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Yuvan Shankar Raja

Yuvan Shankar Raja (Tamil: யுவன் சங்கர் ராஜா ; built-in 31 August 1979) is an Indian Tamil blur account and soundtrack composer, accompanist and casual lyricist. He has predominantly denticulate music for Tamil as able-bodied as Telugu films. In 1997, at age 16, his agreeable career began as he composed the blur account for Aravindhan. He after composed blur array for a array of South Indian films, which accommodate bartering blockbusters such as Dheena, Manmadhan, Paruthiveeran, Billa and Paiyaa as able-bodied as acclaimed films such as Kaadhal Kondein, 7G Rainbow Colony, Pudhupettai, Chennai 600028 and Kattradhu Thamizh.

Within a amount of 13 years, Yuvan Shankar Raja has denticulate for over 75 films. Considered a awful able composer, he generally strives for different, avant-garde and stylistic music and has explored and acclimated elements of assorted genres in his compositions that ambit from folk to abundant metal. He is decidedly accepted for his use of western music elements in his pieces and generally accustomed with accepting alien Hip hop to the Tamil blur and music industry and accepting started the "era of remixes" in Tamil Nadu.[1][2] Being badly accepted amid the adolescent generation, he is frequently alleged the "Youth Icon of Tamil Blur Music".[2] In addition, Yuvan Shankar Raja is accustomed for his accomplishments account in films that accept fetched him aerial acclaim amid critics.

He has won one Filmfare Accolade in 2004 for his account in the ball 7G Rainbow Colony at age 25, actual the youngest champ of the award. Besides, he accustomed two nominations for Filmfare Awards, one Tamil Nadu State Blur Accolade in 2006 and the Cyprus International Blur Festival Accolade in 2006 for Raam, acceptable the aboriginal and alone Indian artisan to win it.

honour oerformances

Ilaiyaraaja has won the National Blur Accolade for Best Music Direction for the all the Tamil blur Sindhu Bhairavi (1986) and the Telugu films Rudraveena (1989), Saagara Sangamam (1984).[80] He won the Gold Remi Accolade for Best Music Score accordingly with blur artisan M. S. Viswanathan at the WorldFest-Houston Blur Festival for the blur Vishwa Thulasi (2005).[81]

He was conferred the appellation Isaignani ('savant of music') in 1988 by Tamil Nadu Chief Minister M. Karunanidhi and accustomed the Kalaimamani Award, an anniversary accolade for arete in the acreage of arts from the Government of the State of Tamil Nadu, India.[82] He additionally accustomed State Government Awards from the governments of Kerala (1995), Andhra Pradesh and Madhya Pradesh (The Lata Mangeshkar Award) (1998) for arete in music.[83] In 2010, he was awarded the Padma Bhushan, India's third accomplished noncombatant honour.[84]

He was awarded honorary doctorates by Annamalai University, Tamil Nadu, India (Degree of Doctor of Letter (Honoris causa)) (March 1994), the World University Round Table, Arizona, U.S.A. (Cultural Doctorate in Philosophy of Music) (April 1994), and Madurai Kamaraj University, Tamil Nadu (Degree of Doctor of Letters) (1996).[83] He accustomed an Accolade of Appreciation from the Foundation and Federation of Tamil Sangams of North America (1994), and after that year was presented with an honorary citizenship and key to the Teaneck belt by Mr. John Abraham, Mayor of Teaneck, New Jersey, U.S.A.[83]

He has accustomed NTR National Accolade for the year 2004. He has accustomed Padma Bhushan accolade in the year 2010.

According to musicologist P. Greene, Ilaiyaraaja's "deep compassionate of so abounding altered styles of music accustomed him to actualize syncretic pieces of music accumulation actual altered agreeable idioms in unified, articular agreeable statements".[5] Ilaiyaraaja has composed Indian blur songs that affiliated elements of genres such as Afro-tribal,[27] bossa nova,[28] ball music (e.g., disco),[29] doo-wop,[30] flamenco,[31] acoustic guitar-propelled Western folk,[32] funk,[33] Indian classical.[34] Indian folk/traditional,[35] jazz,[36] march,[37] pathos,[38] pop,[39] psychedelia,[40] and bedrock and roll.

By advantage of this array and his alloy of Western, Indian folk and Carnatic elements, Ilaiyaraaja's compositions address to the Indian rural aborigine for its adroit folk qualities, the Indian classical music enthusiast for the application of Carnatic ragams,[41] and the aborigine for its modern, Western-music sound.[42]

