Somethings remind me of a Japanese proverb: "If others can do it, you can also do it for sure. If others fail to do it, why not you give a try and succeed."
In contrast to that I see few with the mentality "If others are able to do it, I think I can do it better than those, why do it instead let me speak about it." --- In [email protected], "S, Karthik" <karthi...@...> wrote: > > Can't Cross the Road the Same Way Two > Times<http://lemarietta.wordpress.com/2009/11/24/cant-cross-the-road-the-same-way-two-times/> > > http://lemarietta.wordpress.com/2009/11/24/cant-cross-the-road-the-same-way-two-times/ > > 24Nov09 > "India and Hungary are very close to each other" > Almost 900 film scores, 5000 film songs, countless discs a dizzy amount of > work stands behind IlaiyaRaaja. The most wanted composer of the Indian film > industry is a relatively frequent guest in Hungary: as friend and as > colleague, he is in touch with several Hungarian jazz musicians, from time to > time he also resorts to the help of the Miskolc Symphony Orchestra. He has > recently been to Budapest again. > Csider István Zoltán<http://cellovolde.com/>, Le Marietta| > Népszabadság<http://nol.hu/lap/kult/20091118-nincs_ket_egyforma_atkeles>| > 2009. november 18. > > [http://farm3.static.flickr.com/2585/4130080727_eb90439a3c.jpg]<http://nol.hu/lap/kult/20091118-nincs_ket_egyforma_atkeles> > > One tries to imagine Indian film composers very rarely, but still: we had > imagined IlaiyaRaaja exactly like this. Bright eyes, friendly face and the > obligatory glasses. He received amicably the journalists of Népszabadság in > an elegant, stylish hotel room, after offering them a seat, he almost > disappeared in a giant armchair. During the conversation there was a bleak > smile on his face, even when we were asking him about his ex-disciple, the > composer to the soundtrack of Slumdog Millionaire, A. R. Rahman and his > success in Hollywood, or about Rahman at all. Smiling and correct, he refused > to answer by saying everybody can do what he'd like to do, and well, it > wouldn't be elegant to talk about a fellow. "And anyway, would a Hungarian > journalist talk about other Hungarian journalist colleagues?", he asked, and > it could be seen he was sure of getting a negative answer. > > Right from this saw we that IlaiyaRaaja doesn't know the Hungarian, to a bit > extended level: the European press relations. Which is, however, a good thing. > > The most productive composer of the Indian film industry came to Budapest to > do the post-production of his newest film score which had been recorded in > July with Miskolc Symphony Orchestra conducted by László Kovács, the mixing > was done at the Hungarian Radio's studio with the help of Dénes Rédly, sound > engineer. But why had he chosen a Hungarian symphony orchestra for the > records? The two countries are fairly far away from each other > > "India and Hungary are actually very close to each other, the national > tricolors differ only in one tone of color," he answered laughing, but then > turned to talk seriously: he thinks Hungarian musicians can compete anytime > with other countries' artists. In his homeland there are no symphony > orchestras at all. In Chennai where he lives, there are excellent musicians > playing on strings, playing on wind instruments but they're never organized > to one orchestra: setting up this kind of ensembles has no tradition there. > > When IlaiyaRaaja had been in Budapest around 2000, he had gotten to know > Attila László jazz guitarist-composer. He had liked the compositions of > László so much that he had asked him to work together. In August, this year > the Hungarian composer traveled to Chennai with Béla Lattman, bassist and > János Nagy, pianist to play for the recording of the Indian master's 882th > film score. > > A series of coincidences had led IlaiyaRaaja to the profession of music, for > that later his goal could be defined: once he would be music director. When > he had stepped into the field of film-making, composing had had just a > functional role in the Indian film industry, there had been far less > spiritual content, and the variety of music had had much room for > improvement, too. This probably had derived from the working method of > composers, indeed from the relations among musicians. Raaja had found > something important for him in Western music, he had started to play the > guitar, the piano and the violin, and he had been the first to use Western > instruments, indeed unknown genres in his compositions. Just to mention some > examples, pop, jazz, rock and roll, bossa nova and flamenco had gained > grounds on the Indian screen by his work. And it's not an irrelevant feat of > arms that he had been the first Asian artist to compose a symphony for the > London Philharmonic Orchestra. > > Raaja said, in the beginning, if something hadn't worked out as he had wanted > it, he had become impatient with his musicians. Afterwards, by more and more > spirituality moving into his compositions, this gradually had disappeared. > > When asking him about the method of composing by thinking that a work of > life like his (more than 5000 film songs and almost 900 complete film scores > are signed by his name) is a result of an effective method of composing he > answered: composing is not a question of will or ambition for him. It doesn't > need to be that. > > Music is born mentally, in the soul, one doesn't think about it too much. > IlaiyaRaaja used a statuesque metaphor: when one's crossing the street, he > never pays attention to each step, but to the goal: to get from one side to > the other. One can't cross the road the same way two times. > > ________________________________ > > Possibly related posts: (automatically generated) >
