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Taking a simple idea and turning it into an epic concept without losing the theme or music theory is what makes a true masterpiece! Kamal Sir’s input on Guna’s psyche became Raja Sir’s musical brilliance. The variations in Guna’s theme hit different every time throughout the film

Sridhar Ravi

3,827 subscribers

31,613 Aufrufe • vor 1 Jahr •via X (Twitter)

Anya Rossi• Live Now

Private livecam show

10 Kommentare

Profilbild von Bharath Subramanian

Bharath Subramanianvor 1 Jahr

You know what sridhar like you am also constantly been thinking of this special video of raaja sir and kamal. What unbelievable genius these ppl are. True talent 👏. Thanks for editing and posting

Profilbild von Holly Dayle

Holly Daylevor 1 Jahr

This song lit up the livestream!😍🎶✨ Couldn’t help but fall in love with it all over again🥰 What did you think? Drop your thoughts below! 👇 #LivestreamHighlights #NewMusic2024 #singing #Livestream #music #Disney #lovesongs #ClassicalMusic

Profilbild von Guru Prasath A

Guru Prasath Avor 1 Jahr

Wow! Wow! Wow!...

Profilbild von Ram_G

Ram_Gvor 1 Jahr

Wow...raja sir is such a genius. Hats off to him

Profilbild von meenakshi sundaram

meenakshi sundaramvor 1 Jahr

Guna is the masyter piece for both of them

Profilbild von கிராமியமே தேசியம் - நாளைநமதே

கிராமியமே தேசியம் - நாளைநமதேvor 1 Jahr

Brilliance 🫡🫡🫡

Profilbild von Parasakthi

Parasakthivor 1 Jahr

Kamal is brilliant in explaining stuff !! He just got into politics and lost all the goodwill !

Profilbild von Denzil Mario

Denzil Mariovor 1 Jahr

Hey, where can I find this full interview/round table?

Profilbild von Aravindh Palanichamy

Aravindh Palanichamyvor 1 Jahr

😍😍😍

Profilbild von GeetShankar🇮🇳 (Modi's Family)

GeetShankar🇮🇳 (Modi's Family)vor 1 Jahr

omg... for every song, there is a big story behind.

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Here is something soothing to calm you down after my rant on Congress. It’s the ritornello theme from Bach’s Brandenburg Concerto #4 - my favorite because it’s heavy on the winds. In a ritornello movement, you have one basic theme, with departures and variations and returns to the principal theme. This makes it easy to follow - one of the reasons baroque era music never loses popularity. You don’t lose your way because the theme brings you home. It’s complex and beautiful without requiring all that much from a listener who isn’t educated in music.

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Happy 49th Anniversary to one of the most successful spinoffs of all time, Laverne and Shirley, The theme song ("Making Our Dreams Come True," performed by Cyndi Grecco) became so popular, that it became a Top 30 hit in 1976.

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Danny Deraney

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I wasn't a fan of the original. But this remake hit different. I think the musical theme is beautiful and haunting.... I enjoyed the movie in the “it’s bad but good” sense and it has one of my favorite lines ever: “It’s lonely without God, isn’t it?” “It’s just lonely—period.”

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Once Upon a Time in America is nearly 4 hours long, and it earns every minute. Leone’s epic is a haunting meditation on memory, time, and loss—an unforgettable masterpiece, no matter the runtime.

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This week’s music post is the Bach Violin Concerto in E Major. Baroque era music is a good entry point to ‘classical music’ because it is relatively easy to follow. This excerpt from the opening movement is in ritornello form, which means it is monothematic. Bach gives you the major idea/theme up front, and then he plays with it the entire time. The audience always knows what is going on. They have the theme clearly in their heads, and then they hear variations on it with brief divergent ideas and moves into different key areas. The audience never needs to know the technical details, because the twists and turns are obvious and intuitive. It’s very easy on the listener, yet complex in composition. Street pianos often rely on baroque era pieces for this exact reason. The listener who might drop some $$ into the basket doesn’t need to have been there from the beginning to understand. S/he can just show up and jump in because it’s one idea and some elaboration on it. Anyway - I will link this entire piece in the following post. It’s in 3 movements - all easy to follow. (Some of my musical friends are dim on Hillary Hahn - and maybe they’re right. But this is good enough for us, and video draws in more listeners than blank audio).