Although Ilaiyaraaja uses a ambit of circuitous compositional techniques, he generally sketches out the basal adapted account for films in a actual ad-lib fashion.[5][9] The Indian filmmaker Mani Ratnam illustrates:

performances

Ilaiyaraaja's agreement Rakkama Kaiya Thattu from the cine Thalapathi (1991) was amidst the songs listed in a BBC World Top Ten music poll.[65] He composed the music for Nayakan (1987), an Indian blur ranked by TIME Magazine as one of the best 100 best movies,[66] a cardinal of India's official entries to the Oscars, such as Anjali (1990)[67] and Hey Ram (2000),[68] and for Indian art films such as Adoor Gopalakrishnan's FIPRESCI Prize-winning Nizhalkkuthu ('The Dance of Shadows') (2002).[69] Ilaiyaraaja has composed music for contest such as the 1996 Miss World adorableness celebration that was captivated in Bangalore, India, and for a documentary alleged India 24 Hours (1996).[70][71] The pop/hip-hop bandage Black Eyed Peas sampled an Ilaiyaraaja agreement alleged "Unakkum Ennakum", from the blur Sri Raghavendra (1985), for their tune "The Elephunk Theme" from their blemish album, Elephunk (2003).[72] The another artisan M.I.A. sampled his agreement "Kaatukuyilu, " from the blur Thalapathi (1991) for her song "Bamboo Banga" on the anthology Kala (2007).[73]

His music compositions for the Hindi cine "Paa" (Dec 3rd 2009) has won analytical acclamation in several media reviews.

Ilaiyaraaja not often performs his music live, which may be due to the time he devotes to his basic activities.[74] His aftermost above alive performance, the aboriginal in 25 years, was a four-hour concert captivated at the Jawaharlal Nehru Indoor Stadium in Chennai, India on 16 October 2005.[75] The appearance was broadly televised both in India and abroad. In which he played a song with aloof 3 addendum (sa re ga).[76] Less acclaimed was his alive 2004 achievement in Italy at the Teatro Comunale di Modena, an event-concert presented for the 14th copy of Angelica, Festival Internazionale Di Musica, co-produced with the L'Altro Suono Festival.[77][78] He had done a few small-scale shows aboriginal in his career in Sri Lanka and Malaysia and was complex in a alms concert to accession funds for the architecture of a Hindu temple in India.[74] A television attendant blue-blooded Ithu Ilaiyaraja ('This is Ilaiyaraja') was produced, chronicling his career

performances

Ilaiyaraaja's agreement Rakkama Kaiya Thattu from the cine Thalapathi (1991) was amidst the songs listed in a BBC World Top Ten music poll.[65] He composed the music for Nayakan (1987), an Indian blur ranked by TIME Magazine as one of the best 100 best movies,[66] a cardinal of India's official entries to the Oscars, such as Anjali (1990)[67] and Hey Ram (2000),[68] and for Indian art films such as Adoor Gopalakrishnan's FIPRESCI Prize-winning Nizhalkkuthu ('The Dance of Shadows') (2002).[69] Ilaiyaraaja has composed music for contest such as the 1996 Miss World adorableness celebration that was captivated in Bangalore, India, and for a documentary alleged India 24 Hours (1996).[70][71] The pop/hip-hop bandage Black Eyed Peas sampled an Ilaiyaraaja agreement alleged "Unakkum Ennakum", from the blur Sri Raghavendra (1985), for their tune "The Elephunk Theme" from their blemish album, Elephunk (2003).[72] The another artisan M.I.A. sampled his agreement "Kaatukuyilu, " from the blur Thalapathi (1991) for her song "Bamboo Banga" on the anthology Kala (2007).[73]

His music compositions for the Hindi cine "Paa" (Dec 3rd 2009) has won analytical acclamation in several media reviews.

Ilaiyaraaja not often performs his music live, which may be due to the time he devotes to his basic activities.[74] His aftermost above alive performance, the aboriginal in 25 years, was a four-hour concert captivated at the Jawaharlal Nehru Indoor Stadium in Chennai, India on 16 October 2005.[75] The appearance was broadly televised both in India and abroad. In which he played a song with aloof 3 addendum (sa re ga).[76] Less acclaimed was his alive 2004 achievement in Italy at the Teatro Comunale di Modena, an event-concert presented for the 14th copy of Angelica, Festival Internazionale Di Musica, co-produced with the L'Altro Suono Festival.[77][78] He had done a few small-scale shows aboriginal in his career in Sri Lanka and Malaysia and was complex in a alms concert to accession funds for the architecture of a Hindu temple in India.[74] A television attendant blue-blooded Ithu Ilaiyaraja ('This is Ilaiyaraja') was produced, chronicling his career

Uprising

Ilaiyaraaja was one of the aboriginal Indian blur composers to use Western classical music harmonies and cord arrange in Indian blur music.[24] This accustomed him to ability a affluent carpeting of sounds for films, and his themes[25] and accomplishments account acquired apprehension and acknowledgment amidst Indian blur audiences.[26] The ambit of alive possibilities in Indian blur music was broadened by Ilaiyaraaja's methodical access to arranging, recording technique, and his cartoon of account from a assortment of agreeable styles.[24]

According to musicologist P. Greene, Ilaiyaraaja's "deep compassionate of so abounding altered styles of music accustomed him to actualize syncretic pieces of music accumulation actual altered agreeable idioms in unified, articular agreeable statements".[5] Ilaiyaraaja has composed Indian blur songs that affiliated elements of genres such as Afro-tribal,[27] bossa nova,[28] ball music (e.g., disco),[29] doo-wop,[30] flamenco,[31] acoustic guitar-propelled Western folk,[32] funk,[33] Indian classical.[34] Indian folk/traditional,[35] jazz,[36] march,[37] pathos,[38] pop,[39] psychedelia,[40] and bedrock and roll.

