tag:blogger.com,1999:blog-29952324248730379662024-03-13T19:22:25.128-07:00Background ScoreFilm ScoreP.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.comBlogger458125tag:blogger.com,1999:blog-2995232424873037966.post-55989046587026173502022-01-17T22:56:00.015-08:002022-01-17T22:59:17.322-08:00Film-with-Live-Orchestra Concerts: A New Hope<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">I'm now doing a PhD at the Royal College of Music, London. On the experience of the audience attending Film-with-Live-Orchestra Concerts. On the accelerating audiovisual culture and its impact on live performance arts. I have made a sort of a film, a visual essay on my findings. I’d love to hear your thoughts on the work. It would be of great help if you could write a critique/feedback on the visual essay in the comments section of the YouTube video. </p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/4FxcBIP2wuI" width="320" youtube-src-id="4FxcBIP2wuI"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p><br /></p>P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com0tag:blogger.com,1999:blog-2995232424873037966.post-25526344939930403652020-07-22T23:07:00.002-07:002021-02-10T04:33:58.923-08:00Titanic Live<div dir="ltr" style="text-align: left;" trbidi="on">
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<div class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-align: left;"><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">Twenty minutes into the film <i>Titanic</i>, when Rose begins to recount the story, the camera slowly pans away from her close-up to the flickering screens behind. We see the video footage of the corroded remnants of the sunken ship. The flashback begins. The debris gradually peels off its rust and scar to regain the glossy skin that <i>still smelled of fresh paint</i>. Matching the spatial and temporal contours of the moving images is the musical score. The snare roll is marching on. The strings section ascends and gathers momentum at a pace dictated by the rhythm of the seamless transformation of the remnants into reminiscences. Precisely when the transition from the present to the past is complete, like the fizz rushing out of an uncorked bottle of soda, the orchestra pops open with a loud crash of cymbals. Fleeing on strings, like an enslaved bird freed from its cage, is the motivic melody that embodies the beauty and might of the ship Titanic. That crashing of the cymbals hit me like a bolt of lightning, and that, I believe, is the moment when I became a fan of symphonic music.</span><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm; text-indent: 36pt;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">Ilaiyaraaja had unlocked the portal to the world of film scores, but it was still only left ajar. It was James Horner’s score in the film <i>Titanic</i> that swung the door wide open. <i>Jurassic Park</i> was the only film in English I had seen before <i>Titanic</i>, and at the time, I didn’t yet have the ear and acuity to differentiate John Williams’ rapturous score from the T. Rex’s thunderous roar.</span><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm; text-indent: 36pt;"><span style="background-color: white; font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">I was fourteen. </span><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">I didn’t know that in the score of <i>Titanic </i>synthesised sounds and voices were interlaced with orchestral music to create a unique sonic tapestry. I didn’t have to know. The music in <i>Titanic</i> was simple and earnest, and its effect direct.</span><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm; text-indent: 36pt;"><span style="background-color: white; font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">I found, at a friend’s place in Salem, a <i>Back to Titanic</i> cassette with Jack and Rose’s <i>I’m Flying</i> pose on its deep oceanic blue front cover. I heard the score while I was at my friend’s place for a group study session with the other classmates. That wasn’t enough, and the place wasn’t right. It was difficult to immerse myself into the music amidst all the chitter-chatter. I couldn’t borrow the cassette. Also, the moment I noticed the price on the cassette cover, I quashed the thought of ever owning it.</span><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm; text-indent: 36pt;"><span style="background-color: white; font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">I heard the score again a few months later when I watched the film on its Indian television premiere on the New Year’s Eve. I thought the end credits drew the curtains down with the Celine Dion’s song <i>My Heart Will Go On,</i> but<i> </i>there was more. I couldn’t have possibly known this earlier. The operators never let the end credits roll to play in any of the cinema theatres in India. They would abruptly switch the projection off within a few seconds, and the audience too would start to exit the hall immediately after the end.</span><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm; text-indent: 36pt;"><span style="background-color: white; font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">The most exhilarating of all the cues in the score—entitled <i>Take Her to Sea, Mr. Murdoch</i> on the soundtrack album—played immediately after Celine Dion’s love ballad in the end credits. It was already midnight. Everyone at home was asleep. I had to keep the volume low. I had to hug tight our 21-inch CRT TV with my left ear on the speakers to hear the score. Though the sound was feeble, compressed, and mono, the music was sublime. The most vivid aural imprint of the moment is the thin church bell tolling sound which appears at the chilling transitional moments in the orchestral piece. It has in its metallic clang a ring of divinity and otherworldliness, and it sounded as if each stroke knocked open a door to a newer, higher plane of transcendence.</span><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm; text-indent: 36pt;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="background-color: white; font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">I was in tenth grade at the time, and I wouldn’t hear <i>Titanic</i> score again until after two years; when I would be in college, and when I could afford to buy cassettes. My parents would offer me some pocket money, which I saved and splurged on music. I also owned a Philips two-in-one tape recorder; a gift from my parents for securing the first rank in class in the final board examination.</span><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm; text-indent: 36pt;"><span style="background-color: white; font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">I was studying mechanical engineering in Trichy, where I found the biggest music shop I had seen so far. The <i>Rhythm Boss</i>. I could see the interiors of the shop through the glass door in the front. The shop had audio cassettes stacked like decorative tiles on all the three walls from floor to ceiling. The walls appeared mosaic painted with multiple hues of that of the cover art on the cassette boxes. The shop had an immense collection of music and a legibly hand-written catalogue book with the names of the movie soundtracks sorted in alphabetical order, and a detailed listing of the names of the tracks under each title. It was the first time I had the opportunity to dig rare Indian film soundtrack albums with instrumental music tracks. In the catalogue, I spotted two titles I didn’t think I would find in their collection—<i>Titanic</i> and <i>Back to Titanic</i>. I made a mixtape with selected instrumental pieces listed as <i>Theme Music</i> from a wide range of Indian films, and I included a few tracks from <i>Titanic,</i> too. I knew most of the music cues in the <i>Titanic</i> score by heart, but I realized that I didn’t know their titles.</span><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm; text-indent: 36pt;"><span style="background-color: white; font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">I picked the track titled <i>Southampton</i>. I remembered that in one of the shots at the beginning of the film a green luggage carrier pulled through the crowd of passengers waiting to board the ship; it had <i>Francis Ltd Southampton</i> written on it. I was convinced that the track <i>Southampton</i> must be the piece of music that plays when the Titanic departs from the port. Also chose the tracks <i>Rose</i> from <i>Titanic</i> and <i>An Irish party in the third class</i> from <i>Back to Titanic</i>.</span><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm; text-indent: 36pt;"><span style="background-color: white; font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">The track <i>Rose</i> wasn’t what I presumed it to be. The piece I craved to listen to is in fact delivered under the title <i>Take her to sea, Mr. Murdoch </i>in the soundtrack.</span><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm; text-indent: 36pt;"><span style="background-color: white; font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">‘Take her to sea, Mr. Murdoch,’ says the captain when he commands his associate Mr. Murdoch to increase the speed of the ship. I didn’t know that for a long time. I couldn’t have discerned that the musical cue playing in Jack’s <i>I’m-the-King-of-the-World</i> moment could be titled <i>Take her to Sea, Mr. Murdoch</i>. When I watched the film for the first time, I hardly understood the dialogues, for it was only the second English film I ever saw. Though English was our medium of education in school, the teachers who taught us in English didn’t have the accents of the characters in the film. And none of us students in school ever casually conversed in English either.</span><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"> </span></p><p class="MsoNormal" style="margin: 0cm;"><span style="background-color: white; font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">It has been seventeen years since I first watched <i>Titanic</i> at<i> </i>the <i>Saraswathi </i>movie theatre in Salem. I am about to experience watching the film on a big screen again at the London Royal Albert Hall. Conductor Ludwig Wicki with the Royal Philharmonic Concert Orchestra is performing the whole score live to the projection of the film. James Horner, the composer, and James Cameron, the filmmaker, are seated in the stalls. I am standing far from the stage up above in the general gallery.</span><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm; text-indent: 36pt;"><span style="background-color: white; font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">The musicians in the orchestra aren’t seated in a dark pit under the podium like they are in an opera or ballet performance; they are up on the stage and given the prominence of that of a lead singer in a band. Subdued golden yellow spotlights on sheet music stands illuminate the stage enough for the audience to observe the musicians, their musical instruments, and the conductor and his gestures. The film projection screen is dangling high above the stage, behind the orchestra.</span><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm; text-indent: 36pt;"><i><span style="background-color: white; font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">Titanic</span></i><span style="background-color: white; font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"> <i>Live</i> is a gala concert event meant for celebration, reverence, and indulgence in nostalgia. Many who are attending this event are here to celebrate a special occasion in their lives — birthdays, anniversaries, or a date night. Men are all suited up. Women glittered up. Couples hold each other’s hands and peck on each other’s cheeks. Outside, in the foyer, there is a mandatory souvenir stall selling the film merchandise — T-shirts, music CDs, the glossy program book. And food. Popcorn. Ben & Jerrys. Crisps. Haagen-Dazs. Wine. Coffee. It is a quiet carnival. </span><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm; text-indent: 36pt;"><i><span style="background-color: white; font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">We request the patrons to occupy their respective seats. The main event is about to begin.</span></i><span style="background-color: white; font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"> A booming voice alerts all the men hanging out at the bar and women waiting in a long queue outside the loo.</span><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm; text-indent: 36pt;"><span style="background-color: white; font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">Lights are off. Coughs and claps subside. The screen wakes up. The conductor lifts the baton and waves at the orchestra. We slip into a collective dream.</span><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm; text-indent: 36pt;"><span style="background-color: white; font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">Few minutes into the film, Jack is standing with his friend at the nose of the ship. So close to the edge that no part of the giant ship is in his line of sight. He is looking at the horizon. He is standing atop all earthly entities, like an emperor who just conquered the infinite ocean and summoned it to lay down at his feet.</span><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm; text-indent: 36pt;"><span style="background-color: white; font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">When he begins to scream with unbridled joy, ‘I’m the King of the World,’ camera’s eye is looking at him from a distance, and from forty-five degrees to his right. The sunlight glistening on the surface of the ocean splashes over the sky in the background turning it into a glaring white. The movements are kinetic, dramatic and its effect is beguiling because everything is set in frantic motion. The ship is cruising forward, the camera is moving relentlessly in different directions; towards, away or sideways around the nose of the ship, with its eyes always fixed on Jack, who is in a state of nirvana.</span><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm; text-indent: 36pt;"><span style="background-color: white; font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">Camera’s movements are orchestrated like a symphony, with all the instruments at the director’s disposal swiveling around a central motif that is Jack’s infectious exuberance. James Horner’s delirious score is applied to this sequence to unify and transform all the fervent visual acrobatics into one seamless moment of stillness.</span><span style="font-family: "Trebuchet MS", sans-serif; font-size: 10pt;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm; text-indent: 36pt;"><span style="background-color: white; font-family: "Trebuchet MS", sans-serif; font-size: 10pt;">Precisely when Jack screams ‘I’m the king of the world,<i>’</i> with a loud thud of a percussion and the crash of cymbals, the 60-piece strings section breaks free. I am standing still, clutching tight the handrails of the gallery. Strings soar high and above all the other orchestral layers, and at its peak pronounces the ship’s theme aloud. At once, in an infinitesimal moment, the bombast of the score fires up an electric pulse through every cell in my body. A million things are set in motion. And voila! A small pearl of a tear in my eyes. Just a tiny moistening drop, forming a thin translucent film. The cruising images of <i>Titanic</i> I behold in my eyes wobble as if they fell on the ripples in a pool of water.</span></p></div>
