The Real Falseto Singer: Sairam Iyer: Barse Nayan

The song has been recorded arround year 1999-2000. A must song to hear
http://www.youtube.com/watch?v=4RWrGVj5GLo

Seva Ram Tripathi announces a blog-"samay prasang" for hindi charcha

Seva Ram Tripathi, The prominent hindi writer of Madhya Pradesh, announces to start a blog in hindi for discussions related to hindi literature and current affairs. Seva Ram ji has contributed to hindi literature with his poetry, critics. He has written the book on legen writer Muktibodh with title "MUKTIBODH: SARJAK AUR VICHARAK. He has been writing since a long ago in magzines, newspapers, journals etc. Subah Savere column in Hindi News Daily "DESHBANDHU" was the most popular column in the 80's and early 90's. So most welcome for his new blog SAMAY PRASANG with title BEBAAK. You may visit his URL http://samayprasang.blogspot.com

Abhishek Ishteyak : The Music Director Duo : Chai Ke Bahane: Chintuji Movie

The Music Director community has got one new duo Abhishek Ishteyak,just going to join their community in bollywood. The Debut Song for them became the track from Movie CHINTUJI, which is going to be released in September this year. The Song is a romantic song, having lyrical tag-
"CHALO ZINDAGI KO PHIR SE PUKAAREN,
DO LAMHE SUKOON KE MIL KE GUZAAREN,
CHAI KE BAHANE..................................."
Beautifully penned song by Yash Bhardwaj, has got a natural tune of nostalgic taste in romance and life, by Abhishek Ishteyak. The duet song CHAI KE BAHANE, rendered by Rup Kumar Rathod & Madhushree, has the capacity and capability to become an anthem, which the whole audience can hummmm!!!!!

The Music Director Duo comprise of two persons, Abhishek Tripathi & Ishteyak Arif Khan, Both are the talents from central part of India called Madhya Pradesh (MP). Probably for the first time, Madhya Pradesh has gave Music Directors for films prominently.

The lead role player of the film Chintuji, Rishi Kapur says about film- " Ye film pitaji ke shabdon me AADHI HAKEEQAT, AADHA FASAANA hai. The song CHAI KE BAHANE, of Abhishek - Ishteyak, came in film by a natural strive to get it inside the film, because the song was best suited in the situation.

Abhishek has a long track record of musical and theatrical activities in the region and , in India. Abhishek is technically trained in Indian music styles from his Guru Pandit Jwala Prasad (Delhi), from All India Radio who is a reknown music composer and for top most kathak dancers of India including Smt Uma Sharma & Smt Shobhna Narayan. His track is full of performances on stage of Music and Theatre as Music Composer.

Ishteyak is an inborn talent of acting & Music, recently got a film released as an actor . That film is from Ram Gopal Verma's prduction "AGYAAT". Many TV Commercials are also in his pocket. Ishteyak has been graduated from NSD (National School Of Drama, Delhi). He has directed many workshops and production of dramas in different parts of India.

Chintuji is a Debut film for Abhishek Ishteyak in bollywood. The Duo has done an Oriya Music Album video in 2006 with title "ODHNI RONGEYILI TONAARE" and got in chartbusters list with the track from it (O Priya-O Priya). Duo also done job in the jingles field in the past few years as composers.
So the Commercial time of Abhishek-Ishteyak, for bollywood is still to come in next few weeks....................
Film-CHINTU JI
Director-RANJIT KAPUR (was associated as writer in films like JAANE BHI DO YAARO, KABHI HAAN KABHI NAA, LAJJA, HALLA BOL etc in past)
Producer-BOBBY BEDI
Production- Keliedoscope Entertainment
(A Release Of Eros Entertainment)