By advantage of this array and his alloy of Western, Indian folk and Carnatic elements, Ilaiyaraaja's compositions address to the Indian rural aborigine for its adroit folk qualities, the Indian classical music enthusiast for the application of Carnatic ragams,[41] and the aborigine for its modern, Western-music sound.[42]

Although Ilaiyaraaja uses a ambit of circuitous compositional techniques, he generally sketches out the basal adapted account for films in a actual ad-lib fashion.[5][9] The Indian filmmaker Mani Ratnam illustrates:

“ Ilayaraja (sic) would attending at the [film] arena once, and anon alpha giving addendum to his assistants, as a agglomeration of musicians, aerial about him, would aggregate the addendum [(musical parts)] for their instrument[s] and go to their places... A [film] administrator can be taken by abruptness at the acceleration of events.Ilaiyaraaja's aboriginal two non-film albums were explorations in the admixture of Indian and Western classical music. The first, How To Name It? (1986),[56] is committed to the Carnatic adept Tyāgarāja and to J. S. Bach. It appearance a admixture of the Carnatic anatomy and ragas with Bach partitas, fugues and Baroque agreeable textures.[57] The second, Nothing But Wind (1988), was performed by flutist Hariprasad Chaurasia and a 50-piece orchestra and takes the conceptual access appropriate in the appellation — that music is a accustomed abnormality affiliated to assorted forms of air currents (e.g., the wind, breeze, blizzard etc.).[58]

He has composed a set of Carnatic kritis that was recorded by electric mandolinist U. Srinivas for the anthology Ilayaraaja's Classicals on the Mandolin (1994).[59] Ilaiyaraaja has additionally composed albums of religious/devotional songs. His Guru Ramana Geetam (2004) is a aeon of adoration songs aggressive by the Hindu abstruse Ramana Maharishi,[60] and his Thiruvasakam: A crossover (2005) is an aria of age-old Tamil balladry transcribed partially in English by American artist Stephen Schwartz and performed by the Budapest Symphony Orchestra.[61][62] Ilaiyaraaja's best contempo absolution is a apple music-oriented anthology alleged The Music Messiah (2006).[63] Its agreeable abstraction is based adjoin a fabulous narrative.[48][64] His contempo absolution in November 2008, is Manikantan Geet Mala appear by India Tales with 9 songs praising Lord Ayyappa in about all south Indian languages.

Uprising

Ilaiyaraaja was one of the aboriginal Indian blur composers to use Western classical music harmonies and cord arrange in Indian blur music.[24] This accustomed him to ability a affluent carpeting of sounds for films, and his themes[25] and accomplishments account acquired apprehension and acknowledgment amidst Indian blur audiences.[26] The ambit of alive possibilities in Indian blur music was broadened by Ilaiyaraaja's methodical access to arranging, recording technique, and his cartoon of account from a assortment of agreeable styles.[24]

According to musicologist P. Greene, Ilaiyaraaja's "deep compassionate of so abounding altered styles of music accustomed him to actualize syncretic pieces of music accumulation actual altered agreeable idioms in unified, articular agreeable statements".[5] Ilaiyaraaja has composed Indian blur songs that affiliated elements of genres such as Afro-tribal,[27] bossa nova,[28] ball music (e.g., disco),[29] doo-wop,[30] flamenco,[31] acoustic guitar-propelled Western folk,[32] funk,[33] Indian classical.[34] Indian folk/traditional,[35] jazz,[36] march,[37] pathos,[38] pop,[39] psychedelia,[40] and bedrock and roll.

By advantage of this array and his alloy of Western, Indian folk and Carnatic elements, Ilaiyaraaja's compositions address to the Indian rural aborigine for its adroit folk qualities, the Indian classical music enthusiast for the application of Carnatic ragams,[41] and the aborigine for its modern, Western-music sound.[42]

Although Ilaiyaraaja uses a ambit of circuitous compositional techniques, he generally sketches out the basal adapted account for films in a actual ad-lib fashion.[5][9] The Indian filmmaker Mani Ratnam illustrates:

“ Ilayaraja (sic) would attending at the [film] arena once, and anon alpha giving addendum to his assistants, as a agglomeration of musicians, aerial about him, would aggregate the addendum [(musical parts)] for their instrument[s] and go to their places... A [film] administrator can be taken by abruptness at the acceleration of events.Ilaiyaraaja's aboriginal two non-film albums were explorations in the admixture of Indian and Western classical music. The first, How To Name It? (1986),[56] is committed to the Carnatic adept Tyāgarāja and to J. S. Bach. It appearance a admixture of the Carnatic anatomy and ragas with Bach partitas, fugues and Baroque agreeable textures.[57] The second, Nothing But Wind (1988), was performed by flutist Hariprasad Chaurasia and a 50-piece orchestra and takes the conceptual access appropriate in the appellation — that music is a accustomed abnormality affiliated to assorted forms of air currents (e.g., the wind, breeze, blizzard etc.).[58]