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P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com2tag:blogger.com,1999:blog-2995232424873037966.post-90296412638974731462019-08-16T19:48:00.001-07:002020-01-07T14:31:28.863-08:00Jurassic Park Live in Concert<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="background-color: white; color: #3c3c3c;">I was eight when I watched my first English film. Like most other mofussil town millennials growing up in India, Steven Spielberg’s </span><a href="https://www.imdb.com/title/tt0107290/" style="background-position: 0px 0px; box-sizing: border-box; color: #f0696a;">Jurassic Park</a><span style="background-color: white; color: #3c3c3c;"> was my first English film too. At the time, I didn't yet have the ear to differentiate </span><a href="http://www.johnwilliams.org/reference/biography" style="background-position: 0px 0px; box-sizing: border-box; color: #f0696a;">John Williams</a><span style="background-color: white; color: #3c3c3c;">’ rapturous score from T. Rex’s thunderous roar, among the sounds I heard while watching the film. The next ten years, I grew up in the modest city of Salem, in the state of Tamil Nadu, utterly oblivious to the existence of the music of </span><em style="box-sizing: border-box; caret-color: rgb(60, 60, 60); color: #3c3c3c;">Jurassic Park</em><span style="background-color: white; color: #3c3c3c;">.</span></span></div>
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<span style="background-color: white; color: #3c3c3c;"><span style="font-family: "trebuchet ms" , sans-serif;">Read the complete concert review <a href="http://theworldofapu.com/jurassic-park-live-in-concert/" target="_blank">here</a></span></span></div>
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P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com0tag:blogger.com,1999:blog-2995232424873037966.post-84865530320561894472019-03-10T09:32:00.001-07:002019-03-10T09:46:16.039-07:00Score to Screen: Disney's UP<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "trebuchet ms" , sans-serif;">A new <b><i><a href="http://theworldofapu.com/score-to-screen-up/" target="_blank">essay</a> </i></b>in which I have attempted to look and hear closely the Married Life montage from Up to examine how music (Michael Giacchino) is married to the moving images. It is now published on the Issue 09 of a multi-lingual online film magazine theworldofapu.com. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">Thanks to the editors for soliciting the essay; it gave me the impetus I needed to write something I had been thinking of writing someday for many years.</span></div>
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P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com0tag:blogger.com,1999:blog-2995232424873037966.post-4648778389553824022018-09-13T10:12:00.000-07:002018-09-13T10:12:01.574-07:00John Williams' Music by Emilio Audissino<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-US" style="font-size: 10pt;"><span style="font-family: Trebuchet MS, sans-serif;">I
always scour for books on film scores, and I have read a few before. My most favorite
book on film scores was Doug Adams’ <i>The
Music of the Lord of the Rings films. </i>It<i>
</i>is a hefty, glossy, hardbound tome in which the author examines Howard
Shore’s Wagnerian leitmotiv method of scoring for multiple tribes, cultures,
characters and creatures in the Middle Earth. The book is a focused monographic
study of the score of just one film, and I thought it the most definitive book
on film scores. But that changed when I stumbled upon Emilio Audissino’s <i>John Williams’ Music: Jaws, Star Wars,
Raiders of the Lost Ark and the Returns of the Classical Hollywood Music style;
</i>an immense, scholarly study on the vast film music repertoire and the long career
of the legendary film composer John Williams.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 10pt;"><span style="font-family: Trebuchet MS, sans-serif;">Audissino
is a film scholar and a film musicologist. He holds a PhD from the University
of Pisa and his PhD theses was on John Williams’ music. The book is the
culmination of various papers, articles, and the final PhD theses he had written
on Williams’ music. However, the book is totally stripped off of all the
cumbersome academic terminologies that could have rendered it inaccessible to
the general readers.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 10pt;"><span style="font-family: Trebuchet MS, sans-serif;">It
is evident that Audissino intends the book to be accessible to all. Even those
who wouldn’t have thought in their entire lives about film music might still be
drawn to this book because of the names of some of the most iconic Hollywood
franchise films—<i style="mso-bidi-font-style: normal;">Jaws, Star Wars </i>and<i style="mso-bidi-font-style: normal;"> Indiana Jones—</i>on the book’s title, and
hence Audissino doesn’t drop us directly in a jungle of musical jargons. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 10pt;"><span style="font-family: Trebuchet MS, sans-serif;">The
book begins with a simple, detailed explanation of the methodology and terminologies
Audissino has used to illustrate the significance of music in films. Diegetic,
non-diegetic, extra diegetic, micky-mousing, soundtrack, wall-paper music, contrapuntal,
leitmotif, applied music, absolute music and such terms are introduced with simple,
concise and comprehensible definitions. He holds our hands until we can walk on
our own, explains the basics, and sets up the context before he divulges deep
into the theories and functions of John Williams’ film music.<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></span></div>
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<span lang="EN-US" style="font-size: 10pt;"><span style="font-family: Trebuchet MS, sans-serif;">Audissino
presents an all-encompassing authoritative study of John Williams’ music and
his career as a musician, arranger, composer and a conductor. He makes a
compelling case for the neoclassical revolution that he believes John Williams
single-handedly initiated with his symphonic scores early in his career.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 10pt;"><span style="font-family: Trebuchet MS, sans-serif;">The
book starts with a comprehensive history of the relation between films and
music. There have been many books with elaborate accounts of music in the era
of silent cinema written by film scholars like Rick Altman, but Audissino
offers a succinct account of the evolution of sound and music in films here. In
the following chapter, he defines the phrase ‘classical Hollywood music style’
and talks about its pioneers (Erich Wolfgang Korngold and Max Steiner), explains
how Hollywood film production worked and how its business-model influenced the
kind of music used in films, and consequently the near extinction of the ‘classic
Hollywood music style’ just before John Williams stormed into the scene and
revived it with <i style="mso-bidi-font-style: normal;">Star Wars</i>.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 10pt;"><span style="font-family: Trebuchet MS, sans-serif;">In
each subsequent chapter, Audissino picks John William’s score in Jaws, <i style="mso-bidi-font-style: normal;">Star Wars </i>and<i style="mso-bidi-font-style: normal;"> Raiders of the Last Ark</i> and does a rigorous, microscopic, scene by
scene, cue by cue analysis of the score. He illustrates with ample evidence how
in a John Williams’ score, the ‘applied music’ blends in with the visuals of
the said film, despite the composer writing the music strictly adhering to the
formal techniques of the classical, ‘absolute music’. There is nothing in the
score that you cannot produce live on stage with a classical orchestra. It is pure
polyphonic writing.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 10pt;"><span style="font-family: Trebuchet MS, sans-serif;">I
did struggle with the musical terms like <i style="mso-bidi-font-style: normal;">sforzando,
fortissimo </i>and<i style="mso-bidi-font-style: normal;"> pianissimo </i>but
then because the book tells us precisely where the music is played in the film,
when I read these passages and simultaneously watched the scenes, it became easy
to appreciate the insight. The book doesn’t pretend to be a leisure reading
anyway, and I guess it’s intended readers, even if originally just a fan of the
film, once they start reading the book, wouldn’t mind making that extra effort
to do what is required to access and ascertain its contents. The stunningly thorough
examination of many components of the film and its musical score made me
appreciate music in films much better than I could have done on my own.<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-US" style="font-size: 10pt;"><span style="font-family: Trebuchet MS, sans-serif;">Then
Audissino delves extensively into the appointment of John Williams as the
conductor of one of the most popular American orchestras the Boston Pops
Orchestra, which historically have always had a European as its conductor. John
Williams was the first American to become Boston Pops’ conductor. Audissino
presents the context against which Williams changed the way film music was
represented in Classical music concerts, not as frivolous pop encore one dances
and claps to, but as a serious piece of art music that ought to be heard with
rapt silence that audience usual reserve for classical music. <o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-US" style="font-size: 10pt;"><span style="font-family: Trebuchet MS, sans-serif;">Further,
Audissino records Williams’ innovative ideas that spawned a new trend of
multimedia concerts based on films and film scores. On 16<sup>th</sup> March
2002, on the occasion of the premiere of the twentieth anniversary edition of
the film <i style="mso-bidi-font-style: normal;">E.T – The Extra-Terrestrial</i>,
composer John Williams, with Recording Arts Orchestra of Los Angeles, conducted
the complete score to the projection of the entire film. That was the first
ever time, a live orchestra’s performance of the score accompanied a non-silent
film throughout. Since 2002, Films with Live Orchestra concerts have grown in
number to become a regular event in major concert halls of the western world.
There are at least five hundred such concerts performed all over the world in
2018.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 10pt;"><span style="font-family: Trebuchet MS, sans-serif;">Audissino
offers a strong rebuttal to those who hold Williams’ popularity against his
genius by comparing his works with Ennio Morricone and such composers and
attempt to denounce his achievements. Despite Audissino’s evident enthusiasm
for John Williams’ music, he finally doesn’t deny the fact that the
ever-evolving Hollywood production system doesn’t allow John Williams’
classical Hollywood style spread far and wide; it remained just his distinct style
and the other composers continued to deviate and found newer ways of scoring
films; a glaring case in point, Hans Zimmer’s monophonic music and its stratospheric
success. Zimmer’s music is an irrefutable antithesis to everything John
Williams’ music stands for.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 10pt;"><span style="font-family: Trebuchet MS, sans-serif;">Audissino’s
study is focused on a few specific works from the repertoire of one composer,
and yet it discusses, even if briefly, many of the popular works of Williams’
contemporaries in order to substantiate Williams’ uniqueness. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 10pt;"><span style="font-family: Trebuchet MS, sans-serif;">Audissino’s
book is a stellar example of how a piece of academic writing on an obscure
subject can be tweaked to transcend beyond its esoteric scholarly boundaries
and made accessible without diluting the heft of its subject matter.<o:p></o:p></span></span></div>
<div class="MsoNormal">
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P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com1tag:blogger.com,1999:blog-2995232424873037966.post-30618323586542635622018-02-25T12:00:00.000-08:002018-02-25T21:39:27.231-08:00You in Me - Ghibran<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">Ghibran is
undoubtedly a beacon of hope in Tamil film music. Immensely original. A fresh
voice. Muted and Modest. Not an Anirudh or even a Santosh Narayanan in popularity,
but was the composer for three consecutive Kamal Hasan films. Ghibran has been
quietly marching ahead with tenacity and focusing on composing well-rounded songs;
give him any mood or ask for any genre, he cooks a song with a clean and crisp
melody, rich and dense arrangements, and moreover, always, a dash of sparkling
newness. <i style="mso-bidi-font-style: normal;">Nayyaandi</i> Songs are a towering
testament to his wicked mastery. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">Ghibran is
probably the first Tamil film composer, who had access to a full-length
symphony orchestra to record his debut film soundtrack (<i style="mso-bidi-font-style: normal;">Vaagai Sooda Va</i>). He studied film music in Singapore, and was
aspiring to work in Hans Zimmer’s team, but fortunately for us, he didn’t. With
his melodies soaked in Hindustani classical and his orchestration in western
classical, he doesn’t condescend on electronica. He always managed to strike a
fine balance between symphonic and synthesized music in his arrangements (he
call it Hybrid Orchestral). The heft of his melodies that lends it longevity is
cleverly camouflaged under the easy niceties to deliver instant pleasure.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">Ghibran has
recently released a single, an instrumental track, called <i>You</i><i style="mso-bidi-font-style: normal;"> in me</i>, that corroborates my assertions on his music, his
influences, and his methods. <o:p></o:p></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">Amidst the
singles that are not much different from your typical Tamil film song, which
shows no promise of breaking the shackles of the barriers imposed by the music
made for the medium of Tamil cinema, an instrumental piece, even if it sticks
entirely to the idioms of a Tamil film score, is a welcome initiative. This
proves that the creator, though aware of the unpopularity of instrumental
music, is willing to create, for he loves to create, and genuinely hopes it
will eventually find its audience. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">In <i>You</i><i style="mso-bidi-font-style: normal;"> in Me</i>, the motif is short, quiet
and melodic; ethereal and dreamy when it sparkles out of an acoustic piano; sounds
like a quintessential love theme in a Tamil film, especially when recapitulated
on an angelic female voice. Upon multiple recurrences in the span of the piece,
the melody does seem capable of evincing a neutral universality. The song soon
enters a meandering zone in the middle, where a distant woodwind plays a muted yearning
melody, against the occasionally rising brass tones and celestial atmospherics.
And piano quietly runs underneath in allegretto through the hazy jungle of
sounds. The theme is reprised electronically against techno beats, with
multiple layers of instruments fluttering away as accompaniments (a palette
Ghibran wonderfully put to use in<i style="mso-bidi-font-style: normal;">
Enthaara </i>song). I do enjoy moody, languorous soundscape pieces, however, with
a melody as malleable and potent as in this piece, I would have liked a few
more variegated orchestral versions of it neatly strung together within the piece.
