Re: [arr] (Semi ARR) IR's interview to a Hungarian press

[Pradeepan R]

cant agree with u more !

On Thu, Nov 26, 2009 at 6:38 PM, kannan kannan wrote:

>
>
> Why this man's post here in arr's domine? One who does not want even to
> comment about arr, then what importance to post that here? this man's words
> and especially his photo currupts this forum . That's what I feel.
>
> Jai ho.
> -revathy-
>
> --- On *Thu, 26/11/09, S, Karthik * wrote:
>
>
> From: S, Karthik 
> Subject: [arr] (Semi ARR) IR's interview to a Hungarian press
> To: "arrahmanfans@yahoogroups.com" 
> Date: Thursday, 26 November, 2009, 1:17 PM
>
>
>
>   Can’t Cross the Road the Same Way Two 
> Times<http://lemarietta.wordpress.com/2009/11/24/cant-cross-the-road-the-same-way-two-times/>
> http://lemarietta. wordpress. com/2009/ 11/24/cant- cross-the- road-the-
> same-way- 
> two-times/<http://lemarietta.wordpress.com/2009/11/24/cant-cross-the-road-the-same-way-two-times/>
> *24Nov09*
>  “India and Hungary are very close to each other” Almost 900 film scores,
> 5000 film songs, countless discs — a dizzy amount of work stands behind 
> *IlaiyaRaaja.
> *The most wanted composer of the Indian film industry is a relatively
> frequent guest in Hungary: as friend and as colleague, he is in touch with
> several Hungarian jazz musicians, from time to time he also resorts to the
> help of the Miskolc Symphony Orchestra. He has recently been to Budapest
> again. Csider István Zoltán <http://cellovolde.com/>, Le 
> Marietta|Népszabadság<http://nol.hu/lap/kult/20091118-nincs_ket_egyforma_atkeles>|
>  2009.
> november 18.
> <http://nol.hu/lap/kult/20091118-nincs_ket_egyforma_atkeles>
>
> One tries to imagine Indian film composers very rarely, but still: we had
> imagined *IlaiyaRaaja *exactly like this. Bright eyes, friendly face and
> the obligatory glasses. He received amicably the journalists of *Népszabadság
> *in an elegant, stylish hotel room, after offering them a seat, he almost
> disappeared in a giant armchair. During the conversation there was a bleak
> smile on his face, even when we were asking him about his ex-disciple, the
> composer to the soundtrack of *Slumdog Millionaire*, *A. R. Rahman* and
> his success in Hollywood, or about Rahman at all. Smiling and correct, he
> refused to answer by saying everybody can do what he’d like to do, and well,
> it wouldn’t be elegant to talk about a fellow. “And anyway, would a
> Hungarian journalist talk about other Hungarian journalist colleagues?”, he
> asked, and it could be seen he was sure of getting a negative answer.
>
> Right from this saw we that IlaiyaRaaja doesn’t know the Hungarian, to a
> bit extended level: the European press relations. Which is, however, a good
> thing.
>
> The most productive composer of the Indian film industry came to Budapest
> to do the post-production of his newest film score which had been recorded
> in July with Miskolc Symphony Orchestra conducted by *László Kovács,* the
> mixing was done at the Hungarian Radio’s studio with the help of *Dénes
> Rédly,* sound engineer. But why had he chosen a Hungarian symphony
> orchestra for the records? The two countries are fairly far away from each
> other…
>
> “India and Hungary are actually very close to each other, the national
> tricolors differ only in one tone of color,” he answered laughing, but then
> turned to talk seriously: he thinks Hungarian musicians can compete anytime
> with other countries’ artists. In his homeland there are no symphony
> orchestras at all. In Chennai where he lives, there are excellent musicians
> playing on strings, playing on wind instruments but they’re never organized
> to one orchestra: setting up this kind of ensembles has no tradition there.
>
> When IlaiyaRaaja had been in Budapest around 2000, he had gotten to know 
> *Attila
> László* jazz guitarist-composer. He had liked the compositions of László
> so much that he had asked him to work together. In August, this year the
> Hungarian composer traveled to Chennai with *Béla Lattman*, bassist and *János
> Nagy*, pianist to play for the recording of the Indian master’s 882th film
> score.
>
> A series of coincidences had led IlaiyaRaaja to the profession of music,
> for that later his goal could be defined: once he would be music director.
> When he had stepped into the field of film-making, composing had had just a
> functional role in the Indian film industry, there had been far less
> spiritual content, and the variety of music had had much room for
> improvement, too. This probably had derived from the working method of
> composers, indeed from the relations among musicians. Raaja had found
> something important for him in Western music, he had started to play the
> guit

Re: [arr] (Semi ARR) IR's interview to a Hungarian press

[Vinayakam Murugan]

Though you are right on the front that this interview has no relevance,
let's not demean another great artist .