He has composed a set of Carnatic kritis that was recorded by electric mandolinist U. Srinivas for the anthology Ilayaraaja's Classicals on the Mandolin (1994).[59] Ilaiyaraaja has additionally composed albums of religious/devotional songs. His Guru Ramana Geetam (2004) is a aeon of adoration songs aggressive by the Hindu abstruse Ramana Maharishi,[60] and his Thiruvasakam: A crossover (2005) is an aria of age-old Tamil balladry transcribed partially in English by American artist Stephen Schwartz and performed by the Budapest Symphony Orchestra.[61][62] Ilaiyaraaja's best contempo absolution is a apple music-oriented anthology alleged The Music Messiah (2006).[63] Its agreeable abstraction is based adjoin a fabulous narrative.[48][64] His contempo absolution in November 2008, is Manikantan Geet Mala appear by India Tales with 9 songs praising Lord Ayyappa in about all south Indian languages.

The rise of new Era

In the 1970s in Chennai, Ilaiyaraaja played guitar in a band-for-hire, and formed as a affair guitarist, keyboardist, organist for blur music composers and admiral such as Salil Chowdhury from West Bengal.[15][16][17] After his hiring as the agreeable abettor to Kannada blur artisan G. K. Venkatesh, he formed on 200 blur projects, mostly in the Kannada language.[18] As G. K. Venkatesh's assistant, Ilaiyaraaja would arrange the adapted outlines developed by Venkatesh. During this period, Ilaiyaraaja additionally began autograph his own scores. To apprehend his compositions, he would actuate Venkatesh's affair musicians to comedy excerpts from his array during their breach times.[10] Ilaiyaraaja would appoint instruments from artisan R. K. Shekhar, ancestor of artisan A. R. Rahman who after abutting Ilaiyaraaja's orchestra as a keyboardist.In 1976, blur ambassador Panchu Arunachalam commissioned him to compose the songs and blur account for a Tamil-language blur alleged Annakkili ('The Parrot'). For the soundtrack, Ilaiyaraaja activated the techniques of avant-garde accepted blur music chart to Tamil folk balladry and folk song melodies, which created a admixture of Western and Tamil idioms.[19][20] Ilaiyaraaja's use of Tamil music in his blur array injected fresh access into the Indian blur account milieu.[21] By the mid-1980s Ilaiyaraaja was accepting accretion ability as a blur artisan and music administrator in the South Indian blur industry.[5] Besides Tamil, Telugu, Malayalam and Kannada films, he has denticulate music for Hindi (or Bollywood) blur productions such as Sadma (1983), Mahadev (1989), Lajja (2001), Cheeni Kum (2007) and afresh Paa (2009). He has formed with Indian poets and lyricists such as Gulzar, Kannadasan, Vairamuthu and T.S. Rangarajan (Vaali),[22] and blur admiral such as Bharathi Raaja, K. Balachander, K. Vishwanath, Singeetham Srinivasa Rao, Balu Mahendra and Mani Ratnam.[23] As of 2009, he denticulate for Malayalam movie, Pazhassiraja and the Tamil cine Jagan Mohini.

IIlaya

Ilaiyaraaja (Tamil: இளையராஜா) (born Gnanadesikan [citation needed] [1] on 2 June 1943) is an Indian Tamil blur composer, singer, artist and the aboriginal Asian artisan to account a symphony for the Royal Philharmonic Orchestra [citation needed]. He is a gold medallist[citation needed] from Trinity College of Music, London, and has composed over 4500 songs and provided blur array for added than 900 Indian films[2] in assorted languages in a career spanning added than 30 years.[3][4] He is usually referred to by the appellation Isaignani (literally acceptation 'a man with abundant ability in music'), or as "The Maestro". He is based in Chennai, the centre of the Tamil blur industry. He is a almsman of celebrated Padma Bhushan Award from the Government of India.

Ilaiyaraaja has been a arresting artisan of blur music in southern Indian cinema back the backward 1970s.[5] His works are mainly in Tamil and Telugu. His assignment chip Tamil folk lyricism and alien broader Western agreeable sensibilities into the South Indian agreeable mainstream. In his 35 year continued career he has composed music for about 600 additional movies in Tamil and 250 additional movies in Telugu. He has thrice won the Indian National Blur Award for best blur scoring.[6]

In the 2000s, he composed a ambit of non-film music, including religious and angelic songs, an oratorio, and apple music. He is affiliated to Jeeva, and the couple's two sons (Karthik Raja and Yuvan Shankar Raja) and babe (Bhavatharini) are blur composers and singers.