<o:p></o:p></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">Go forth and
conquer Ghibran! Looking forward to more in the Ghibran’s Orchestra Series.<o:p></o:p></span></div>
<br />
<br />
<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/94TLsDsvFnc?rel=0" width="560"></iframe></div>
P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com1tag:blogger.com,1999:blog-2995232424873037966.post-72497912204428754742017-12-08T15:12:00.000-08:002017-12-08T22:22:46.804-08:00Rahman-Shankar Orchestral Suite<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">At the 2.0 audio launch, a symphony orchestra conducted by Matt Dunkley, performed
a suite of instrumental themes A. R. Rahman composed for Shankar’s films so
far. That they chose to perform instrumental themes instead of songs was a
surprise.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">These
themes, monophonic they maybe, warrant a symphonic orchestra, for the same
reason visuals of Shankar’s films’ songs require as many number of extras as
they do. It is for the grandiose. The bombast. The boisterous spectacle.<o:p></o:p></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">The
highpoint was hearing the <i>Gentleman</i>
theme; booming large through the robust symphonic orchestra the swag and the
power in the tune packed a solid punch (I would love to hear orchestra
performing <i>Kochadaiyaan</i> revenge Theme
like this). Also, the unsung <i>I</i> theme,
one of my favourites, which has the right mix of darkness, dread and fury and even
a drop of poisonous chemical in its sound, was extremely effective with the
live chorus and orchestra. I like that they played the theme without the
percussion section once before closing the suite with a bang.<o:p></o:p></span></div>
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<br /></div>
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<i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">Jeans</span></i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;"> theme was less effective, lost
in transcription, something was different and many parts of it were brutally
chopped out; felt they could have used <i>Jeans</i>
as an opportunity to go quiet with just Rahman playing the tune on Piano. It
would have brought a right balance in the suite in which most of the themes were
loud and bombastic. <i>Mudhalvan</i> theme
was just perfect for the orchestra; with the militaristic snare rolls, the
brass and strings section played the majestic tune in unison. The original
version itself had the grandeur of a live orchestra in its sound. The other <i>Mudhalvan</i> theme, the victory chant, that
appears later was bang on, with a slightly increased tempo, the choir and
orchestra were incredibly in synergy.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">Surprised
that they chose <i>Indian</i> End Credits music.
I wonder how many in the audience guessed the film, for this theme appears only
during the end credits of the film. However, when it was followed by the key
motif from <i>Kappaleri Poyaachchu, </i>it would
have been obvious.<i> </i>A solo Violin<i> </i>played the melody<i> </i>just<i> </i>about right<i> </i>to remind us the tune<i>, </i>but went down on a slippery slope
after the beginning<i>, </i>(or was it an
attempt to bridge the melody to the subsequent chorus part?) and it<i> </i>turned slightly better after the orchestra
took over. The orchestral version too jarred a little due to some of the new inflections
in the melody line. Rahman’s Indian melodies always lose some of its identity when
transcribed onto a score sheet for a western orchestra. I wonder who is to be
blamed for this. Rahman, though, was endearingly in trance, shaking his head
and swaying to the orchestra performing his creations, without any of these
concerns.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">Sivaji</span></i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;"> and <i>Endhiran</i> themes were originally created for a symphony orchestra
and recorded with one, so no changes or surprises there. There is still
something oddly asynchronous in <i>Arima </i>choir
piece. I guess it arises mainly from the verses in the chorus, not in the original
song and written only for the background score, that doesn’t sit well with the
beat of the song. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">Despite
all the flaws, this orchestral suite performance is a welcome change in the utterly
tiresome promotional events these audio launches have become otherwise. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">And,
whoever you are, adding those clap sounds (I am sure they weren’t as loud where
it was performed live) during the post, I would happily watch your fingers severed.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">P.S.
- Rahman said that he would be releasing a complete soundtrack with the cues
from the background score of the film once all the work is done. Hope, it isn’t
an empty promise this time, like it was when he promised the same with <i>Kochadaiyaan</i>. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<iframe allow="encrypted-media" allowfullscreen="" frameborder="0" gesture="media" height="315" src="https://www.youtube.com/embed/oZ2DKhVr398?rel=0" width="560"></iframe></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
</div>
P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com3tag:blogger.com,1999:blog-2995232424873037966.post-10684913032577206662017-12-01T12:08:00.001-08:002017-12-01T12:20:54.272-08:00Music of Satyajit Ray - Documentary<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">Though
I haven’t seen much of Ray’s films, I have heard most of his film scores thanks to the compilation <i><a href="https://www.saavn.com/p/album/bengali/The-Music-Of-Satyajit-Ray-1965/Ys4YHMFau4o_" target="_blank">The Music of Satyajit Ray</a></i>, which has 53 musical cues from his scores, and
have been a huge fan. His polyphonic arrangements are minimal, elegant and interesting,
and motifs simple and precise. The sheer clarity with which he pretty much does
everything shines through his music too. Found a documentary made by NFDC in
1984 on Music of Satyajit Ray, which has rare footage of live recording
sessions of some of Ray’s music. Ray is instructing the musicians and
conducting the orchestra. He is also seen playing his synthesizer at his home,
trying different ideas while writing a new melody. </span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">Also found an interview with
Satyajit Ray on his music, by a French documentary film maker Pierre-Andre
Boutang, in which he articulates with astonishing clarity his process, reasons,
about other composers he used for his films and how he played pieces of
Schubert or Sibelius in reverse in one of the scenes in his film <i style="mso-bidi-font-style: normal;">The Music Room</i>. This was in 1989. </span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">Ray talks
a lot about fusing Indian and Western classical idioms in his music, a style and
approach we find in Ilaiyaraaja’s music. I wonder if Satyajit Ray ever heard
Ilaiyaraaja’s music and if he did, would be amazing to know what he thought of
it.<o:p></o:p></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">Music
of Satyajit Ray Documentary<o:p></o:p></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">Ray on Music - Interviewed by Pierre-Andre Boutang<o:p></o:p></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 9"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/RWS5dlxwZDc?rel=0" width="560"></iframe><o:p></o:p></span></div>
</div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;">Ray on Music - Interviewed by Shyam Benegal</span><br />
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/VXd8brYfqdU?rel=0" width="560"></iframe></span><br />
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt;"><br /></span></div>
</div>
P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com0tag:blogger.com,1999:blog-2995232424873037966.post-32974849334970500712017-11-22T08:45:00.000-08:002017-11-22T17:02:20.988-08:00Virumandi Theme - Ilaiyaraaja<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt; line-height: 107%;">I have always been intrigued by the chilling effect
of Virumandi theme, which plays in its entirety in the opening credits of the
film. When I watched it the first time, on the first day of the release, music
in the opening credits got drowned in the euphoric noise of the Kamal Hassan
fans in the cinema hall. I did sense that something strange, unusual, utterly
original was playing underneath the imaginative title cards, but couldn’t catch
the actual theme. It wasn’t until I watched the film again on Television that I
heard the piece properly.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt; line-height: 107%;">I ripped the music from the bootlegged copy of the
film and added it to my Ilaiyaraaja score collection. I have heard the theme many
times since then, but didn’t fully comprehend the intricacies in the
orchestration that caused the chilling effect, until one day in the recent
past. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt; line-height: 107%;">The theme is orchestrated very precisely to evoke the
overall morbid tone of the film, and also to suggest the film’s ambitious Rashomon-like
structure. The narrative of the film offers two different perspectives on one
incident — the truth narrated by the protagonist and the twisted version of it by
the antagonist.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt; line-height: 107%;">In the theme music, the two versions of the story are
underlined by two layers in the instrumentation, in which two different instruments
from strings family, play the same motif with a slight and yet acute variation
in tone. A violin pronounces the theme with a dash of naiveté in its shrill
registers, and underneath, a cello renders the same melody with a cunning intonation in its
deep bass registers. Both are mixed in a way as if the cunning cello is snaking
around and squeezing the neck of the innocent violin. The two layers are wound so
tightly close in the final mix that the gap is ingeniously disguised; it isn’t
immediately evident, in the same way the truth isn’t in the two versions of the
story while they are being narrated. Later, a tender flute also joins the
layers of strings, duplicating the main theme, probably to suggest the plight
of Virumandi’s beloved Annalakshmi, the poor victim of the bloody war.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt; line-height: 107%;">Astounding!<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt; line-height: 107%;">Other layers too are in the theme precisely for
reasons pertaining the events and ideas within the film. The eerie chorus and tribal
rhythms suggest the barbaric brutality of the violence in the key incident of
the film. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt; line-height: 107%;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt; line-height: 107%;">Furthermore, all of these layers are magnificently
knit together with musical integrity of an absolute piece of music written for
its own sake. It would work just as fine and satisfying as a standalone mood
piece for a listener, who hasn’t seen the film, or isn’t cognizant of the
film’s complex themes and ideas expressed in its orchestration.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt; line-height: 107%;">Numero Uno, indeed.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.0pt; line-height: 107%;"><br /></span></div>
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<span style="font-size: 13.3333px; line-height: 107%;"><span style="font-family: "trebuchet ms" , sans-serif;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/yyBCH7Rh7_I?rel=0&showinfo=0" width="560"></iframe></span></span></div>
</div>
P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com0tag:blogger.com,1999:blog-2995232424873037966.post-4543938974719552892017-06-30T01:50:00.001-07:002017-06-30T01:52:03.049-07:00A.R.Rahman's MOM<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt; text-align: justify;">
<span style="font-family: "trebuchet ms" , "sans-serif";"><span style="font-family: "trebuchet ms" , sans-serif;">Rahman
truly believes, in music, there is assonance in dissonance, symmetry in asymmetry,
rhythm in randomness and that consistent uncertainty could also be comforting inevitability.
The lack of imitability in music can be counteracted with intrigue. <o:p></o:p></span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt; text-align: justify;">
<span style="font-family: "trebuchet ms" , "sans-serif";"><span style="font-family: "trebuchet ms" , sans-serif;">In
the soundtrack of “Mom”, the songs are strung together with musical phrases set
on a journey without a destination and the concern is only on what is happening
at the moment, and it doesn’t care whether it seamlessly entails the last
phrase or for that matter leads to the next phrase. There are no cyclical and
metrical comforts here. If these pieces were mathematical equations, they are
the ones in which the left hand side never tally with the right hand side. There is always something off balance, unsettling,
unfinished, and inconvenient in the song. It expands and flows in entropic
measure like the ever evolving universe that never stops to look back. There
are of course motifs but there is no telling the moment of its recurrence in
the time span of the piece. It occurs and recurs when it does. Music has to move
you emotionally, yes, but, wonderment and excitement are emotions too. Rahman
plays to that. <o:p></o:p></span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt; text-align: justify;">
<span style="font-family: "trebuchet ms" , "sans-serif";"><span style="font-family: "trebuchet ms" , sans-serif;">There
is nothing here that Rahman hasn’t done before, but he takes everything a notch
higher, a step further. In Andhimandhaarai (1996), Rahman goes extempore on Piano
while Unnikrishnan is crooning a classical Carnatic song; Set to a foot-tapping
rhythm and synth layers, it felt like Rahman lit up a dull Carnatic Katcheri
stage with a flood of modern neon lights. Yet, it has a definitive form,
structure and a comforting flow. Now, in “Be Nazaara”, an improvisatory classical
piece of music, vocals hit infinitesimal frequencies in between notes and with multiple
variations of it in each iteration of the thematic verse, and Rahman builds around
it an enigmatic soundscape where any e-sound goes. You can’t help but be
hypnotized by the amalgamation of the two breathlessly flowing layers of
randomness. It sucks you into its intergalactic musical warm hole and traps you
till the end. <o:p></o:p></span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt; text-align: justify;">
<span style="font-family: "trebuchet ms" , "sans-serif";"><span style="font-family: "trebuchet ms" , sans-serif;">You
could go on and on about the oddities and experiments, but Rahman does deliver
a few standard easy tracks to play to the gallery (O Sona Tere Liye). Every theory you form in your mind while listening to a piece
of Rahman’s music, Rahman fiercely confounds in the immediate next song in the
soundtrack, and sometimes in the very next section in the song itself. For all
the meandering qualities of the exquisite “Chal Kahin Door”, there is that earthy
flute section in the interlude, which is as affable a piece of music can get. A.R.Rahman’s
music contains both its yin and yang within itself. <o:p></o:p></span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;">
</span><br />
<span style="font-family: "arial" , "sans-serif"; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: Times New Roman;"><span style="font-family: "Trebuchet MS", sans-serif;">At this juncture, Rahman is not playing God creating anything at whim, he is rather a kid playing with his toys and having fun for his own amusement. A. R. Rahman, in the 25th year of his career as a composer, screams loud and clear “Mera yeh freaking freaking freaking music” through this spectacularly quirky, experimental and zany soundtrack. MOM – WOW!</span></span><span style="font-size: x-small;"></span></span></span><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"><o:p></o:p></span><br />