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“Guilt is a strong theme throughout SILENT HILL's many stories, and I wanted to dive deeper into the various different ways that guilt can manifest where it comes from, what it can do to people, and how, if you can, come to accept or resolve it.” The development team shares this and other thoughts on SILENT HILL: Townfall: Add to your wishlist: #SILENTHILL #Townfall

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IMbali-enhle!💜

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China pulse 🇨🇳

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Bernard Herrmann on the importance of music in movies: "Interviewer: You once said that music is called upon to supplement what the technicians have done, and mostly what they have been unable to do. Herrmann: The real reason for music is that a piece of film, by its nature, lacks a certain ability to convey emotional overtones. Many times in many films, dialogue may not give a clue to the feelings of a character. It’s the music or the lighting or camera movement. When a film is well made, the music’s function is to fuse a piece of film so that it has an inevitable beginning and end. When you cut a piece of film you can do it perhaps a dozen ways, but once you put music to it, that becomes the absolutely final way. Until recently, it was never considered a virtue for an audience to be aware of the cunning of the camera and the art of making seamless cuts. It was like a wonderful piece of tailoring; you didn’t see the stitches. But today all that has changed, and any mechanical or technical failure or ineptitude is considered ‘with it’. Music essentially provides an unconscious series of anchors for the viewer. It isn’t always apparent and you don’t have to know, but it serves its function. I think Cocteau said that a good film score should create the feeling that one is not aware whether the music is making the film go forward or whether the film is pushing the music forward. Interviewer: Is the composer, in a sense, an actor with a greater range of ‘voices off’? Herrmann: I always think that film music expresses what the actor can’t show or tell. For example, when Janet Leigh is driving her car in 'Psycho' (1960), all we see is a pleasant young girl driving in the rain with the windscreen wipers going back and forth. From what you see, she might have been going to the supermarket or visiting a friend, but it’s the music that tells you that she has embarked on a very dangerous, horrifying experience. In the very opening of 'Citizen Kane' (1941), the music really tells you what ‘Rosebud’ is. When Kane is dying, all the musical motifs and atmospheres of his childhood are presented and the search for ‘Rosebud’ has really been told to the audience right away. At the end of the film, before the camera discovers the sled, the theme is given out again. And of course it also recurs at key moments of conversation between Kane and all the leading characters." (Bernard Herrmann's interview with Ted Gilling, Sight and Sound, 1971) P.S: Remembering the legendary American composer Bernard Herrmann on his 115th birthday!

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DepressedBergman

10,525 Aufrufe • vor 20 Tagen

This is an obsessively political time for good reason - so let’s cut that with a little music. Here you will see/hear Bach’s fugue in C Minor from his Well-Tempered Clavier. Fugue is a good intro to classical music because it consists of a simple theme, repeated in different voices, with variations - all going on at the same time. So there is clarity, but also complexity. You have to pay attention - and when you sit back and listen, it’s like it’s playing you. You can feel a tip/tap in your head. It’s the kind of thing that takes your mind over, as you here the initial fugue theme, and then you hear how the composer uses it - I think one of the main reasons mediation never became a thing in Western culture until recently is because of this form of tightly constructed art - which could bring our minds to other places and provide the same relief that people now get in Rochester, with someone smacking him with a stick while he sits closed-eyed in the lotus position. Strongly encourage anyone who likes this piece to get a recording of the entire well-tempered clavier.

This is an obsessively political time for good reason - so let’s cut that with a little music. Here you will see/hear Bach’s fugue in C Minor from his Well-Tempered Clavier. Fugue is a good intro to classical music because it consists of a simple theme, repeated in different voices, with variations - all going on at the same time. So there is clarity, but also complexity. You have to pay attention - and when you sit back and listen, it’s like it’s playing you. You can feel a tip/tap in your head. It’s the kind of thing that takes your mind over, as you here the initial fugue theme, and then you hear how the composer uses it - I think one of the main reasons mediation never became a thing in Western culture until recently is because of this form of tightly constructed art - which could bring our minds to other places and provide the same relief that people now get in Rochester, with someone smacking him with a stick while he sits closed-eyed in the lotus position. Strongly encourage anyone who likes this piece to get a recording of the entire well-tempered clavier.

FischerKing

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Jan Valta and Adam Sporka created incredible music for KCD2 video game, and there's one detail in particular I've been wanting to share for a year now, given how amazing the music is in narrative sound design. I recognized the Hussite song in certain locations, specifically those resisting Sigismund's rule: Semine, Suchdol, and Raborsch, each with a different instrument but the same theme. When I first played KCD2 and heard this music in Semine, I immediately recognized it, being a fan of Czech history. I already suspected that the lord of Semine was plotting against Lord Otto von Bergow. This theme behind the music, the Hussite song, echoes the events 20 years later with the Hussite Wars, a religious war and crusade waged in Bohemia by King Sigismund of Luxembourg. My opinion is that the difference in instruments in these pieces of music with the same theme is to distinguish the settings. Semine is in the Bohemian paradise with more choral music, Raborsch is an isolated estate with agriculture with solo guitar music, and finally Suchdol is an impressive fortress with a military aspect to the music. I just did the montage with the musics of these locations :