Ilaiyaraaja was built-in as Gnanadesikan in Pannaipuram, Theni district, Tamil Nadu, India, 3rd son of Ramaswamy and Chinnathayammal. Growing up in a rural area, Ilaiyaraaja was apparent to a ambit of Tamil folk music.[9] At the age of 14, he abutting a travelling agreeable affiliation headed by his ancient stepbrother, Pavalar Varadarajan, and spent the abutting decade assuming throughout South India.[10][11] While alive with the troupe, he bound his aboriginal composition, a agreeable ambience of an chant accounting by the Tamil artist laureate Kannadasan for Jawaharlal Nehru, India's aboriginal prime minister.[12] In 1968, Ilaiyaraaja began a music advance with Professor Dhanraj in Madras (now Chennai), which included an overview of Western classical music, compositional training in techniques such as counterpoint, and abstraction in active performance.[13] Ilaiyaraaja specialized in classical guitar and had done a advance in it with the Trinity College of Music, London.

At present

He abutting formed on the adventurous comedies Happy and Azhagai Irukkirai Bayamai Irukkirathu and the bandit blur Pattiyal, which all appear in aboriginal 2006. His Happy songs were able-bodied accustomed in Andhra Pradesh, appearance his aboriginal success in the Telugu blur industry, and the account accustomed absolute reviews, with Jeevi from idlebrain.com citation it to be "excellent", whilst his account for Pattiyal was awful accepted by critics; a sify analyst wrote, "Yuvan Shankar Raja’s music and accomplishments account is the activity of the film".[19] Further more, both films went on to become actual acknowledged ventures, both commercially and critically. His consecutive releases that year accommodate Silambarasan's admission directorial, Vallavan and the activity amateur Thimiru. Yuvan Shankar Raja was hailed as the "real hero" of the former, which featured some of the year's best listened advance like "Loosu Penne" and "Yammadi Aathadi", while the closing blur was amidst the year's highest-grossing films. In November 2006, the Paruthiveeran soundtrack anthology got released, which saw the artisan foraying into authentic rural folk music. Though initially absolution to alloyed reviews, with critics carper that the songs could allure avant-garde adolescence audience, his aboriginal attack at rural music angry out to be a above success, afterward the film's outstanding run at the box office. The film, Ameer's third affection blur as able-bodied as Karthi's admission venture, accustomed accepted analytical acclamation afterwards its absolution in February 2007 and became a blockbuster, whilst decidedly the song "Oororam Puliyamaram" was a chartbuster cardinal in Tamil Nadu.

In 2007, he had 10 anthology releases, his best in a year till date. The aboriginal was the soundtrack of the adventurous ball blur Deepavali, afterward which the audios of the sports ball blur Chennai 600028, the Telugu ancestors amateur Aadavari Matalaku Ardhalu Verule, Vasanth's abstruseness blur Satham Podathey and the adventurous films Thottal Poo Malarum and Kannamoochi Yenada released, all of which actuality well-received besides accumulation absolute reviews. The films, Chennai 600028, Venkat Prabhu's authoritative debut, and Aadavari Matalaku Ardhalu Verule, Selvaraghavan's Telugu debut, in particular, were abundant bartering successes and one of the the year's best acknowledged films in Tamil and Telugu, respectively. In backward 2007 then, the audio and the blur Kattradhu Thamizh got released. The soundtrack album, which was appear as Tamil M.A., as able-bodied as the blur itself, had been met with awfully absolute reviews and analytical acclaim. The music was broadly advised a "musical sensation" and acclaimed to be a affidavit of Yuvan Shankar Raja's "composing skills".[20][21][22] However, admitting outstanding reviews by critics, the adventure bootless to arm-twist the absorption of the admirers and didn't get pleasure abundant popularity. His final absolution of 2007 was Billa, a accommodate of the 1980 Rajinikanth-starrer of the aforementioned title. This film, adapted by Vishnuvardhan, starring Ajith Kumar in the appellation role, additionally featured two remixes from the aboriginal version. The blur emerged one of the top-grossers of the year, whilst additionally attractive babble reviews for Yuvan Shankar's beautiful agreeable score.

Sucess throughout

Yuvan Shankar's 2004 releases, 7G Rainbow Colony, addition Selvaraghavan film, and Silambarasan's Manmadhan, both actuality alarmingly and commercially acknowledged films, featuring acclaimed and accepted music by Yuvan Shankar Raja. His assignment in the former, in particular, got alarmingly acclaimed and eventually led him to win the Best Music Direction Accolade at the 2004 Filmfare Awards South; accepting the accolade at the age of 25, he charcoal the youngest acceptable music artisan of the award. From afresh on, he has had 8-9 releases every year on average, axis him into one of the best busiest and abounding Indian blur composers.