<br /></div>
P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com0tag:blogger.com,1999:blog-2995232424873037966.post-43726191578743590742017-03-01T12:39:00.002-08:002017-03-01T12:39:18.391-08:00Saarattu Vandiyila - Kaatru Veliyidai<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Trebuchet MS'; line-height: normal; text-align: justify;">
<span style="-webkit-font-kerning: none;">Saarattu Vandiyila - Melody is easy, rhythm is zingy, percussive arrangement is crisp, mood is festive, the whole song is conventional, comforting and an instant ear-worm. The song is Rahman’s take on the most popular tamil folk riff “Thanna na naa dhinam, Thanna na naa dhinam, Thanna na naa dhinam, Thandhaanae”. Vairamuthu pours into the one-trick melody lots of beautiful words and phrases filled with playful imagery and innuendos. Sample this, “Avan kaigalil udayattum kanni kannadi” — the image of bride’s virginity as a brittle glass that would be broken in the hands of the groom on the wedding night. Vairamuthu’s earthy Tamil syllables have always had problems sitting comfortably on Rahman’s polished musical phrases and sophisticated production (example, purusan in Yaaro Yaarodi), but in Saarattu vandiyila marriage between the two sounds almost perfect. That final crescendo, where all the best riffs of the song come stacked in many layers, blossoming together like petals of varied colours in one flower, it makes you go “Pudhu Ponnae, Adhu dhaandi Rahmanin baani”. </span></div>
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<span style="-webkit-font-kerning: none;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/gjW7UuyMfZU" width="560"></iframe></span></div>
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P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com1tag:blogger.com,1999:blog-2995232424873037966.post-69159919567828010482017-02-15T14:34:00.000-08:002017-02-15T14:34:30.590-08:00Vaan Varuvaan - Kaatru Veliyidai<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; line-height: normal; text-align: justify;">
<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif;">Vaan Varuvaan - Here comes again, flying from above, the sound, that Rahman Sound! The sound defined not by contrapuntal layers of melodies, but by endless layers of sparkling e-sounds enmeshed together to be a carrier and a cushion for the voice, the melody and the mood. After the opening Piano chords, any hint of acoustic instrumentation in the layers underneath the melody is avoided fearing they might hurt the serenity of the central melody. Even the omnipresent flute and choir do not play or sing any definitive melody; maybe they do, but they are not allowed to be heard in its original form; a whiff of the sound, just a whiff of it, picked at a moment precisely before the basic sound dissolves into silence is used to fill the sonic canvas. Despite the seductive soundscape and Saasha’s sensuous rendition, it took a while for me to embrace Vaan Varuvaan. The first few times I heard the song, the long opening line of the melody, with multiple “Vaan” words in succession, remained elusive. Melody sounded constrained by the monotonic words in the poetry (which isn’t a problem in the equally wonderful Telugu version “Mairmarupaa”). But, that was, only in the warm-up phase. Suddenly, when you are totally unaware, the contour of the melody reveals itself, and in that moment of Rahmanealization, Vaan Varuvaan does what every magical Rahman song does — finds a sweet little spot in our memory, digs a tiny hole, locks itself up to stay in there, forever.</span></span></div>
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P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com3tag:blogger.com,1999:blog-2995232424873037966.post-60439692651491112822017-02-01T12:53:00.001-08:002017-02-04T03:30:25.455-08:00Azhagiyae - Kaatru Veliyidai <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="-webkit-font-kerning: none;">Azhagiyae - Fresh as the first dew at dawn; Warm as a tight hug; Sweet as a gentle kiss on the forehead; Cute as a cream swirl-topped Cupcake; Light as a snow flake; Breezy as the ride along the coast; Beautiful as a just blossomed flower; Frothy as the tide crawling to the shore; Romantic as the twilight at dusk. </span></div>
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<span style="-webkit-font-kerning: none;">It has been twenty five years since Roja, Maniratnam and A.R.Rahman get younger by the day and continue to churn charming, irresistible tunes. </span></div>
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P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com1tag:blogger.com,1999:blog-2995232424873037966.post-19174259160387594452016-07-12T13:04:00.000-07:002016-07-15T00:23:22.197-07:00Mohenjo Daro Music - A.R.Rahman<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-kerning: none; font-size: large;">Why is it becoming increasingly difficult to instantly embrace Rahman’s songs? Thalli Pogadhey (Achcham Enbadhu Madamaiyada), Omana Penne (Vinnathaandi Varuvaaya), To Koi Aur Hai (Tamasha), Mahi Ve (Highway), Phir Se Udd Chala (Rockstar), Oscar Sangamam, Theera Ula (OK Kanmani), Prelude of Parade De La Bastille (Tamasha), recital parts in Sindhu Ma (Mohenjo Daro), Whisper Themes (Mohenjo Daro) — all of these have something in common, they didn’t make any sense to me on first few hearings. Though, I have embraced all of these songs a while later, they needed a warming up phase. </span></div>
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<span style="font-kerning: none; font-size: large;">From our past listening experiences, all of us who have an opinion on music, have an instinct of how a melody that starts in a certain way would flow to reach a point of inflection before arriving at a smooth resolution at the end, and even if it meanders for a while, we know that it would follow a certain comforting path to come back to the main melody. You could always sense, even if not very consciously, a mathematical precision in such melodies, but in some of Rahman’s melodies, there is no evidence of comfort, convention and an effort to balance the left and right side of the mathematic equation in music. The melody doesn’t present a problem, and even if does, there is no resolution provided. The melodies don’t seem to take their destined, innate paths on its course. Rahman doesn’t do film music as we know it anymore in these experimental songs. Melodies take a twisted and convoluted path; they feel like some scattered, disjointed, short, independent phrases strung together. </span></div>
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<span style="font-kerning: none; font-size: large;">Rahman would still not completely avoid including instantly pleasing songs. He would ensure a Sarsarsariya follows an oddly structured Sindhu Ma or a Avaalum Naanum is placed soon after a Thalli Pogadhey in a soundtrack, the kind of songs that sticks to the grammar of a film song as we know it. I wondered if the strange flow in the melody is the effect of Rahman trying to set a lyricist’s new age non-metric poetry to tune. Even that doesn’t seem to be the cause. I was shocked when lyricist Thamarai revealed in her Facebook page that she was given the complete tune of Thalli Pogadhey in Rahman’s voice, and that she thought it was a weird tune to write lyrics for. Not a thing in the tune was changed to fit her lyrics.</span></div>
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<span style="font-kerning: none; font-size: large;">When I listen to a Sindhu Ma (or the incredible Whisper themes) I wonder if that is how a melody would naturally take shape, if it were to flow intuitively from the mind of a composer at that absolute, elusive moment of creation. It felt so random, unintuitive and unnatural. But, who decides what the natural flow in a melody is or should be?</span></div>
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<span style="font-kerning: none; font-size: large;">Do you remember the prelude of the song Take is easy from Kaadhalan (Humse hai Muqabala)? The Marhabba prelude from Take it easy song is the key to understand Rahman’s current journey in music. The way Rahman croons Marhabba with a spiritual fervour is not something a composer would sit and compose on a Piano. You just close your eyes and let you voice wander in a void, and at some point, randomly out of nowhere there is a big bang and Marhabba happens. And that I believe is what Rahman’s doing for many of his songs these days.</span></div>
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<span style="font-kerning: none; font-size: large;">What if an entire song is made with Rahman singing Marhabba like an Azan sung as a call to prayer in the place of worship? The DNA of the structure and form of many of his recent melodies, perceived as meandering, fragmented, random and unnatural, are derived from the musical idioms of his faith. Rahman doesn’t go for the most obvious melismatic phrases in all of these experimental pieces, but I could sense a lot else come from there — the pauses, the non-linearity, magical possibilities in non-metric, irreproducible improvisations. I don’t know if Rahman is consciously attempting all of these. To Rahman, the form of music he used in the Marhabba prelude in Take it easy song is as natural a flow in melody, as it is in any of melodies based on Carnatic or Hindustani or Western classical music. Rahman just hums or chants away melodies for hours in gibberish and picks and chooses the best bits to form a song, and unifies everything with his orchestration and a seductive soundscape. </span></div>
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<span style="font-kerning: none; font-size: large;">What Rahman served as a pickle for eclecticism in Take it easy, he is serving as a full meal is some of his songs now, and not everyone has a stomach to digest it. It is disorienting and confusing initially. Rahman doesn’t use these unusual idioms just in quirky situations in films; he uses them in any kind of song and in most conventional of situations where we use songs in Indian films. </span></div>
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<span style="font-kerning: none; font-size: large;">Whispers of the Mind and Whispers of the Heart - Two themes which sound like a solo vocalist meandering a jungle of random phrases, have a very well defined melodic structure (all flautists out there, enough of Bombay theme, cover this one, like right now) and transcendental possibilities, for those who have the will to find the path and closely follow it through to the end. I still don’t know if I have that unwavering will, but I keep going back to these two tracks of all the songs in the soundtrack. They are immersive, mystic, hypnotic and other worldly. Sindhu Ma - a song sung apparently in a temple, has an intriguing structure. She is praying to Sindhu River and he is praying to her reciting lines like a sloka in a pooja ritual and the song moves on to become a filmy romantic ballad. I like how the phrases in the stanza get shorter after each line as the two get closer. Sarsarsariya is simple and a charming beauty that saves the soundtrack from being entirely weird.</span></div>
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<span style="font-kerning: none; font-size: large;">Mohenjo Daro soundtrack is experimental and a successful one, even if not phenomenal. There is a consistent musical texture and soundscape through all the celebratory folk tunes, tribal chants and romantic ballads. It is a crazy mishmash of elegantly stacked layers of instruments, exotic sounds, haunting hymns and exuberant choir chants. What the soundtrack probably needed more is fresher and weirder sounds like the one in the main theme in which Rahman is gargling while singing the tune. Rahman prefers weirder melodic structures to weirder new sounds these days, and that is the new Rahman sound. He probably feels a combination of weird sound and a weirder melody might be a little too alienating and complicated for the listeners. A time might come, when we would hear that too from him. That would probably be Rahman 3.0 phase. For now, I am thoroughly enjoying Mohenjo Daro music.</span></div>
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P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com1tag:blogger.com,1999:blog-2995232424873037966.post-76486413633864791802016-05-02T05:10:00.000-07:002016-05-02T05:10:05.364-07:00Art of Compilation<div dir="ltr" style="text-align: left;" trbidi="on">
Compiling the selected pieces of music from a composer's illustrious body of work could be an immensely satisfying exercise. Here is five and half hours of selected music pieces from A.R.Rahman's repertoire strung together in a way you wouldn't have heard before<br />
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P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com2tag:blogger.com,1999:blog-2995232424873037966.post-47571022874671790502015-10-22T13:51:00.000-07:002015-10-23T03:36:44.857-07:00Tamasha - A.R.Rahman, Irshad Kamil, Imtiaz Ali<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">I like it when a song’s end is punctuated with a bold musical period, instead of a series of dots diminishing in its size, for, arriving to a definite musical period requires a song to make its organic way to its end, which provides a musically satisfying closure, whereas, the fading dots — a musical riff gradually fading into silence, hints at an easy or rather lazy shortcut to touch the finishing line.