विचार क्या है

आज हम एक बात का ख्याल करके बहुत खुश होते हैं कि हमने १० साल काम कर लिया २० साल काम कर लिया। अच्छा है , ठीक है, पर क्या कभी हम ये सोचते हैं कि सिर्फ़ काम करना और करते रहना ही ज़रूरी नहीं है। हमेशा ज़रूरत उस काम की होती है और शायद अहमियत भी, जो काम एक ख़ास लक्ष्य से किया जाता है। इस लक्ष्य को कहते हैं विचारधारा । ये विचारधारा क्या है? विचारधारा हमारी सोच की दिशा है और यही दिशा हमारी दशा भी निर्धारित करती है। हम क्या थे, क्या हैं और क्या होंगे , सब इसी विचारधारा का खेल है। ज़रूरी नहीं है कि हमारे साथ काम करने वाला हर साथी हमारी ही विचारधारा का हो , पर हर विचारधारा की अपनी अहमियत है, महत्व है। तो हम विचारधारा के मर्म को समझें। विचारधारा को कई हिस्सों में बाँट कर रखा गया है। परम्परा , प्रगति, स्थिरता, आधुनिक और कितनी ही अन्य विचारधाराएं हमारे इर्द गिर्द मौजूद हैं। यहाँ समझने वाली बात ये है कि सब अपनी जगह ठीक हैं। हम जिसे ठीक समझते हैं उसे अपना लेते हैं। और जिसे ख़राब समझते हैं उसका विरोध करते हैं। रंगकर्म में कोई लोक कि बातें लेता है, कोई प्रयोग की, कोई व्यंग्य की लेता है कोई वास्तविकता की, हर कोई अपने हिसाब से ठीक है। तो ज़रूरत इस बात की है कि हम अपने विचार के साथ अपना रिश्ता हमेशा मज़बूत रखें और दूसरी विचारधारा का सम्मान भी बनाये रखें। इस विचारधारा के बहुत से मर्म हैं जिन्हें हम आगामी पोस्ट में विश्लेषित करने की कोशिश करेंगे।

Theatre Music

Theatre Music: My Perception

Being a disciple of music through theatre, I always feel strong urge to be associated to theatre music and hence going to write some thoughts regarding this genre.
Theatre music is not any distinguished department of music itself but it is only the whole music used and formed for theatres. Rather than we can say theatre music is only a kind and /or ingredient of theatre. Later on I will try to discuss this topic in very detailed manner. But a few important things, I would like to mention here.
As a production takes a shape for performance, simultaneously, it gets the music ready for use, however, it is not definitive that the created music is the only best and/or only suited music. Because all the theatre activities goes with personal perceptions of creations and differs from person to person. As one script can be treated in many different ways, the music also can be treated so differently for the same script which depends on Music composer’s and Director’s creative perceptions.
For the theatre music, in India, in amature theatre specially, the basic thought flown in its creation, believes that theatre music should not be so melodic and soft, because it can affect audience’s phenomenal response towards picking the line of thought or message of script and it can make viewers in this regard.
But, I always felt strong arrogance about this thought, and did not follow this line of action, even a single time. I always believed that the melody and softness is a totally different issue in the regards of theatre music, and why theatre should be punished by neglecting these fundamental things of music. I strongly oppose the perceptions, which proposes that melody and softness of music in theatre affects the expression adversely. I believe, Music, is the most expressive way to make better, rather to say, best communication of feelings and emotions. And I always proved my ideology right, through the feedback of audience and critics both. Even the most competitive work forces (groups and persons) in theatre in my circle appreciated and enjoyed my work at utmost.
Another thing I always used, in my theatre music creations, is the music of contrasts. Although I am not the first person who used this i.e., music of contrast, but I feel, I am amongst the few ones who liked to do it. The music of contrast is very simple thought though very difficult to perceive as it involves the huge experience of life as well as a highest level of creativity. Simply we can say, music of contrasts is basically contrast of feelings, created and symbolized by music. For example of this music, we can take a creature of a renown theatre music composer, in which, in the scene of a dead body of husband in front of his wife, he used the sounds of a marriage ceremonial procession and succeeded in making the enhancement of feelings of the wife, who was seeing his dead husband.
To be different is the best way to create the theatre music. I would like to share an example of my composer friend, Ishteyak from National School of Drama, who used, in scene of extreme jealousy, the sound of showers of water on the hot plate of iron, which is used to make chapatti in this Indian community. It was the best example of symbolic music, I saw ever.So all the small discussion made here is regarding my beliefs for the theatre music. And that’s all for my today’s contribution.