His aboriginal of 9 anthology releases of 2005 was Raam. His account for the Ameer-directed abstruseness fetched him added accolades and eventually yielded a win at the 2006 Cyprus International Blur Festival for Best Musical account in a Feature Film, the aboriginal such accolade for an Indian composer. His success band connected with his afterward releases of that year, low-budget films such as Arinthum Ariyamalum, Kanda Naal Mudhal and Sandakozhi decidedly acceptable acknowledged ventures at the box office, back additionally Yuvan Shankar's compositions like "Theepidikka", "Panithuli" and "Dhavani Potta" from the corresponding soundtracks became actual accepted anthems amid the masses and played an important role for the films's successes. After the absolution of the soundtrack for the S. J. Suryaah-starring adventurous comedy, Kalvanin Kadhali that additionally enjoyed popularity, his final anthology of 2005, Pudhupettai, released, which saw him already afresh accommodating with administrator Selvaraghavan. The ten-track album, accepting awfully babble reviews, was advised Yuvan Shankar Raja's finest assignment till afresh and actuality hailed as a "musical masterpiece". The soundtrack and account of the blur featured a acceptable agreeable account played by the "Chapraya Symphony" of Bangkok,[17] the aboriginal time in a Tamil film. Critics acquainted that this project, in particular, accepted his abilities and aptitude to aftermath some avant-garde and experimentative scores. Karthik Srinivasan from milliblog commented that "Yuvan’s acuteness soars way above the borders of a Tamil cine OST" , anecdotic the anthology as "clearly one of the best avant-garde albums in contempo times".[18] The blur itself, absolution alone in May 2006, did boilerplate business, admitting aperture to outstanding reviews.

The sucess

Thanks to this film's astronomic success, he eventually bankrupt into the Tamil music arena as offers were cloudburst in subsequently. He was mainly approached by abounding adolescent fresh directors. In 2001 he had three anthology releases, the aboriginal actuality Thulluvadho Ilamai, accommodating with Selvaraghavan for the aboriginal time.[14] With Thulluvadho Ilamai he had ultimately captivated youth's hearts as the anthology songs were lapped up by the adolescent generation. The blur itself, appearance the admission of Selvaraghavan's brother Dhanush, appear one year afterwards and became a sleeper hit at the Chennai box office. This was followed by Bala's Nandha (2001), for which he accustomed babble reviews, which would accepted his aptitude and versatility.[10] He again acquired apprehension by churning out "youthful music" in the college-life based April Maadhathil (2002), the adventurous ball films Kadhal Samrajyam (2002),[15] and Mounam Pesiyadhe (2002), Ameer's authoritative admission film, and the triangular adulation news Punnagai Poove (2002), in which he additionally fabricated his on-screen debut, actualization in some scenes and one song sequence. At the aforementioned time he fabricated his Telugu admission with Seshu and Malli Malli Chudali and additionally composed for the Tamil films Junior Senior and Pop Carn, starring Malayalam stars Mammootty and Mohan Lal, respectively, all of which assuming ailing at the box offices, though.

In 2003 Selvaraghavan's aboriginal absolute directorial, the drama-thriller blur Kaadhal Kondein released, which is advised a anniversary for Yuvan Shankar Raja. His assignment in the film, decidedly his accomplishments score, was absolutely praised, arch to the absolution of a abstracted CD consisting of several blur account pieces, a la "Hollywood-style", which was reportedly the aboriginal blur account CD absolution in India. Furthermore, the blur went on to become a blockbuster, cementing the film's advance artisan Dhanush and Yuvan Shankar in the Tamil blur and music industry.[16] The aforementioned year, he formed in Vishnuvardhan's admission film, Kurumbu, which featured the aboriginal remix song in a Tamil film. By that time, in a career spanning beneath than a decade, Yuvan Shankar Raja had accustomed himself as one of the arch and most-sought afterwards music admiral in the Tamil blur industry, admitting alive with abounding newcomers and alien artists and scoring for mostly low-budget films only.

Besides Tamil films, he has additionally denticulate music for films in added South Indian languages. About 25 of the Tamil films, for which he had composed music, were afterwards dubbed into Telugu, Kannada or Malayalam languages as were the corresponding soundtracks. Apart from these ones, he additionally formed "straightly" on Telugu projects such as Seshu, Malli Malli Chudali, Happy, Raam, Raju Bhai and Aadavari Matalaku Ardhalu Verule, authoritative him a acclaimed artisan in Andhra Pradesh, too. His most recent Telugu anthology Oy! has become a admirable success as it topped the archive for several weeks.

Recently he has additionally fabricated his Bollywood admission by basic one song ("Haq Se") for the soundtrack of the blur Striker that stars his abutting acquaintance Siddharth, who happens to be the anthology producer. The song has been accepting thoroughly absolute reviews. His most recent soundtracks, which got accepted amid the masses, accommodate Goa, Paiyaa, Vaamanan, Sarvam and Siva Manasula Sakthi. Currently he has about 15 projects on hand, including Susindran's Naan Mahaan Alla, Thillalangadi, Boss Engira Bhaskaran, Bala's Avan Ivan, Silambarasan's Valiban and a dozen added small-budget films.

Yuvan Shankar Raja's collaborations with several blur admiral such as Selvaraghavan, Ameer Sultan, Vishnuvardhan, Venkat Prabhu and Linguswamy accept consistently resulted in awful acknowledged soundtracks. Likewise he has generally formed calm with acclaimed Indian artist Vaali and adolescent Tamil lyricists including Na. Muthukumar, Pa. Vijay and Snehan to appear up with much-loved compositions.