</span><span style="text-align: left;"> </span><span style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">Every song in A.R.Rahman’s latest movie soundtrack Tamasha has that perfect end, and that is a naive way of mine in gauging the completeness of an album. Matarghasti has that perfect end not only at the end but also at the end of each section of the song leading to the next; the flow is endearing and comforting. However, without harming the innate flow, Rahman throws in a surprise in the third act, where the song breaks away from its infectious jauntiness to a tender melody with a nostalgic tinge of the songs of yore. With an irresistible hook, Mohit Chauhan’s swagger in the voice, sprightly plucked strings of all variety that is out there — this song is a bundle of joy that delivers on its promise in every second of its length. This is a song that makes me want to gently pinch the cheeks of it and smile at it as if it were a cute baby continuously starring at me with a sparkle in its eyes and innocence in its smile. Matargashti is a spin-off of Masakkali, but one that easily cuts its umbilical cord off from its source and finds its own identity quite soon. </span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">However, it must be said, finding new by lanes in already travelled paths while making melodies is turning out to be a daunting task. The effort is very evident when Rahman turns to the signature bhangra motif in the interludes of Heer Toh Badi Sad Hai, where the melody goes zig-zag in its path to find something cleverly new on its way. I love it. I don’t know what Mika Singh brings to the song, which no other singer would have, except for his blocked nose. There are some refreshing instrument choices in the arrangements, like the boldly mixed bass guitar and god-knows-what-instrument sounds with bhangra beats, and the frentic percussive crescendo at the end is sheer madness that screams the songs out of its monotony. </span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">Speaking of refreshing arrangements, the heavenly opening of Tum Saath Ho teaches a thing or two on how its done without doing much. I would like to call that looping phrase or riff the piano drops. Preceded by an affecting piano melody and accompanied by immense silence, the piano drops is sheer serenity. Reminded me of the short flute riff that carried on its shoulders the entire Dheemi Dheemi song in 1947: Earth. As for the song itself, it is the one haunting melody of pain every love story longs for. More often than not, in our film songs, the technique of doubling the voice in two varied octaves has mostly been used as an additional ornamentation, but in here, it is part of the emotional fabric of the song. Arijith Singh’s vocal timbre in different pitches — besides the exquisitely tuneful melody and Irshad Kamil’s poetry — brings a whiff of fresh air to the way the emotive premise of a song of this genre is often delivered. Besides, the mixing is just right, the neither of the vocal layers sound too close or too far from us or from each other. </span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">Arijith Singh (along with Sashwat Singh) gets to lighten up in the addictive Wat Wat Wat, a slight and mid-tempo bhangra, a genre for which A.R.Rahman still manages to find a refreshing rhythm pattern. Song doesn’t get complacent with it's captivating rhythm pattern, instead it soars when it takes a soft and sweet melodic turn in the middle. There is nothing more comforting in movie music than hearing a conventional melody sitting tight and right in a foot-tapping rhythm, and in the respect, Wat Wat Wat is one of the most comforting listening experiences in recent times. </span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">This being an A.R.Rahman album, how can everything be so easy, comforting, and instantly accessible, it has to go far and beyond, and Rahman needs his space to indulge after having given you what you want and he creates that space with the second half of the soundtrack. </span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">With theatrical Chali Kahani, Rahman returns to one of his favourite swinging games (Thee Thee, In Lamhon Ki Daaman Mein, Solli Vidu Solli Vidu, Naanae Varugiraen, Pal Pal Bahari, Idhyam Nazhuvi) where he gets to jump between storm and slumber. Sukhwinder Singh is perfect here; he whips up the storm in the way he sings the staccato lines with a biting teeth and force, and equally effective in contrast is Haricharan and Haripriya’s quiet singing of a heartening melody. The classical-orchestral instrumental sections aren’t musically complex harmonies but are a unison where all the sections of the orchestra and chorus perform same melody in the same or adjacent together, but because the melodies are exquisite, layering aesthetic, and the production values crisp, it is effectively grandiose. It just takes a drag and drop of a virtual box in a software to choose a specific instrument for a specific section in a song, and that brings with it a million possibilities and I don’t think the refreshing choice of an Accordion on the fore against a full-throttled orchestra in the final crescendo of Chali Kahani could be one such drag-and-drop happenstance. </span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">Neither are the array of instruments playing variety of short tunes one each for an instrument (including the irresistible Naa-Naa-Na hook from Matargashti) seamlessly woven together in the sprightly Parade De La Bastille. The opening of the track comes from a totally different dreamy space with Rahman crooning a short melodic riff with middle-eastern inflections and with so many instruments clamouring around and trying to imitate what the voice is singing. That is a soundscape still only Rahman can paint. </span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">And sometimes he can use his soundscapes to stall things and do nothing for reasons I cannot fathom, like he does in the only interlude in Safarnama. There is nothing much happening in here musically, a lot of voices circling around murmuring the motif of the song, a guitar going totally extempore after having started with a defined theme. But, the song itself is a melodic trip albeit short. The long stretched phrases in each melodic line kept me thinking; does every song about a journey or about a philosophical search have that? Feels like a musical technique (along with right accompaniments like in this song) that helps to immediately sing the premise of the song’s narrative. It works and how well it does I got to know only at the end of last song, and of the album - Tu Koi Aur Hai, in which after wandering for far too long amidst muddled chorus and directionless strings orchestra, the song returns to Safarnama, defining the song the home of Tamasha. </span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">The direction Rahman takes in Tu Koi Aur Hai seems to be his latest favourite, where he lets the melody take a shape while phrasing around each word in the lyrics and its expression, with no respect to any musical rhythm or meter. The song lingers on each word before moving on to the next and is in no hurry to shape its final melody, or rather there is none to be shaped. There is just stillness, and we move from one moment of stillness to the other and you never know what will happen next, and through the journey Rahman touches some affecting emotional nodes but somehow Tu Koi Aur hai feels a notch below Dil Gira Daftan or Rehna Tu or even Moonlight in its overall impact. </span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">A.R.Rahman always has a simmering urge to rebel with conventional song structures and arrangements, but when Raunaq released he mentioned that it is important to have classic, conventional songs in ones repertoire and that explains the whole range of songs (Kahaan Hoon Mein, Saans Mein Teri, Dil Beqasoor, Kismet Se Tum, Innum Konjam Neram, Malargal Kaetten, Nazar Laayae, Unmai Orunaal Vellum, Chinna Chinna Nakshathiram) he made in recent times with conventional melodies and modest orchestration with no quirk in its overall design. There is still a lot of beauty to be found in these musical terrains where many of Rahman’s predecessors and contemporaries have been and done that. In Tamasha, Rahman strikes a fine balance, while mostly sticking to simple and comforting templates in the melody, goes all out for freshness, vibrancy and extravagance with lush and seductive sound palettes (like he did in “I”) in the arrangements, and am I complaining. Having seen what Imtiaz Ali did with Rahman’s quiet and modest Highway music, I can’t wait to see Tamasha. And I hope Rahman’s journey with Imtiaz Ali continues for long.</span></div>
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P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com4tag:blogger.com,1999:blog-2995232424873037966.post-12469291911938716652015-04-08T16:10:00.000-07:002015-04-08T16:10:25.448-07:00OK Kanmani - A.R.Rahman<font face="Garamond" size=3><br><br>
<blockquote>Parandhu Sella Vaa. It could have been another Hai Rama Yeh Kya Hua - with its restless rhythms and raaga based melody that sounds like a song Rahman conjured for the visuals of the erotic sculptures of Khajuraho coming to life to make love. It could have been a Maja Maja Maaja (Jillunu Oru Kaadhal) or a Thazhuvudhu (Anbe Aaruyirae) loaded with tribal rhythms and many musical moments filled with incessant moaning that goes with the idea of making love as a mere carnal pleasure with no bigger emotional heft whatsoever attached to the experience. Or it could have been all about the breezy romance, the fun and froth in the moments when a couple in love live together for the first time - Kaadhal Sadugudu (Alaipayuthey). Or it could have been something that ambles between the quiet slumber and passionate crescendo like In Lamhon Ki Daaman men (Jodha Akbar). In OK Kanmani, Rahman thinks of something refreshing for the situation in question and gives us the song of the soundtrack - Parandhu Sella Vaa. He sets the experience of intense physical intimacy to the ecstasy of a bird freed of a cage after years of imprisonment and its never ending flight after that higher and higher above the clouds. Bits and pieces of musical elements from all the other aforementioned songs are in here too — a softly thudding tribal rhythm, the musical moaning, mischievous mix of voices and sounds in the backing orchestration etc, But, they come together to paint a kaleidoscopic soundscape that entirely belongs to this song and this song alone. <br><br>
Song has an interesting structure. It starts off with a gentle and cheerful foreplay section, a shaker, a peck-on-the-cheek sound loop, and a melody that keeps repeating, he does something and she does the same, no one knows where all of it is leading to, but soon a gentle rhythm kicks in and sets a groove to the action implying that they have taken a step further ahead. And she takes the lead and starts moaning melodically and it is so beautiful and classical that he might reach his peak without another touch. He moans along too but his is restrained and just enough to calm and bring her a new notches down from up above. Everything takes flight to a higher emotional plane sooner when he goes Nanaindhu kollavaa Mazhai Illamalae, and to an even higher and stronger emotional plane when a deep cello section joins as she goes Midhandhu pogavaa megha thundu pol. And that is where it stays afloat on Parandhu Sella vaa, Parandhu Sella Vaa. After a phase of passionate action, they jump to a frothy, playful phase for a short while when the song shifts to the most ecstatic musical moment of the whole soundtrack. Saasha’s scat singing backed by a cute and chirpy pizzicato strings in this section gives me an indescribable high every single time I listen to the song. With Kadandhu Pogavaa Boodham Aindhayum and a grand choir backing the lines, the song shifts to the emotional plane again, and then it doesn’t end, it just stays there. Nobody is in a rush to hit the climactic orgasm. They want to fly and fly and stay afloat savouring every micro second of the experience without having to reach any pointed destination. I just like that.<br><br>
Rahman’s in OK Kanmani is light music. Lightness is the overarching mood and feel and this aura of light is sometimes easily mistaken as superficial. And the lightest of all that is light in the album is Aye Sinamika. With relentlessly strummed guitars and acoustic drums, a variety of e-nstruments and the cheerful chorus interludes, the song creates an infectious positive vibe and is a bundle of joy. That everything in the song keeps circling far too long around so small a musical pivot is my only gripe, could have had a little more meat. Kara Aatakkaara also has similar problem, meanders a bit and though has many interesting parts doesn’t come together well. I can’t deny feeling disappointed when the song quickly turned to Tamil rap, because I was so hooked to the Kaara Aatakkaara section when the first teaser of the movie broke out with it, and I have been eagerly waiting to hear what comes after that.<br><br>
Rahman is always after a sense of musical and conceptual balance within a song, within songs in an album and within songs of similar genre in his overall repertoire. It is in Prabhu Deva’s movies you will hear the slowest of Rahman melodies. There would always be a Mellisayae to switch from Romeo Aattam, or a Naalai Ulagam Illaiyendral to go to after No Problem, or a Ennavalae after Errani Kurradhaani. There would mostly be a carnatic section laid on club beats in most of his jaunty dance music. Thirikita Dhaana motif in Pappu Can’t Dance was to balance the crass loudness expected in a party song. The classical sargams in Yaakai Thiri was to give a musical heft to the harmless fluff in a party song. And maybe the overt carnatic flavour in OK Kanmani music is for the same reason. And in OK Kanmani too, Rahman is after a musical balance within the songs and between the songs and he is able to achieve that without it being detrimental to the core mood and musical premise of the song. Maybe I am stretching the theory too far, maybe all of its comes from what the film needs but maybe not. <br><br>
There Ulaa is an interesting exercise in Rahman’s penchant for balance. The song’s structure is dangerously fragile with scattered fragments of musical phrases and long stretches of pauses in between. A listener doesn’t get anything to hold on to easily, apart from the addictive techno beat that is deliberately played on a tempo higher than that of the melody. Each and every phrase should be able to stand on its own to make the song feel tighter. And also all of it should form a sweetly melodic and sensible musical structure when the listener is able to clearly map the whole journey of these fragments of musical phrases in their mind. Rahman pulls it off like he does every time. That female solo in the middle of the song is such a beautiful carnatic crux to build the song around.<br><br>
Mental Menadhail is the only straight forward peppy techno track in the album that is not bothered about being all out fluff though Rahman tries to give a softer melodic bend to all the straight edges in the melody in its female version. First time I heard the female version, felt it sounded better, but have gone back to Rahman’s version now. Somehow the female version has subdued the fun and sound inhibited compared to the freak-out Rahman’s version. <br><br>
I can’t pin point to a specific aspect but there is something totally magical about Naane Varugiraen besides the obviously sweet, strong, raaga-based melody and the exquisite classical inflections in the way the syllables of the sung words are split, swirled, stretched and squeezed inside Saasha Tripathi’s seductive vocal cord. Is it the element of electronica in the backing orchestration? But that is standard ornamentation considering Rahman’s standards. Or is it the constant chase and catch drama that plays out between the melody and the percussion? And while I question all these questions on the experience of the song, Rahman points me to its telugu version Yedho Adaganaa Yedhainaa Adaganaa, and listen to it yourself to know what inherent musicality of a language does to a melody. Sundara Telugu! And so is music of A.R.Ameen’s Arabic in the calming Maula Wa Salim. Can I get a karaoke version with just the chorus to use for my meditation? <br><br>
But, the question that remains after listening to each new Rahman album - Where is the surprise? Where is that never-heard-before moment? Most unexpectedly I found the answer for these two questions in Malargal Kaettaen - a very deceptively simple and conventional sounding song in the album. Listen to the path Chitra takes when she sings Unaiyae Tharuvaai the first time, it is not the route a melody usually takes when it is presenting itself for the first time, it is an improvised version, a route it takes after having gone through a conventional path for many times, but that is what we get the first time and only in the second time Unaiyae tharuvaai takes its most obvious melodic route. And the never-heard-before moment arrives when Rahman joins Chitra, and again I can’t explain why, but Rahman’s voice and the way he sings does something that nothing else could have done to the song. And only when Rahman joined that I truly understood the beauty of the melody in its entirety.<br><br> </blockquote>
</font>P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com7tag:blogger.com,1999:blog-2995232424873037966.post-77402941039050834742014-12-24T22:52:00.002-08:002014-12-24T22:59:29.151-08:00Ilaiyaraaja Live in Concert - 10<font face="Garamond" size=3><br><br>
<center><a href="http://www.backgroundscore.com/2014/05/ilaiyaraaja-live-in-concert-09.html">Ilaiyaraaja Live in Concert - 09</a></center><br><br>