Warm Regards
~~~
Vinayak

http://www.flickr.com/photos/rightplacerighttime/


On Fri, Nov 27, 2009 at 5:08 AM, kannan kannan wrote:

>
>
> Why this man's post here in arr's domine? One who does not want even to
> comment about arr, then what importance to post that here? this man's words
> and especially his photo currupts this forum . That's what I feel.
>
> Jai ho.
> -revathy-
>
> --- On *Thu, 26/11/09, S, Karthik * wrote:
>
>
> From: S, Karthik 
> Subject: [arr] (Semi ARR) IR's interview to a Hungarian press
> To: "arrahmanfans@yahoogroups.com" 
> Date: Thursday, 26 November, 2009, 1:17 PM
>
>
>
>   Can’t Cross the Road the Same Way Two 
> Times<http://lemarietta.wordpress.com/2009/11/24/cant-cross-the-road-the-same-way-two-times/>
> http://lemarietta. wordpress. com/2009/ 11/24/cant- cross-the- road-the-
> same-way- 
> two-times/<http://lemarietta.wordpress.com/2009/11/24/cant-cross-the-road-the-same-way-two-times/>
> *24Nov09*
>  “India and Hungary are very close to each other” Almost 900 film scores,
> 5000 film songs, countless discs — a dizzy amount of work stands behind 
> *IlaiyaRaaja.
> *The most wanted composer of the Indian film industry is a relatively
> frequent guest in Hungary: as friend and as colleague, he is in touch with
> several Hungarian jazz musicians, from time to time he also resorts to the
> help of the Miskolc Symphony Orchestra. He has recently been to Budapest
> again. Csider István Zoltán <http://cellovolde.com/>, Le 
> Marietta|Népszabadság<http://nol.hu/lap/kult/20091118-nincs_ket_egyforma_atkeles>|
>  2009.
> november 18.
> <http://nol.hu/lap/kult/20091118-nincs_ket_egyforma_atkeles>
>
> One tries to imagine Indian film composers very rarely, but still: we had
> imagined *IlaiyaRaaja *exactly like this. Bright eyes, friendly face and
> the obligatory glasses. He received amicably the journalists of *Népszabadság
> *in an elegant, stylish hotel room, after offering them a seat, he almost
> disappeared in a giant armchair. During the conversation there was a bleak
> smile on his face, even when we were asking him about his ex-disciple, the
> composer to the soundtrack of *Slumdog Millionaire*, *A. R. Rahman* and
> his success in Hollywood, or about Rahman at all. Smiling and correct, he
> refused to answer by saying everybody can do what he’d like to do, and well,
> it wouldn’t be elegant to talk about a fellow. “And anyway, would a
> Hungarian journalist talk about other Hungarian journalist colleagues?”, he
> asked, and it could be seen he was sure of getting a negative answer.
>
> Right from this saw we that IlaiyaRaaja doesn’t know the Hungarian, to a
> bit extended level: the European press relations. Which is, however, a good
> thing.
>
> The most productive composer of the Indian film industry came to Budapest
> to do the post-production of his newest film score which had been recorded
> in July with Miskolc Symphony Orchestra conducted by *László Kovács,* the
> mixing was done at the Hungarian Radio’s studio with the help of *Dénes
> Rédly,* sound engineer. But why had he chosen a Hungarian symphony
> orchestra for the records? The two countries are fairly far away from each
> other…
>
> “India and Hungary are actually very close to each other, the national
> tricolors differ only in one tone of color,” he answered laughing, but then
> turned to talk seriously: he thinks Hungarian musicians can compete anytime
> with other countries’ artists. In his homeland there are no symphony
> orchestras at all. In Chennai where he lives, there are excellent musicians
> playing on strings, playing on wind instruments but they’re never organized
> to one orchestra: setting up this kind of ensembles has no tradition there.
>
> When IlaiyaRaaja had been in Budapest around 2000, he had gotten to know 
> *Attila
> László* jazz guitarist-composer. He had liked the compositions of László
> so much that he had asked him to work together. In August, this year the
> Hungarian composer traveled to Chennai with *Béla Lattman*, bassist and *János
> Nagy*, pianist to play for the recording of the Indian master’s 882th film
> score.
>
>  A series of coincidences had led IlaiyaRaaja to the profession of music,
> for that later his goal could be defined: once he would be music director.
> When he had stepped into the field of film-making, composing had had just a
> functional role in the Indian film industry, there had been far less
> spiritual content, and the variety of music had had much room for
> improvement, too. This probably had derived from

Re: [arr] (Semi ARR) IR's interview to a Hungarian press

[kannan kannan]

Why this man's post here in arr's domine? One who does not want even to comment 
about arr, then what importance to post that here? this man's words and 
