected to record his symphony, and my involvement as that of adviser on matters such as modern conventions in orchestration and recording procedures since I had been working closely with the RPO for some time previously. The Maestro wished me to advise him on matters such as the various strengths or weaknesses of the orchestra, and how best to write for such combinations, and in what form he should write to achieve the best results. It transpired that he had an incredibly busy schedule, which was why he requested that I visit him, rather than he visit us here in the UK.
  
  Now, before the beginning of this year I had not, I have to confess, heard of neither Maestro Ilaiyaraaja nor any of his music. So it was with considerable curiosity (and perhaps even a mild degree of skeptical disbelief) that I listened to the CD titled “How To Name It?” which was handed to me by way of preparation for my visit to Madras.
  
  My initial impressions on hearing this album were that the composer was clearly both talented, and well versed in many different musical traditions from all ends of the musical spectrum. There were strong influences from Bach particularly, and Mozart, and other composers from both Baroque and Classical periods of Western music, but also, quite properly as one would expect, influences from his own rich musical heritage with many complex and interesting rhythmic patterns and the use of ethnic scales, modes, stylistic devices, ornamentations and inflexions. This diversity and his fluency in using and combining such influences was very obviously one of his major strengths.
  
  Thus prepared, I went to Madras with considerable respect for this man, but still retaining a degree of skepticism for what I suspected were the more extravagant claims for the magnitude of his output. Although I was aware of the scale of the film industry in India, I was still unprepared for the scene in Madras - particularly when compared to the sad decline of our own film industry here in Britain.
  
  Meeting the Maestro at the film studious AVM where he has worked for many years with enormous successes, I was greeted by this quiet, gentle and kind man, who, with good reason, is held in semi-reverence by those around him, yet who was prepared to take time out from his busy schedule scoring for films to meet me and consult with me about matters relating to the planning and necessary preparations for the writing and recording of his first symphony.
  
  The first eye-opener for me was learning that this particular composer was so popular with the film-going audiences in Southern India (whose enthusiastic appetite for the cinema equals only their love of cricket) that his photograph appears on the posters, billboards and advertising for the film - as large as the photos of the actors whose popularity and status he rivals. Apparently, his name attached to a film (and his picture on the publicity) guarantees the film producer at least five additional weeks retention in the cinemas. The public adores him, and as such, producers are constantly beating a path to his door; he can and does command as high a fee as he considers a film producer’s budget can stand - and he gets it.
  
  I tried to describe for him the difference in the situation over here or in America; how many of the general public know or even care who wrote the music for most of our films, let alone would recognize and appreciate the composer’s picture on the billboards? I would imagine quite a few people would have heard of John Williams, but would they know what he looks like?
  
  Naturally this pre-eminence in the industry allows Ilaiyaraaja great freedom, both artistically, in terms of the style of music and the instrumentation that he may choose to employ and the artists, but also editorially. What do I mean? Well this was my next eye-opener; the producer or director doesn’t tell the Maestro which music cues he will require, nor does he decide where they will begin or end, or what mood he wishes the music to help create or reinforce - the Maestro tells him!
  
  This revolutionary approach certainly has one very positive effect, which is easily and instantly appreciated; there is much less time wasted in the early stages of planning and pre-production, and less hassle for the composer, who is not therefore subjected to delays while re-shoots or re-cut versions are prepared, nor made to suffer the criticisms and indecision of a “committee” of opinions.
  
  My latent skepticism on being told that Ilaiyaraaja had scored the music for 700 films in 17 years all but vanished when I arrived at the film studios to observe him working on a new film from the outset. My awe and admiration for him increased when I realised that without the aid of lists of music cues, a music editor or even a stopwatch, the Maestro was able to compose accurately a piece for a particular film cue which fitted exactly not only the required timing but also the mood and pace of the action on the screen, heightening the tension if it was a fight scene, or enhancing with beautiful lyrical melodies the romantic mood of a love scene, or just adding spontaneously joyous excitement rhythmically to a dance scene.
  
  Having written this piece in a form of short score - part Western notation and part Tamil - with full instructions for the orchestration, the players clustered round him proceeded to write their own parts out, and immediately sit down to record this piece. This practice itself accounts for the speed at which a film score can be completed (just two and a half days was his record) but this in no way diminishes the achievements of the composer, who brings such natural and intuitive talent to his work.
  
  Although he says of himself that the music comes from God and he is merely the conduit for its transmission, it must be said that without his incredible ability to absorb influences and use them to such good effect, combined with his innate musical skills and finely-tuned ear, God might perhaps have sought a different channel of musical communication. As it is, all of India, not merely the South, must feel very proud of its native composer who has achieved so much for films and now in the wider sphere of recorded music.
  
  The recordings with the RPO were extremely successful. The music contained so many beautiful melodies and exciting moments, and was found to be quite challenging by the orchestra, who were naturally unfamiliar with the Maestro’s style at first, but who soon became adept at its interpretation.
  
  Many were expecting the music to display a more obviously “Indian” flavor, but since I was aware that Ilaiyaraaja had set himself the task of reaching the widest possible international audience and did not wish his work to be heard in the context of a “novelty item” or a fusion of East and West in ways which have already been explored, I was not surprised by the accessibility of the music to Western ears. Nevertheless, Indian influences there are in abundance in the way in which he has used rhythms, and certain stylistic and ornamentational devices, and I for one am glad that these are present in this his first symphony.
  
  It is truly a very accessible piece of music and one, which I hope, will be played and enjoyed throughout the world. I was very proud to have been involved both as an orchestration adviser, and as music producer to this project from the very beginning; from the moment that I first heard the exciting music of Maestro Ilaiyaraaja back in January 93. I hope our association will continue long into the future.
  
  Mike Townend lives in Rickmansworth with his wife Gill, a professional Music Copyist.
  44 Eastwick Crescent, Rickmansworth, Hertfordshire WD3 2YJ England
  
  

---

List all pages of this thread

Post comments