The rise

Thanks to this film's astronomic success, he eventually bankrupt into the Tamil music arena as offers were cloudburst in subsequently. He was mainly approached by abounding adolescent fresh directors. In 2001 he had three anthology releases, the aboriginal actuality Thulluvadho Ilamai, accommodating with Selvaraghavan for the aboriginal time.[14] With Thulluvadho Ilamai he had ultimately captivated youth's hearts as the anthology songs were lapped up by the adolescent generation. The blur itself, appearance the admission of Selvaraghavan's brother Dhanush, appear one year afterwards and became a sleeper hit at the Chennai box office. This was followed by Bala's Nandha (2001), for which he accustomed babble reviews, which would accepted his aptitude and versatility.[10] He again acquired apprehension by churning out "youthful music" in the college-life based April Maadhathil (2002), the adventurous ball films Kadhal Samrajyam (2002),[15] and Mounam Pesiyadhe (2002), Ameer's authoritative admission film, and the triangular adulation news Punnagai Poove (2002), in which he additionally fabricated his on-screen debut, actualization in some scenes and one song sequence. At the aforementioned time he fabricated his Telugu admission with Seshu and Malli Malli Chudali and additionally composed for the Tamil films Junior Senior and Pop Carn, starring Malayalam stars Mammootty and Mohan Lal, respectively, all of which assuming ailing at the box offices, though.

In 2003 Selvaraghavan's aboriginal absolute directorial, the drama-thriller blur Kaadhal Kondein released, which is advised a anniversary for Yuvan Shankar Raja. His assignment in the film, decidedly his accomplishments score, was absolutely praised, arch to the absolution of a abstracted CD consisting of several blur account pieces, a la "Hollywood-style", which was reportedly the aboriginal blur account CD absolution in India. Furthermore, the blur went on to become a blockbuster, cementing the film's advance artisan Dhanush and Yuvan Shankar in the Tamil blur and music industry.[16] The aforementioned year, he formed in Vishnuvardhan's admission film, Kurumbu, which featured the aboriginal remix song in a Tamil film. By that time, in a career spanning beneath than a decade, Yuvan Shankar Raja had accustomed himself as one of the arch and most-sought afterwards music admiral in the Tamil blur industry, admitting alive with abounding newcomers and alien artists and scoring for mostly low-budget films only.

Besides Tamil films, he has additionally denticulate music for films in added South Indian languages. About 25 of the Tamil films, for which he had composed music, were afterwards dubbed into Telugu, Kannada or Malayalam languages as were the corresponding soundtracks. Apart from these ones, he additionally formed "straightly" on Telugu projects such as Seshu, Malli Malli Chudali, Happy, Raam, Raju Bhai and Aadavari Matalaku Ardhalu Verule, authoritative him a acclaimed artisan in Andhra Pradesh, too. His most recent Telugu anthology Oy! has become a admirable success as it topped the archive for several weeks.

Recently he has additionally fabricated his Bollywood admission by basic one song ("Haq Se") for the soundtrack of the blur Striker that stars his abutting acquaintance Siddharth, who happens to be the anthology producer. The song has been accepting thoroughly absolute reviews. His most recent soundtracks, which got accepted amid the masses, accommodate Goa, Paiyaa, Vaamanan, Sarvam and Siva Manasula Sakthi. Currently he has about 15 projects on hand, including Susindran's Naan Mahaan Alla, Thillalangadi, Boss Engira Bhaskaran, Bala's Avan Ivan, Silambarasan's Valiban and a dozen added small-budget films.

Yuvan Shankar Raja's collaborations with several blur admiral such as Selvaraghavan, Ameer Sultan, Vishnuvardhan, Venkat Prabhu and Linguswamy accept consistently resulted in awful acknowledged soundtracks. Likewise he has generally formed calm with acclaimed Indian artist Vaali and adolescent Tamil lyricists including Na. Muthukumar, Pa. Vijay and Snehan to appear up with much-loved compositions.

Shankar raja

In 1996, afterward his mother's advancement to booty up music as a profession, Yuvan Shankar Raja started basic tunes for a clandestine album.[8] It was again that T. Siva, the ambassador of the Tamil accent blur Aravindhan, afterwards audition some of the tunes, asked to compose a bivouac music. As the ambassador was so abundant afflicted of which, he gave Yuvan Shankar the appointment to compose the absolute blur account including a soundtrack for that film.[8] Afterwards consulting and accepting accord from his parents, he accustomed the offer; his music career started. His access into the Tamil blur and music industry had happened at age 16, appropriately acceptable one of the best youngest composers anytime in the industry, which, he says, was "purely accidental".[9]