especially his photo currupts this forum . That's what I feel.
 
Jai ho.
-revathy-

--- On Thu, 26/11/09, S, Karthik  wrote:


From: S, Karthik 
Subject: [arr] (Semi ARR) IR's interview to a Hungarian press
To: "arrahmanfans@yahoogroups.com" 
Date: Thursday, 26 November, 2009, 1:17 PM


  






Can’t Cross the Road the Same Way Two Times
http://lemarietta. wordpress. com/2009/ 11/24/cant- cross-the- road-the- 
same-way- two-times/
24Nov09


“India and Hungary are very close to each other”
Almost 900 film scores, 5000 film songs, countless discs — a dizzy amount of 
work stands behind IlaiyaRaaja. The most wanted composer of the Indian film 
industry is a relatively frequent guest in Hungary: as friend and as colleague, 
he is in touch with several Hungarian jazz musicians, from time to time he also 
resorts to the help of the Miskolc Symphony Orchestra. He has recently been to 
Budapest again.
Csider István Zoltán, Le Marietta| Népszabadság| 2009. november 18.

One tries to imagine Indian film composers very rarely, but still: we had 
imagined IlaiyaRaaja exactly like this. Bright eyes, friendly face and the 
obligatory glasses. He received amicably the journalists of Népszabadság in an 
elegant, stylish hotel room, after offering them a seat, he almost disappeared 
in a giant armchair. During the conversation there was a bleak smile on his 
face, even when we were asking him about his ex-disciple, the composer to the 
soundtrack of Slumdog Millionaire, A. R. Rahman and his success in Hollywood, 
or about Rahman at all. Smiling and correct, he refused to answer by saying 
everybody can do what he’d like to do, and well, it wouldn’t be elegant to talk 
about a fellow. “And anyway, would a Hungarian journalist talk about other 
Hungarian journalist colleagues?”, he asked, and it could be seen he was sure 
of getting a negative answer.
Right from this saw we that IlaiyaRaaja doesn’t know the Hungarian, to a bit 
extended level: the European press relations. Which is, however, a good thing.
The most productive composer of the Indian film industry came to Budapest to do 
the post-production of his newest film score which had been recorded in July 
with Miskolc Symphony Orchestra conducted by László Kovács, the mixing was done 
at the Hungarian Radio’s studio with the help of Dénes Rédly, sound engineer. 
But why had he chosen a Hungarian symphony orchestra for the records? The two 
countries are fairly far away from each other…
“India and Hungary are actually very close to each other, the national 
tricolors differ only in one tone of color,” he answered laughing, but then 
turned to talk seriously: he thinks Hungarian musicians can compete anytime 
with other countries’ artists. In his homeland there are no symphony orchestras 
at all. In Chennai where he lives, there are excellent musicians playing on 
strings, playing on wind instruments but they’re never organized to one 
orchestra: setting up this kind of ensembles has no tradition there.
When IlaiyaRaaja had been in Budapest around 2000, he had gotten to know Attila 
László jazz guitarist-composer. He had liked the compositions of László so much 
that he had asked him to work together. In August, this year the Hungarian 
composer traveled to Chennai with Béla Lattman, bassist and János Nagy, pianist 
to play for the recording of the Indian master’s 882th film score.


A series of coincidences had led IlaiyaRaaja to the profession of music, for 
that later his goal could be defined: once he would be music director. When he 
had stepped into the field of film-making, composing had had just a functional 
role in the Indian film industry, there had been far less spiritual content, 
and the variety of music had had much room for improvement, too. This probably 
had derived from the working method of composers, indeed from the relations 
among musicians. Raaja had found something important for him in Western music, 
he had started to play the guitar, the piano and the violin, and he had been 
the first to use Western instruments, indeed unknown genres in his 
compositions. Just to mention some examples, pop, jazz, rock and roll, bossa 
nova and flamenco had gained grounds on the Indian screen by his work. And it’s 
not an irrelevant feat of arms that he had been the first Asian artist to 
compose a symphony for the London
 Philharmonic Orchestra.
Raaja said, in the beginning, if something hadn’t worked out as he had wanted 
it, he had become impatient with his musicians. Afterwards, by more and 
more spirituality moving into his compositions, this gradually had disappeared.
When asking him about the method of composing — by thinking that a work of life 
like his (more than 5000 film songs and almost 900 complete film scores are 
signed by his name) is a result of an

[arr] (Semi ARR) IR's interview to a Hungarian press