Jan Valta and Adam Sporka created incredible music for KCD2 video game, and there's one detail in particular I've been wanting to share for a year now, given how amazing the music is in narrative sound design. I recognized the Hussite song in certain locations, specifically those resisting Sigismund's rule: Semine, Suchdol, and Raborsch, each with a different instrument but the same theme. When I first played KCD2 and heard this music in Semine, I immediately recognized it, being a fan of Czech history. I already suspected that the lord of Semine was plotting against Lord Otto von Bergow. This theme behind the music, the Hussite song, echoes the events 20 years later with the Hussite Wars, a religious war and crusade waged in Bohemia by King Sigismund of Luxembourg. My opinion is that the difference in instruments in these pieces of music with the same theme is to distinguish the settings. Semine is in the Bohemian paradise with more choral music, Raborsch is an isolated estate with agriculture with solo guitar music, and finally Suchdol is an impressive fortress with a military aspect to the music. I just did the montage with the musics of these locations :

Bigvadrouiller

34,540 Aufrufe • vor 2 Monaten

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DepressedBergman

35,973 Aufrufe • vor 4 Monaten

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cinesthetic.

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Bach’s Goldberg Variations like you’ve rarely heard them before. 🎼 Originally written for keyboard, this monumental work is built on a single aria and 30 intricate variations — a masterpiece of structure, counterpoint, and architectural precision. In this performance, Thibaut Garcia and Antoine Morinière reimagine it for two classical guitars, completely reshaping how the music breathes. What was once a dense keyboard texture becomes an intimate dialogue between two voices — every line more transparent, every variation more personal. Filmed inside the Abbey of Solesmes, the natural acoustics add a sense of stillness and depth that feels almost meditative, revealing a new emotional side of Bach’s design. A familiar masterpiece, heard through a completely different lens. 🎻✨

Bach’s Goldberg Variations like you’ve rarely heard them before. 🎼 Originally written for keyboard, this monumental work is built on a single aria and 30 intricate variations — a masterpiece of structure, counterpoint, and architectural precision. In this performance, Thibaut Garcia and Antoine Morinière reimagine it for two classical guitars, completely reshaping how the music breathes. What was once a dense keyboard texture becomes an intimate dialogue between two voices — every line more transparent, every variation more personal. Filmed inside the Abbey of Solesmes, the natural acoustics add a sense of stillness and depth that feels almost meditative, revealing a new emotional side of Bach’s design. A familiar masterpiece, heard through a completely different lens. 🎻✨

🎶𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀 ✨

15,443 Aufrufe • vor 3 Monaten

The Evil Dead plays it straight as raw horror, Evil Dead II cranks the slapstick without losing the menace, and Army of Darkness (1992) goes all in on comedy. Same bones, each film pushing further in a new direction, and it somehow works every single time.

The Evil Dead plays it straight as raw horror, Evil Dead II cranks the slapstick without losing the menace, and Army of Darkness (1992) goes all in on comedy. Same bones, each film pushing further in a new direction, and it somehow works every single time.

cinesthetic.

163,660 Aufrufe • vor 5 Monaten

Rainer Werner Fassbinder on the recurring theme in his movies: "Every decent director has only one subject, and finally only makes the same film over and over again. My subject is the exploitability of feelings, whoever might be the one exploiting them. It never ends. It’s a permanent theme. Whether the state exploits patriotism, or whether in a couple’s relationship, one partner destroys the other." ("Rainer Werner Fassbinder: 10 essential films", Alex Davidson, BFI, 2015) P.S: Remembering the great German Filmmaker Rainer Werner Fassbinder on his 81st birthday! Clip from: Ali: Fear Eats the Soul (1974) Director: Rainer Werner Fassbinder

Rainer Werner Fassbinder on the recurring theme in his movies: "Every decent director has only one subject, and finally only makes the same film over and over again. My subject is the exploitability of feelings, whoever might be the one exploiting them. It never ends. It’s a permanent theme. Whether the state exploits patriotism, or whether in a couple’s relationship, one partner destroys the other." ("Rainer Werner Fassbinder: 10 essential films", Alex Davidson, BFI, 2015) P.S: Remembering the great German Filmmaker Rainer Werner Fassbinder on his 81st birthday! Clip from: Ali: Fear Eats the Soul (1974) Director: Rainer Werner Fassbinder

DepressedBergman

51,011 Aufrufe • vor 1 Monat