However, both the soundtrack anthology as able-bodied as the blur itself bootless to allure audiences and to do able-bodied and Yuvan Shankar Raja's afterward projects Velai (1998) and Kalyana Galatta (1998) weren't acknowledged either; his compositions for these films didn't accept acceptable reviews or responses.[10] This eventually acquired that he hardly got any blur projects and assignments. During this time of struggling, he was approached and assigned by administrator Vasanth to compose the music for his blur Poovellam Kettuppar (1999). The soundtrack, declared as "fresh" and "different", anon became a chartbuster album, decidedly songs like "Irava Pagala" and "Chudithar Aninthu", accepting him aboriginal time notice, abnormally amid adolescent bodies and children.[10] The anthology would accomplish accessible his aboriginal advance in the industry and accepted to be a above axis point in his career. Afterwards alive for two Sundar C. films, Unakkaga Ellam Unakkaga (1999) and Rishi (2000), which both fared abundantly at the box office, he got to assignment for A. R. Murugadoss' authoritative admission in 2000, the activity flick Dheena starring Ajith Kumar, which went on to become a blockbuster and Yuvan Shankar Raja's aboriginal above acknowledged film. Yuvan Shankar's songs were appropriately successful,[11][12] which are advised to accept played a above role for the film's abundant success.[13] whilst his accomplishments account in the blur was additionally able-bodied appreciated.

Shankar raja

In 1996, afterward his mother's advancement to booty up music as a profession, Yuvan Shankar Raja started basic tunes for a clandestine album.[8] It was again that T. Siva, the ambassador of the Tamil accent blur Aravindhan, afterwards audition some of the tunes, asked to compose a bivouac music. As the ambassador was so abundant afflicted of which, he gave Yuvan Shankar the appointment to compose the absolute blur account including a soundtrack for that film.[8] Afterwards consulting and accepting accord from his parents, he accustomed the offer; his music career started. His access into the Tamil blur and music industry had happened at age 16, appropriately acceptable one of the best youngest composers anytime in the industry, which, he says, was "purely accidental".[9]

However, both the soundtrack anthology as able-bodied as the blur itself bootless to allure audiences and to do able-bodied and Yuvan Shankar Raja's afterward projects Velai (1998) and Kalyana Galatta (1998) weren't acknowledged either; his compositions for these films didn't accept acceptable reviews or responses.[10] This eventually acquired that he hardly got any blur projects and assignments. During this time of struggling, he was approached and assigned by administrator Vasanth to compose the music for his blur Poovellam Kettuppar (1999). The soundtrack, declared as "fresh" and "different", anon became a chartbuster album, decidedly songs like "Irava Pagala" and "Chudithar Aninthu", accepting him aboriginal time notice, abnormally amid adolescent bodies and children.[10] The anthology would accomplish accessible his aboriginal advance in the industry and accepted to be a above axis point in his career. Afterwards alive for two Sundar C. films, Unakkaga Ellam Unakkaga (1999) and Rishi (2000), which both fared abundantly at the box office, he got to assignment for A. R. Murugadoss' authoritative admission in 2000, the activity flick Dheena starring Ajith Kumar, which went on to become a blockbuster and Yuvan Shankar Raja's aboriginal above acknowledged film. Yuvan Shankar's songs were appropriately successful,[11][12] which are advised to accept played a above role for the film's abundant success.[13] whilst his accomplishments account in the blur was additionally able-bodied appreciated.

Yuvan

Born on 31 August 1979, in Chennai, India into a musically flush Tamil family, Yuvan Shankar Raja is the third and youngest adolescent of artist and blur artisan Ilaiyaraaja and Jeeva. He is the adolescent brother of music administrator Karthik Raja and playback singer-cum-music administrator Bhavatharini. Yuvan already confessed, that his brother Karthik Raja is added accomplished than him, but did not get a acknowledged breach into the music business, back he didn't get a "good aggregation to assignment with".[3] His ancestor as able-bodied as his ancestors accept articulate abounding songs beneath his direction.

Noted blur administrator and blur artisan Gangai Amaran and backward R. D. Bhaskar are his uncles and their sons Venkat Prabhu, Premji Amaran and Parthi Bhaskar, who are alive in the Tamil blur industry as well, are his cousins. Moreover, Yuvan Shankar and both the sons of Gangai Amaran, do generally accessory with anniversary added and accept generally formed together, the after-effects of which accept been actual successful. Venkat Prabhu's films accept had all agreeable account by Yuvan, while Premji had assisted him basic music for some years,[4] afore acceptable an absolute artisan abreast anatomy the fact, that both accept articulate several songs beneath the administration of Yuvan Shankar Raja.

Yuvan Shankar did his ancestry at St. Bede's academy in Chennai afore belief at Loyola College, Chennai. He started acquirements music from Jacob Master,[5] accessory piano classes at "Musee Musical" in Chennai, which is affiliated to Trinity College in London, UK.[6]

Yuvan Shankar Raja stated, that he consistently capital to become a pilot and biking "all about the world", but as he grew up "with music about him", he eventually became a musician.[5] But he still considers himself aerial aerial with his music.[7] He admires the assignment of his ancestor and added composers such as S. D. Burman, R.D. Burman, M. S. Viswanathan and Naushad and the choir of singers Lata Mangeshkar, Asha Bhosle, P. B. Sreenivas and P. Susheela.