[S, Karthik]

Can’t Cross the Road the Same Way Two 
Times

http://lemarietta.wordpress.com/2009/11/24/cant-cross-the-road-the-same-way-two-times/

24Nov09
“India and Hungary are very close to each other”
Almost 900 film scores, 5000 film songs, countless discs — a dizzy amount of 
work stands behind IlaiyaRaaja. The most wanted composer of the Indian film 
industry is a relatively frequent guest in Hungary: as friend and as colleague, 
he is in touch with several Hungarian jazz musicians, from time to time he also 
resorts to the help of the Miskolc Symphony Orchestra. He has recently been to 
Budapest again.
Csider István Zoltán, Le Marietta| 
Népszabadság| 2009. 
november 18.

[http://farm3.static.flickr.com/2585/4130080727_eb90439a3c.jpg]

One tries to imagine Indian film composers very rarely, but still: we had 
imagined IlaiyaRaaja exactly like this. Bright eyes, friendly face and the 
obligatory glasses. He received amicably the journalists of Népszabadság in an 
elegant, stylish hotel room, after offering them a seat, he almost disappeared 
in a giant armchair. During the conversation there was a bleak smile on his 
face, even when we were asking him about his ex-disciple, the composer to the 
soundtrack of Slumdog Millionaire, A. R. Rahman and his success in Hollywood, 
or about Rahman at all. Smiling and correct, he refused to answer by saying 
everybody can do what he’d like to do, and well, it wouldn’t be elegant to talk 
about a fellow. “And anyway, would a Hungarian journalist talk about other 
Hungarian journalist colleagues?”, he asked, and it could be seen he was sure 
of getting a negative answer.

Right from this saw we that IlaiyaRaaja doesn’t know the Hungarian, to a bit 
extended level: the European press relations. Which is, however, a good thing.

The most productive composer of the Indian film industry came to Budapest to do 
the post-production of his newest film score which had been recorded in July 
with Miskolc Symphony Orchestra conducted by László Kovács, the mixing was done 
at the Hungarian Radio’s studio with the help of Dénes Rédly, sound engineer. 
But why had he chosen a Hungarian symphony orchestra for the records? The two 
countries are fairly far away from each other…

“India and Hungary are actually very close to each other, the national 
tricolors differ only in one tone of color,” he answered laughing, but then 
turned to talk seriously: he thinks Hungarian musicians can compete anytime 
with other countries’ artists. In his homeland there are no symphony orchestras 
at all. In Chennai where he lives, there are excellent musicians playing on 
strings, playing on wind instruments but they’re never organized to one 
orchestra: setting up this kind of ensembles has no tradition there.

When IlaiyaRaaja had been in Budapest around 2000, he had gotten to know Attila 
László jazz guitarist-composer. He had liked the compositions of László so much 
that he had asked him to work together. In August, this year the Hungarian 
composer traveled to Chennai with Béla Lattman, bassist and János Nagy, pianist 
to play for the recording of the Indian master’s 882th film score.

A series of coincidences had led IlaiyaRaaja to the profession of music, for 
that later his goal could be defined: once he would be music director. When he 
had stepped into the field of film-making, composing had had just a functional 
role in the Indian film industry, there had been far less spiritual content, 
and the variety of music had had much room for improvement, too. This probably 
had derived from the working method of composers, indeed from the relations 
among musicians. Raaja had found something important for him in Western music, 
he had started to play the guitar, the piano and the violin, and he had been 
the first to use Western instruments, indeed unknown genres in his 
compositions. Just to mention some examples, pop, jazz, rock and roll, bossa 
nova and flamenco had gained grounds on the Indian screen by his work. And it’s 
not an irrelevant feat of arms that he had been the first Asian artist to 
compose a symphony for the London Philharmonic Orchestra.

Raaja said, in the beginning, if something hadn’t worked out as he had wanted 
it, he had become impatient with his musicians. Afterwards, by more and more 
spirituality moving into his compositions, this gradually had disappeared.

When asking him about the method of composing — by thinking that a work of life 
like his (more than 5000 film songs and almost 900 complete film scores are 
signed by his name) is a result of an effective method of composing — he 
answered: composing is not a question of will or ambition for him. It doesn’t 
need to be that.

Music is born mentally, in the soul, one doesn’t think about it t