<blockquote>Mysskin coined the term “Munnani Isai” (foreground music) for Ilaiyaraaja’s score for Onayum Aatukuttiyum. Mysskin claims that Ilaiyaraaja’s music by itself can narrate the story, and there is no need for the visuals. I am not sure if I agree with that assessment. Ilaiyaraaja did demand us to make our own movie in our mind with his experimental instrumental album The Music Messiah, where you don’t have any visuals to help you decipher the narrative arc. You paint your own image in your mind from the music, deriving from your past experience of watching movies and listening — consciously or unconsciously — to a film score. The Music Messiah is the score of a film that never got made. I know that themes from the Malayalam film Guru has been used, but I haven’t seen Guru. And I could hear cues from Pithamagan too. However, I don’t think Ilaiyaraaja wants us to relive those movies while listening to this album. You could say that listening to Onayum Aatukuttiyum score or any score before watching the movie is like listening to The Music Messiah album. <br><br>
I don’t think Ilaiyaraaja believes that his music is enough to experience a movie. If he does, why would he add all those sound effects — the first cry of a just-born baby, noise of people clamouring in a battle field, temple bells, birds’ tweet and chirp, etc., Ilaiyaraaja knows that the background score is applied music, it is applied on a narrative, on a set of images in motion, on the rhythm and emotions of the visuals. He knows that a stand-alone narrative music needs the sonic equivalent of a visual to help a listener understand the situation the music is set for, and only when all these elements come together in perfect synch and synergy the musical narration is complete.<br><br>
If you listen to the Onayum Aatukuttiyum score without watching the film, I am not sure if you could experience that lump in your throat, when in the score, string section crawling on its knees to complete its thematic melody we have been familiarised throughout the film is chopped off abruptly as the character the theme represents falls to death in the climactic moment in the film. In this particular scene, the experience is complete only when you watch and hear everything that is happening in the moment. You have to be in the world the film maker has visually created for it to impact you in a way it intends to, and in this case when the music chokes to silence precisely when Mysskin drops himself on the floor breathing his last — you have to witness to appreciate the what is possible when there is a perfect marriage of the motion in the visual narration and the music. <br><br>
Perhaps, Mysskin means to say that you have to watch the film with the music once and just once. The next time when you want to travel through the arc of emotions you went through on first viewing, it is enough if you listen to the cues from the score in the order in which it is played in the film, you can paint the visuals of the film in your mind. And that I agree with. I do that regularly with so many films scored by Ilaiyaraaja. The way the next piece was presented and performed in the concert vindicates my theory of the music with motion picture having a much greater impact than what the piece of music did on its own thus far. <br><br>
Few months ago, when the concert was first announced, a short film contest was also announced, where budding filmmakers were asked to visualise a piece of music (Track 2 - Paradise) from Ilaiyaraaja’s instrumental album The Music Messiah. The best movie would be screened in the concert with the music performed live to the projection of the film. They chose a piece which is more abstract, which doesn’t have any sound effects to directly imply the mood or the situation the music is set for. I have never heard anything like this before. I have heard people editing scenes according to the music (John Williams’ Flying Theme in E.T), but making a whole movie for the music, and it is not a music video of a pop song, it is purely instrumental music. <br><br>
A cute 2-D animation film on the world of ants was screened with the orchestra performing the piece live to the projection of the film. The movie is about how a group of ants carry a small piece of food, crosses various obstacles on its way and reaches home. There is dancing on the beat. There is comedy. There is lot of action with living and non-living things that stops the ants from reaching their destination and they are in sync with the percussions and brass parts of the piece. There is a lot of flying that goes with the whirring strings and flappy flute layers in the piece. There is a key layer in the piece that keeps a sense of motion intact throughout and that fits well with the walk of the ants that relentlessly walks on its path in sync with this layer to reach their destiny. The movie was colourful, entertaining and water-tight just like the music it was made for. The most musical of scores are now being written only for animation films. I am not surprised that they choose an animation movie, but surprised somebody thought of making an animation for the music instead of some abstract live action montage with footage of natural greeneries and I am sure there were many such submissions. Marriage of the visuals and score was perfect that it felt like Ilaiyaraaja wrote the piece Paradise for the movie that was screened in the concert.
<br><br></blockquote>
<iframe width="420" height="315" src="//www.youtube.com/embed/RONI0MO42nE" frameborder="0" allowfullscreen></iframe><br><br>
<b><i>To Be Continued...</i></b>
</font>P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com2tag:blogger.com,1999:blog-2995232424873037966.post-11916796157649223372014-09-14T15:43:00.002-07:002014-09-14T15:43:57.315-07:00I - A.R.Rahman<font face="Garamond" size=3><br><br>
<blockquote>It has been few years since A.R.Rahman stopped caring about new sounds in his music. Rahman’s arrangements have become straight, quite, calm and restrained. He has been concentrating on constructing quirky and unique melodic structures that he can call his own, than concocting never-heard-before sounds and instruments in the arrangements which he did quite a lot in early days of his career, and which he figured anybody is able to do these days. He is even open to making an all conventional song in all aspects and exploring if there is anything definitive that he could create in that space. I absolutely love this phase of A.R.Rahman, in which, the general opinion is that Rahman’s music isn’t exciting anymore. However, I also love that playful A.R.Rahman who spins a fine yarn with strands and threads of extremely varied musical fabrics. He does that in the breath taking Aila. A melody that seamlessly swings between Jazzy, operatic and conventionally filmy, beats that is techno which out of nowhere jumps to Punjabi somewhere in the middle, there is a serene Hindustani choir piece seamlessly seeping in an interlude — you just can’t predict what happens next in this song. A.R.Rahman at his freaking experimental best.<br><br>
There is a flip side to this experimental streak when it is pushed to an extreme, out of which is born a song like Ladio. I get where this is coming from but I wish it had turned out like “Hey Hey Yenna Aachchu Unakku” instead of a “Bailamore”. I still like the Kasada Thapara hook and its variations throughout the song. The overt techno sound apart, I don’t like what I think is the main melody line of the song. When I first heard the samples of song before the audio release, I thought they mixed Radio Mirchi theme song with I song samples by mistake. I admit I hated Merasalaayittaen song when I heard it the first time, which I like now, but I don’t see that happening with Ladio ever. <br><br>
With Merasalaayittaen, Rahman is playing straight to the gallery, and he badly goes after a simple, hit song, and he gets one. Due to that conventional synth hook, I thought Rahman’s being lazy and is taking an easy root, but he isn’t. Give the word Merasalaayittaen to any composer in the world, no one would have thought of musical phrase that Rahman has come up to fit the word in. The song is upbeat, but it has a neat flow of melody which wasn’t apparent to me in my first few hearings of the song. I was so worried about the simplistic, crowd pleasing arrangements, and the processed voices, that I looked away from the melody. Even the remix version is fine, where some musical layers in the original song are fleshed out and brought to fore.<br><br>
Chinmayi’s Ennodu Nee Irundhaal is yin to yang that is Sid Sriram’s Ennodu Nee Irundhal. One is a straight, conventionally presented tamil film romantic duet, while other is a spectacular orchestral-rock version of the song with a grand choir following the lead voice (I like the way the chorus is mixed in the songs throughout the soundtrack) and dramatic orchestral twists and turns all the way. And just how charming is the melody of the charanam that goes Unmai Kaadhal! Vintage A.R.Rahman melody that is. And pallavi sounds like what came out of Shankar asking Rahman to retain all different melodies he tuned for the verse “Ennodu Nee Irundhal” in the song. It could have easily become monotonous, but it doesn’t, beautifully flows like one whole seamless melody. <br><br>
Pookkalae Satru Oivedungal is that simple semi-classical romantic melody of every Shankar-Rahman soundtrack, using which Shankar travels to exotic locations with his lead pair and make them dance in front of most beautiful and picturesque places in the world. That Guitar motif that accompanies the main melody sounded so distracting initially, but have gotten used to it now, and gives an instant signature to the song. Both Haricharan and Shreya Ghosal exquisitely ooze the romance out of what sounds like a raaga based melody. Sweetest song of the soundtrack, and some call this song’s genre as 90s Rahman. <br><br>
A.R.Rahman’s “I”- Ladio is the ugly truth, rest of I is Beauty. </blockquote><br><br>
</font>P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com8tag:blogger.com,1999:blog-2995232424873037966.post-7462926461430466492014-08-20T08:49:00.000-07:002014-08-20T08:49:40.058-07:00Kaaviya Thalaivan - A.R.Rahman<font face="Garamond" size=3><br><br>
<blockquote>In the book “Conversations with Maniratnam”, when talking about the music of Iruvar, Maniratnam says that the idea was to do what they would have done if they were making movies and music in that era, and that is the ground rule out of which A.R.Rahman created what he did in Iruvar. There is a boundary within which A.R.Rahman had to play, but there were no thorns waiting outside to bite him if he does step out. Whereas in Kaaviya Thalaivan, I guess Vasantha Balan asked A.R.Rahman to just travel back in time with all his sophisticated recording console, gadgets and pro-tools, hide behind the curtains and record whatever happened then and there as it is.<br><br>
A.R.Rahman follows the rule ever so diligently, only stepping out of the zone when it is permissible. Hence, the resultant product isn’t as experimental and rebellious as one usually expects from A.R.Rahman, but the music sounds like one that is immensely tied with the film’s narrative and the overall vision of the film maker. It is pointless to talk anything more about the authenticity of the music for the film without knowing the length and depth of the strokes and the colours Vasantha Balan has used to paint the universe of this film.<br><br>
A.R.Rahman ticks every box in emulating an era of film music dominated by K.V.Mahadevan and M.S.Vishwanathan. Rock and roll – Check, Smooth Jazz – Check, Clarinet – Check, Kanna, Karna and Gaandeebam - Check, Vibraphones, Xylophones, Marimbas, Bongo and Conga drums – Check, check and check. But, of all, the biggest check box to tick is the melody — the free flowing, honey dripping melody that flows smoothly from one section to another in the song without ever throwing any quirks at the listener. There is no space for a Phir Se Udd chala here. There lies the real challenge for Rahman, because when Rahman realised that everyone else has caught up with his ways and means and can do what he does, he took to quirky melody pattern to distinguish his music, but here he can’t use that tool. The melody has to be instantly likeable, hummable and also closely follow the drama in the narrative and the narrative in the drama. People watching a stage musical drama live wouldn’t have heard the song before the performance or carry a cassette or CD with them home after the performance to listen to the songs again, to decipher the layers, quirks and let it grow. There is absolutely no escape this time Mr.Rahman, you cannot knit together in one song various tunes you hummed in your iPhone recorder in your various air trips between London, LA, Bombay, Dubai and Chennai. But, there is not a musical phrase that is not instantly likeable in this soundtrack.<br><br>
Vaanga Makka Vaanga invites us to a bygone era with a beautiful thogaiyaraa section where a harmonium diligently follows the main vocal melody typical of stage drama music. When I first heard the song I was wondering if Vasantha Balan managed to tame the rebellious beast within A.R.Rahman and made him stick to sounds of that period, but I was relieved when I heard the synthesized sound layer that kick starts the main song, and this layer is the secret key to the energy of the song. Rahman always manages to lay a unique percussive layer in this type of folk song with multiple percussion instruments playing various rhythm patterns on their own and creating an altogether fresh rhythm pattern when laid one over the other. And Thavil and A.R.Rahman are at it again! Rahman always manages to do something uniquely catchy with Thavil. The pattern of strict straight notes in the first line and classical inflections in the following line in each verse in the charanam is that typical A.R.Rahman’s quirky compositional style. But, that quirk makes the folk and classical fusion sound a little forced and not seamless enough in this song.<br><br>
When the drama artist whose profession is singing and dancing on stage, falls in love with a real life and sings a song for and with his real love in his fantasy, what would that song sound like. Rahman thinks it would sound like a classic M.S.Vishwanathan melody. Hence we got the exquisite Yaarumilla and jazzy-breezy Aye Mr.Minor in the soundtrack.<br><br>
Yaarumilla’s simple and affecting melody gently melts and glides through and through like chocolate syrup rolling down on a swirl of soft vanilla ice cream. The song hits its pinnacle of beauty at Adhu Oru Egaandha Kaalam and I can’t explain in words what happens within me when I listen to these two lines; and the ensuing lines that descends to “Kaadhal, Kaadhal, Kaadhal, Kaadhal” is sheer perfection in melody making; it couldn’t have taken any other path that is better. Shwetha Mohan is a colossal talent. Her rendition in this song is the proof. Impeccable singing! Rahman seems to have picked the female vocalists (Shwetha Mohan, Saasha Tripathi, Bela Shende and Vani Jayaram) carefully for the delicate tonal quality of their voice — a soprano voice sweet enough to sound like the female singers of that era and yet isn’t too shrill at higher registers.<br><br>
Tender, jazzy and breezy woodwinds in the prelude lead us gently into the musical universe of M.S.Vishwanathan. Aye Mr.Minor is immaculately arranged by A.R.Rahman that organically brings together every little tone and sound of a M.S.V brand of romantic duet song. The omnipresent Mandolin, the quintessential bongo drums, string section that float beautifully around all nooks and corners of the melody, the ah-ha-has and oh-ho-hos, accordion and the obvious swing in the melody - A.R.Rahman nails it perfectly. <br><br>
