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2. Mad Mad Mood Fugue - In a calm, soothing composition Ilaiyaraaja has captured the spirit of a Bach fugue, without being bogged down in formalistic patterns. The theme is based on the Raga Maya Malava Gowla, with once again hints of the Toccata and Fugue. 3. You Cannot be Free - Introduced by the flute; a subdued violin plays a wailing melody; its plaintive voice is hemmed in by other instruments, as the mridangam - two - headed South Indian drum - natters intermittently; "I told you so ! You can't be free ! You can't ! You can't !". 4. Study for Violin - Kreutzer, Fiorillo and Carl Flesch studies were never like this, and you'll wish they were. Although introduced into india by the west a couple of centuries ago, the violin has become very much a traditional classical Indian instument, and in this treatment you see why. It's based on the Shanmuga Priya Raga, says the composer; and, if you have a pair of Western ears, he suggests to think in the key of C minor. 5. Is it Fused? - Provides a dramatic change of mood and pace. A steady, rhythmic Indian tune featuring classical guitar gives way to a trance-like, bluesy passage; drums pick up the beat, and we are drawn irresistibly into a full-blown jam session as trombone, strings, and percussion join in an exurberant celebration. Brief, but oh so stimulating! Banthuvarali Raga. 6. Chamber Welcomes Thiagaraja - Although this particular composition is dedicated to Thiagaraja, one of the greatest of indian itinerant musician-composers, listeners will recognize repeated allusions to a Bach concerto before they ever get to Thiagaraja. Which considering the chronology of the two cultures, is as it should be: Thiagaraja (1767-1847), who like Bach was a profoundly religious composer, was born 17 years after Bach died, and was infact a contemporary of Beethoven. 7. I Met Bech in My House - Begins with an invocation that at first is contemplative, introspective, and becomes increasingly importunate; it comes to a climax, and is interrupted by the first notes of Bach's Prelude to his violin Partitia III. The Prelude is soon played out in full in a brilliant dialogue with Indian instruments, a contrapuntal weaving that seems completely natural. Nor does it seems strange when voices break in spontaneously, in rapturous song, and we hear the Prelude articulated at speed in Indian solfeggio, so neatly, so fluently, that a great light dawns - the two musical cultures, Indian and Western - share common ground, far more than is commonly perceived. 8. ...And We Had a Talk - follows directly from the meeting with Bach, This time, a Bach Bouree is presented in a contrapuntal Indian setting. 9. Don't Compare - Fire in the blood, love in the air - there's excitement not only in Ilaiyaraaja's inspired melodies but also in the brilliant way in which he has orchestrated them. The drumming is spectacular, and so is the fiddling - but it is really unfair to single out these two instruments for special mention when the entire ensemble performs at such a high level. Changes of mood mark the different sections; dramatic use is made of rests and silence; and although elements of Jazz improvisation, Western classical influences, and modern dance rhythms are blended together expertly, the inspiration is unquestionably Indian. Don't Compare is an entrancing composition. And the title is apt - it's beyond compare! 10. Do Anything - Presents an almost Bartokian treatment of a South Indian melody as a flute as a flute sings above dance rhythms.
2. Mozart I Love You - Mozart's music is loved world-wide, and it had a great impact on Ilaiyaraaja. in this work the Indian composer pays tribute to Mozart's greatness, echoing his many moods, from gentle and introspective to joyously exuberant. 3. Song of Soul - A calm, beautiful melody comes from the deepest recesses of the soul; floating above a repeated bass, it brings peace alike to composer, player, and listener. Ilaiyaraaja's music here portrays a soul truely at peace with itself. Lovely as the music is at first hearing. It becomes even more beautiful when heard again and again. 4. Composers Breath - To the gifted composer music is the breath of life, and it comes to him as naturally as breathing. The simplest melody can turn into a complex, gushing stream as inspiration takes over. Here, a flute's plaintive pentatonic melody lures other instruments into joining in; soon, raga follows raga, in an outpouring of art. 5. Nothing But Wind - Ilaiyaraaja here powerfully expresses the conflict between modern civilization and mankind. Inspired by the chirping of birds and crickets, and the rustling of the wind through bamboo thickets, man first cut himself a bamboo flute, and developed music. But those pastoral times passed as life became more complex and ever more industrialized; first the train, then the plane, then the jet helped speed the process. Today, we hear the roar of rocket engines blasting off for the stars. On the one hand we seek relief from these pressures by reaching out to divinity through chants and mantras; on the other, we distract ourselves with disco music and earthly pleasures. Yet our society will self-destruct; and after the inevitable holocaust the musician will lay down his flute, unable any longer to play, convinced in spite of himself that music is, after all, Nothing But Wind.
From glacial Ladakh to steamy Kerala, the many photographic teams sought to capture the contrasting forces that have shaped the subcontinent. India 24 hours is a photosensitive odyssey that attempts to advanvce the luminous possibilities of the country, offering re-invigorated definition, injecting new vitality, pressing toward the borders of interpretation and response if only by subtle shades and subjective increments. here lies choreographed the boundless freedom of eighteen of India's most gifted photographers, working simultaneously throughout the country, ravishing the eye, inflaming the senses, provoking the heart and stirring the imagination India 24 hours is a collective impression born of many situations, paces, shades, and definitions. Familiar idioms are here transformed into a transformed language that is both of the everyday and the fantastic. Inner perceptions and outward marvels captured by the photographers lenses testify to celebrations, hard work, memorable incidents, visions, haphazard encounters, pains, pleasures and passions, two winks for every grimace, and the odd miracle. It is not mere visual provocation or splendour that typifies these images, but the profound diversity of a country, as she randomly greets a small armada of great photographers. The results and uncanny, a shock wave of insights and upliftment. India 24 Hours took shape under the production and editorial guidance of Internationally acclaimed writer, ecologist and film maker, Michael Tobias, renowned Indian photographer, Raghu Rai and Kirit Mehta, Managing Director of CMM Studios, Bombay(Mumbai). The many photographic teams logged in some 100 hours on the road in nearly every state and union territory to touch and uncover the elusive passions of a country that defies easy definition. These have been fused into a sumptuous portrait of the nation as she lives, breathes, dreams, India 24 Hours.
1. India 24 Hours
The original music score for the film was composed and arranged by Dr. Ilaiyaraja.
Proclaimed by the world's critics as a composer of a new kind of music. Ilaiyaraja is
something of a phenomenon having composed music for more over 700 films, In 1993, he
composed his symphony No.1 with the royal Philharmonic Orchestra, London under the baton
of John Scott. he has been the winner of the Government of India's national Award for
his film music in the year: 1981, 1986 and 1987.
1. Introduction, Nee sankari nee sunthari |
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All rights reserved - Rakkamma.com, 2001-2007.
All rights reserved - Rakkamma.com, 2001-2007.