Rahman sets a collection of verses from Thiruppugazh to a serene melody; a melody with beautiful little variations throughout as the song progresses from one verse after the other all filled with words written to fit to a fixed meter that could easily turn a song made out of it musically monotonous. I heard some traditional renditions of the same Thiruppugazh verses and was amazed by the amount of clam and lightness Rahman brings to the idea of devotion, without diluting the intensity of the indulgence and romance that walks hand in hand with it. Vani Jayram’s voice sound pristine and adds to the divine aura, the song with its beautiful Veena motif in the background attempts to create.<br><br>
Sollividu Sollividu is a fierce call or cry against the idea of war. Mukesh’s singing (who became who he is by singing Ullathil Nalla Ullam in ever stage he has ever been on) is terrific and impactful. Rahman goes for a straight melody not ornamented with any of the clever, complex sangathis that songs like these made in those times were full of. Rahman makes a strong statement here, a statement that Syed made in Super Singer by singing Vidai Kondu Engal Naadae in the final round or Rahman himself made when he chose to sing the way he sang Aaj Jaane Ki Zid Na Karo in MTV Unplugged. With Rahman, it is never about how intelligent or complex your composition is. I wish this song were longer by a minute or two.<br><br>
I don’t know if I would hear a song this year that plays out with as much gay abandon as Sandi Kudhirai (Ok, there is Afreen in Hundred Foot Journey). A.R.Rahman, Haricharan and Pa.Vijay are on full throttle here. Melody relentlessly shifts gears; Retro orchestration goes all crazy and harmonically haywire; Unstoppable flow and play of words, and Haricharan's (a brilliant choice as the voice of Kittappa for all the songs in this Soundtrack) assured delivery of the various dynamics the song requires — the song is a bundle of limitless joy.<br><br>
I haven’t seen any musical stage drama live in my life, my references are only that of such sequences in films. Paandiyan Naan Irukka from Thillana Mohanambal is an all time favourite, in which, you don’t hear any instrument other than what you see on the stage, but in Alli Arjuna, A.R.Rahman seems to have persuaded Vasantha Balan not to impose this constraint, but he doesn’t step too far out like he did in Pal Pal Bahari in Swades. <br><br>
Composers of that era, achieved all those varied emotions and transformations in moods required in such drama purely through melody with just a single percussion for rhythm and an accompanying Harmonium closely following the vocal melody, but A.R.Rahman takes comparatively easy route to reach the destination. He gets a real Harp, at least ten different percussion instruments, assorted classical plucked strings, 40-piece string orchestra, a little brass and a bunch of other sounds along with the melody to convey the drama, even though the melody is strong enough to express everything on its own with minimal aid from the accompanying instruments.<br><br>
Rahman doesn’t do raw. He wants every little corner of his food plate beautifully garnished. It has to sound sexy, vibrant, glittering and colourful. Rahman’s Alli Arjuna is not a street drama staged by a drama troupe with limited means; it is mounted on a magnificent scale. Rahman manages to keep the soul of the song intact amidst all the peripheral sounds, though, on an absolute Rahman scale, this is a very minimally arranged song. This is not lack of confidence in the power of one’s melody in its bare form; instead it is the care a creator takes of his creation to ensure that it reaches as many ears as possible. He is striking a balance between authentic and aesthetic without compromising the core – the emotion. All his predecessors have done it and he is just following the legacy. I heard an unplugged version of Alli Arjuna in my mind, with just a Tabla for rhythm and Harmonium to play supporting melodies played by other instruments around the vocals; believe me, the song still holds it all together.<br><br>
Alli Arjuna follows the conventions of the format of the episodic stage drama musical narrative. Characters express themselves in extempore musical verses by singing a free flowing melody that doesn’t sit within the confines of a preset rhythm. Then they intermittently jump into a song set in a groove that acts as a recurring motif that each character returns to after musically wandering off the groove with their thoughts. Neatly structured and water tight, Alli Arjuna is a thorough musical triumph and is aided abundantly by Vaalee’s entertaining lyrical narration of the love story of Alli and Arjuna. <br><br>
Despite following a conventional path, Rahman leaves his stamp wherever possible, like in that Thavil rhythm that kicks off the drama, that pattern screams Rahman, and the way Haricharan sings Nenju porukkudhillayae is typical Rahman, who discovers stress points and points of musical inflections in Tamil words we never knew existed in the word before. <br><br>
I would be listening to Kaaviya Thalaivan songs for a long time. A.R.Rahman delivers what is required of him with absolute poise and panache. <br><br></blockquote>
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P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com10tag:blogger.com,1999:blog-2995232424873037966.post-26481888236450088162014-08-12T15:25:00.003-07:002014-08-12T15:27:22.990-07:00ARRophony - 22 Years of A.R.Rahman<font face="Garamond" size=3><br><br>
A little something I made as a tribute to A.R.Rahman to Celebrate 22 Years of A.R.Rahman. A Collection of 101 pieces with solo Flute, Sax, Clarinet, Oboe and many more different wind instrument from A.R.Rahman's repertoire. The compilation track length is 104 minutes. <br><br>
<b><a href="https://gum.co/NhGuj/22Yearsofrahman?wanted=true">Download mp3</a></b><br><br>
<center><iframe width="640" height="360" src="//www.youtube.com/embed/pTcACDg7qL8" frameborder="0" allowfullscreen></center></iframe><br><Br>
<b>Tracklist</b><br><br>
Swades<br>
Bose: The Forgotten Hero - Netaji Theme<br>
Karuthamma<br>
Rang De Basanti<br>
Kannathil Muthamittal<br>
Mangal Pandey<br>
Swades<br>
Doli Saja Ke Rakhna<br>
Bombay Dreams - I could live here<br>
Aabhi Ja - Raunaq<br>
Warriors of Heaven and Earth - Monk and Miracle<br>
Pudhiya Mugam <br>
Roja<br>
Rockstar<br>
Connections - Silent Invocation 1<br>
Classic Incantations - Cry of a Rose<br>
Lord of the Rings - Song of Hope<br>
Lagaan<br>
Warriors of Heaven and Earth - Escape<br>
Elizabeth The Golden Age - Divinity Theme<br>
Kaadhal Virus<br>
Doli Saja Ke Rakhna<br>
Dil Se / Uyire<br>
Kannathil Muthamittal<br>
Boys<br>
Indian<br>
Warriors of Heaven and Earth - Monk and Miracle<br>
Jodha Akbar<br>
Connections - Silent Invocation 2<br>
Rockstar<br>
Swades<br>
Warriors of Heaven and Earth - Blue Light<br>
Couples Retreat - Meeting Marcel<br>
Kadal<br>
Swades<br>
Bose: The Forgotten Hero - Netaji Theme 2<br>
Bombay Dreams<br>
Mudhalvan<br>
Indian<br>
Fire - Radha and Sita Love Theme<br>
Bose: The Forgotten Hero - Emilie Theme<br>
Minsara Kanavu /Sapnay<br>
Jaane Tu Ya Jaane Na<br>
Connections - Silent Invocation 3<br>
May Maadham<br>
Jeans<br>
Rhythm<br>
Mudhalvan<br>
Rhythm<br>
May Maadham<br>
Bombay Dreams - Closer Than Never<br>
Kochadaiiyaan - Rana’s Dream<br>
Lagaan<br>
Rockstar<br>
Raavanan / Raavan <br>
Maryan<br>
Jeans<br>
Bombay<br>
Jeans<br>
Mudhalvan<br>
Dil Se / Uyire<br>
Raavanan / Raavan <br>
Indian<br>
Thakshak - Dholna <br>
Provoked<br>
Lagaan<br>
Warriors of Heaven and Earth - Water<br>
Airtel - Express Yourself<br>
Kandukonden Kandukonden<br>
Vande Mataram - Revival<br>
Swades<br>
Jhoota Hi Sahi <br>
Couples Retreat<br>
Indian<br>
Karuthamma<br>
Roja<br>
Sakkarakatti<br>
Iruvar<br>
Highway<br>
Lagaan<br>
Water<br>
Swades<br>
Kisna<br>
Sivaji<br>
Dil Se - Uyire<br>
Andhimandhaarai<br>
May Maadham<br>
Indian<br>
Dil Se / Uyire<br>
Slumdog Millionaire<br>
Toyota Etios<br>
Boys<br>
Ghajini<br>
Rhythm<br>
Boys<br>
Lebara<br>
Pray for me brother<br>
Couples Retreat - The Waterfall<br>
Swarnim Gujarat<br>
Bombay<br>
Worldspace<br><br>
</font>P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com1tag:blogger.com,1999:blog-2995232424873037966.post-67086795399470833502014-08-08T17:22:00.000-07:002014-08-10T12:15:02.454-07:00Hundred Foot Journey Score - A.R.Rahman<font face="Garamond" size=3><br><br>
A.R.Rahman sounded overtly excited about working with the film maker Lasse Hallstrom in all his interviews. I searched for what Lasse had made earlier and watched Chocolat to understand what a film score means to this film maker. I loved Chocolat and it's richly melodic and thematic score, and considering the genre of Hundred Foot Journey (having seen the trailer), and the Rahman’s media messages about his score in this film, I roughly had a soundscape in my mind for the score of this film (having seen Ratatouille), and it turned out to be much like that and much more, so much more.<br><br>
Challenges are many for A.R.Rahman in scoring a Hollywood film that comes with tags like India, Indians and Indian culture — how different a score from that of Slumdog Millionaire or Million Dollar Arm can he pull off (he can’t not pluck a Sitar in the score. Can he?), and what new could he bring to this sub-genre of film scores in Hollywood, when there are non-Indian composers like Michael Danna (Water, Life of Pie) and Thomas Newman (The Best Exotic Marigold Hotel) seem to have convinced, at least the studios and film makers there that they can write a score that adequately serves the necessities of such films. Well, if they haven’t learnt yet from Slumdog Millionaire or Million Dollar Arm score, Rahman serves another delicious dish from his cuisine in Hundred Foot Journey score. Melody, that delicate, affecting, emotional Indian melody, they just can’t nail it the way an Indian composer can.<br><br>
Million Dollar Arm had lots of energy and vibrance with dominant Punjabi and western rhythms, there were moments of clam and serenity to strike a balance in the score. Rang De Basanti song in Hundred Foot Journey trailer really got me worried. I hoped that Hundred Foot Journey’s not another one of hip-hop with banghra with Sitar score. I guess Rahman heard my mind. In Hundred Foot Journey, Rahman throws Punjabi beats out of the window, expect for the jaunty, infectious Afreen song. Afreen takes off on a different route but reaches the same destination that that insane “We could be kings” from Million Dollar Arm did. Also, that gibberish alaap by Rahman in the middle of the song - Afreen Ho A.R.Rahman! Surprised to hear the sounds of south India in here — mirudhangam, Ghatam, Morsing, Tanpura, even the Indian melodies on solo violins are played with a distinct Carnatic touch.<br><br>
Melodies and Themes - something this soundtrack is so full of. Rahman mentioned in an interview that he wanted to precisely underline the beginnings, transitions in the story with distinct themes and he does and how. The film’s story and milieu is apt for Rahman to exercise this thematic scoring skills. Indian family, French family, Indian Food, French Food, Culture, Ego, Friendship, Love, Competition, Compassion, Clash - every damn bullet point in the story gets a musical theme and flows in and out of various pieces throughout the score. The tone of the score with a mix of Indian strings like Sitar, Sarod and Santoor, and western wood winds and bouncy strings is light as a feather, quite a pleasant listen.<br><br>
The score gets a lot of its vibrance, colour, aroma from the seamless arrangement and orchestration of vast palette of instruments and sounds — acoustic and electronic. The pieces sound to have been written extremely close to the cuts in the visuals where a lot is happening all at the same time. Rahman has done this in many Indian films too, but not to the level of complexity that is on display here. Rahman shows his mastery over the art of knitting tail of one theme with the head of the next without making the thread visible to make one seamless musical piece, in many pieces in this soundtrack. You have to hear the six-minute long madness that is “Hassan Learns French Cooking” to believe my words. There are at least six or seven themes in this piece, from which emerges the main theme which then travels throughout the score. <br><br>
The end credits suite is another gem with all the major themes of the film lined up, with the pieces taking elegant unpredictable turns to glide from one theme to another. Rahman boxes each theme in a whole new, glittering, golden, sexy wrapper much different from how they were presented thus far in the score, and the result is just spectacular. In “Vintage Recipe,” before it jumps to French part represented by the strings section, when the Indian section is about to end, the melody that was playing thus far only on Sitar is followed closely by the string section playing the same melody in Pizzicato. That gives us a sense of gradual movement, a smooth switch over to the other side of the fence within the piece. He could have left Indian part with just the Sitar and jump started the french part suddenly with strings, but that is not seamless, that is not clever and aesthetic cheating. <br><br>
The theme that played hide and seek with us in Hassan Learns French Cooking plays in its entirety in its full glory on a variety of solo instruments in “New Beginnings”. The theme is all about the lightness, a generic feel-good aura, a whiff of positivity and doesn’t dump down our throat any particular emotion. For emotion, we have other themes, the one that is introduced in “Mr.Kadam” is a vintage affecting Indian melody. The main theme of the film (the love theme I guess) appears half way through the score in “The Gift," which is a clever and beautiful reworking and extension of Rahman’s famous Leo Coffee theme — a piece that gave Rahman all of his life’s gifts. The theme also gets its Hindi version “Tere nina sajna” (in “You complete Me”) with Rahman himself lending his voice to sing the lyrics and in one version he soothingly hums the tune. There are many delightful instrumental versions of the main love theme throughout the soundtrack.<br><br>
The delicate Piano Theme in “The Village of Saint Antonin” leads us into what could be the quietest place in the universe. If I compile “<a href="https://www.youtube.com/watch?v=HCsdCb-2tmg">Melancholic Ecstasy</a>” now, it would be incomplete without this Piano theme. “The Clash” begins all western-classical like Beethoven’s Fifth Symphony and slowly takes this breathtaking transformation to a Symphonic Rudhra Thandav. <br><br>
I liked how Rahman experimented with a lot of voices and classical alaaps in Million Dollar Arm, inspite of it being a Hollywood film, we don’t do these anymore even in Indian films (films that matter). Rahman’s idea is to bury the voices and alaaps deep under the instrumental layers; disguise a melody as a mild brush stroke in a vast soundscape, so that you just get to feel the essence of the melody and not hear every note the voice hits to carve that melody out of air. But Rahman goes mostly bold in Hundred Foot Journey with voices and suppresses the sound only when it is a scream that intends to earn sympathy or imply pain (in “Destiny, Fire and War” and last few seconds in “Alone in Paris”).<br><br>
The French-Hindi song Toi C’est Soleil is a slow, soft romantic melody set to a soft thudding beat. I can’t resist gently swinging my head to Rahman’s Saajna Saajna. Ah! That sense of satisfaction and closure, when the song towards the ends falls into the arms of Tere Bina Sajna - immensely moving.<br><br>
A La Hassan De Paris is a techno suite of all main themes of the score that you can dance to. I still don’t get the point of this track. Maybe it will make sense with the film.<br><br>
I love this score. For the first time, my first hearing of a new A.R.Rahman soundtrack happened while riding my bicycle to work. I don’t know how much I absorbed while concentrating on the road riding a bicycle, but my residual thought at the end of the ride was that this is a special score, and after listening to the score for at least twenty times now, I think it is a special A.R.Rahman score for its many melodic themes and organic, seamless orchestration.
</font><br><br>P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com3tag:blogger.com,1999:blog-2995232424873037966.post-48340351391475963642014-05-28T14:37:00.003-07:002014-12-24T22:56:21.781-08:00Ilaiyaraaja Live in Concert - 09<font face="Garamond" size=3><br><br>
<center><a href="http://www.backgroundscore.com/2014/04/ilaiyaraaja-live-in-concert-08.html">Ilaiyaraaja Live in Concert - 08</a></center><br><br>
<blockquote>Kamal Haasan, who was sitting in the front row, when he quietly walked on to the stage, I thought this is going to be one of those segments in a typical concert where people say things that everyone already know. I must admit that if there is one person whom I don’t mind hearing talk about Ilaiyaraaja it is Kamal Haasan, but here, in this concert, I thought it would disrupt the mood and momentum of the concert. Just when these thoughts were clouding my head, I noticed that Kamal Haasan was dressed exactly like any other musician in the orchestra — the only one dressed differently on stage was Ilaiyaraaja. <br><br>
Kamal Haasan walked closer to a microphone, and started -- Singing! He rendered “Raghupathi Raaghav Raajaraam” from Hey Ram - the version that plays out in the movie’s opening credits. It finally hit me like a thunderbolt then that this was the only version in which the song that have always been sung like a Hindu Bhajan was set to a melody with a heavy Islamic flavour. Kamal Haasan rendered the tune and the words with perfection, modulation on the word Seetha was bang on. That moment I felt the song wouldn’t have the effect it does if not for the voice of Kamal Haasan, and that is coming from someone who hates Kamal’s singing voice. Sometimes, you need to see the singer perform the song live in front of you to know how much of themselves they pour into the song and realise the extent of inseparability. To fall in love with a song even more, you sometimes need to see the way the nerves on their neck stretch and strain to deliver a melody like the strings triggered inside a Piano by the fingers on the keys outside. <br><br>
And then a glimpse of grace. Without giving time for audience to react or appreciate Kamal Haasan - the singer, the western choir with Indian choir joined in to sing the moving choir piece from Heyram Opening Credits. I remember that for the pre-release promotions of Heyram, they use to repeatedly play this video of a Hungarian choir group singing in a huge recording hall with Kamal Haasan and Ilaiyaraaja sitting amidst the orchestra and watching the recording. I use to wonder why Ilaiyaraaja is sitting there idle when his music is being recorded. I didn’t know that anybody can conduct a written piece of music. I used to be wide-eyed with wonder and amazement whenever I saw that video, and would ask myself if I would ever get to watch such orchestral music performance live. Here at the concert, I was pinching myself. <br><br>
I don’t know whether they were doubling the voices live in the mix, but it sounded massive, as if the entire crowd was singing along with the choir group. The choir group of Budapest Symphony, wood winds and strings — it was like a gentle fountain with layers of instruments laid one after the other and rising high and reaching far on all sides. But, I was watching only the Harp, though the Harp is not doing anything in the lead in the piece, I have always been intrigued by the part it plays in an orchestral piece. What exactly does it do? Is it a dispensable part? Would the piece loose something if there was no Harp player available to play the part? <br><br>
When Preeti Uttam walked in, I thought they were going to perform the symphonic interlude of Pollaadha Madhana Baanam too, but was wondering how they would manage to reproduce the synth layers live. I always wondered if there is some kind of minus-acoustic track — just the synth layers from the original without the acoustic instrumental parts — for instrumental pieces too like minus-one track that singers use for most of their concerts, which is the song minus the voice. However, what followed after the short choir piece is the instrumental prelude of Nee Partha Paarvaikku oru Nandri, without Rani Mukherjee’s bengali poetry though. I like how the tune blossoms in a western flute suddenly out of nowhere when the piece is about to end, and the ensuing strings that brings the prelude of the song to a satisfying closure. And they didn’t sing the song. When it moved on to one of the softest pieces involving just two flutes I realised that this is becoming a well arranged suite of major musical motifs from Heyram score. The two flutes — one innocently looping a phrase and another playing a melody to the cuteness, innocence and lovability of Mythili’s character. Even the placement of Mythili’s theme in the movie is brilliant. When Mythili asks if she can be Kamal’s friend, the piece is first introduced and when she says she has caught Kamal smiling thrice - Hat-trick - it is diligently cued in again. <br><br>
I was hoping that the suite would include one of my most favourite musical scoring moments in the film. It is when Mythili expresses her love to Kamal in the hospital. The title choir piece is reprised on the orchestra for the first time here. It is an amazing scene, conversation and the score that precisely changes course on right sync points — the strings that whip up a magnetic force that is drawing Saketh emotionally closer and further closer to Mythili when he is in trance while Mythili is kissing him all over his face, and for the first time Nee Paartha Paarvaikku is played for Mythili and Kamal Haasan, now that Mythili has replaced Aparna from Saketh Ram’s life - Saketh even passes on the Aparna’s ring to Mythili as if that is the moment when they are really getting married. The changeovers, the shifting themes in this piece may not work as beautifully and as intensely in a music-only concert as it does when experienced with the visuals. <br><br>
And finally Preeti Uttam did what she came to do — crooned her alaap that begins the breathtaking instrumental interlude from Pollaadha Madhana Baanam. This piece is heady mix of softer wood winds playing for the sensuous layer, the brass and percussions layers for the violence, and that bang when Vasundhra Das on bed turns into a giant rifle, the ass of which Kamal kisses. There are so many layers in the visuals and so too in the music conveying everything. As we all know that the songs of this movie were composed after they were shot, I wonder what was in the original. I just can’t think of the multi layered cut of this scene working coherently without the accompanying score of Ilaiyaraaja. And the live performance - The sight of entire orchestration swinging into action for this piece - Ah! You just don’t know which part to concentrate on.
<br><br></blockquote>
<center><b><a href="http://www.backgroundscore.com/2014/12/ilaiyaraaja-live-in-concert-10.html">Ilaiyaraaja Live in Concert - 10</a></b></center><br><br>
</font>P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com3tag:blogger.com,1999:blog-2995232424873037966.post-42343723178227200902014-05-26T00:08:00.000-07:002014-05-26T00:08:10.439-07:00Kochadaiiyaan Background Score - A.R.Rahman<br><br>
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<br><br>P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com0tag:blogger.com,1999:blog-2995232424873037966.post-82472229029647785532014-05-03T01:38:00.002-07:002014-05-03T01:40:16.642-07:00Melancholic Ecstasy - A.R.Rahman<font face="Garamond" size=3><br><br>
This is a mix of 52 Piano Cues of A.R.Rahman than runs for 60 minutes. I compiled this for myself, to help me crush the noise in my head in the silence of the midnight and keep me in calm and peace in the moments before I close my inner eyes every night. <br><br>
I would like to call the mix “Melancholic Ecstasy”. <br><br>
All Pieces Composed, Arranged and Performed by A.R.Rahman<br><br>
<center><div class="youtube" id="HCsdCb-2tmg" style="width: 640px; height: 480px;"></div>
<script src="https://labnol.googlecode.com/files/youtube.js"></script></center><br><br>
Tracklist (In the order in the Mix)<br><br>
Love Theme - Roja<br>
Champions League T20 Theme<br>
A Soul in Steel - Endhiran<br>
Khwaja Mere Khwaja - Jodha-Akbar<br>
1947 Earth<br>
Tu Bin Batayae - Rang De Basanti<br>
Rang De Basanti Theme<br>
Kabir Narayanan and Kamal Bashir<br>
Thames Walk - Jhoota Hi Sahi<br>
Oru Dheivam Thandha Poo - Kannathil Muthamittal<br>
Yuvraaj Theme<br>
Bombay Theme<br>
Chinna Chinna Aasai - Roja<br>
Moments in Kerala - Vinnaithaandi Varuvaaya<br>
Kasturi - Indian<br>
Raining Love - Minsara Kanavu<br>
Beatrice’s Past - Kadal<br>
War - Bose<br>
Birth of a Satan - Kadal<br>
Priya in Love - Minsara Kanavu<br>
Rosy Theme - Karuthamma<br>
Dil Se Re Prelude from MTV Unplugged<br>
Taal<br>
Jason and Cynthia - Couples Retreat<br>
People Like Us<br>
Himalayas - Connections<br>
Jaage Hain - Guru<br>
Thomas in Love - Minsara Kanavu<br>
100 Moons and Blue Birds - Maryan<br>
Elizabeth’s Fantasy - Lagaan<br>
Jillunu Oru Kaadhal<br>
Jessie’s Land - Vinnaithaandi Varuvaaya<br>
Tum Tak - Raanjhanaa<br>
Love Theme - Doli Saja Ke Rakhna <br>
Madhumitha Leaves to India - Jeans<br>
Amit’s Theme - Jaane Tu Yaa Jaane Na<br>
Pam Pam Para Para - Jhoota Hi Sahi<br>
Alaipayuthey<br>
Rhythm<br>
Karthik - Vinnaithaandi Varuvaaya<br>
Dekho Na - Swades<br>
Kadhalar Dhinam<br>
Kadhal Desam<br>
Rhythm<br>
Flute and Piano - Kisna<br>
Andhimandhaarai<br>
Aao Balma<br>
Yuvraaj<br>
Worldspace<br>
Rockstar<br>
Tango for Taj<br>
Finding Sam - People Like Us<br><br>
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P.S. Suresh Kumarhttp://www.blogger.com/profile/09890572891853051925noreply@blogger.com5