Hi To All A.R Rahman fans,
I am new to this community but i am fan of My boss from 8th std.Jodh Akbar
songs were excellent....I can only understand the music as i dont know
hindi.But still i am enjoying.
I am having a doubt:
I got two cd's in JA pack.Both are same or they are different.
I think one is DVD and the other one is VCD.
Is this correct or the Tracks are different in both the cd's.
Please help me.
I am not having a DVD player.
Thats
why................................................................................
Thineshan <[EMAIL PROTECTED]> wrote:
Sounds of Heaven
First of all, I would like to say hi to this group once again. I have
been an active member, but due to some problems I had stopped posting for two
years (no its not because of this group, I got busy etc). However, I have been
a devoted reader of all the posts here and I have to admit, Dasun your analysis
on Rahman's music and your parallelisms with Mozart - that both composers have
a connection with the universal spirit - are a delight to read.
Now to the subject of my post. There are only some things that instill
so great an emotion into your heart, that you feel compelled to share it with
others. I feel honored to post once again and I am even more honored that my
post will be about the song in Jodha Akbar that is "the lesser", "the
inferior", more commonly heard "the weakest!" Before, I start sharing my
emotions about this song, I would like to mention that I have no hindi
background and I have not read translations or any such things, all I know is
from the picture on my lyrics booklet that it is a bhajan to Lord Krishna.
Therefore, this is a review based on just the music, just Rahman.
Mann Mohana:
The prelude is blank with a soft thumping on the mouth of the ghatam.
It shows the void in the character's life, that there is a gap that needs to be
filled.
When the singer first begins her desperate plea with the words "Mann
Mohana", the melody strikes you. It is as though Rahman intentionally composed
the tune so that the notes rise, rise, rise to the heights of divinity, to God.
After this celestial ascension, she sings Mann Mohana once again, but this time
a much more confined melody as if to personalize herself with God.
Then comes the interlude that traverses the classical raaga with
unbelievable ease that it becomes the raaga itself rather than a representation
of it. The beauty of this string arrangement is that it can be either Western
or Indian depending on your perspective. Although, the instrument is orchestra
based, Rahman uses it in a way that it becomes a voice of an Indian raaga,
that's Rahman. In this interlude, the strings sound as if they are lamenting
especially at 2:00. Then comes the reply of a flute, a voice of Krishna, as if
to pay condolences to the misery.
The same beauty is maintained in the second interlude, after a
heart-melting saranam, the flutes once again replies at 3:00 and then it is as
though the reply of a flute has christened a new found energy. The strings
rather than "lamenting" as in the first interlude, now "jump" with power and
energy. This conversation between the voice of the worshipper (strings) and the
voice of the Lord (flute) shows that this is the language of the Divinity -
music.
Then, the orchestration becomes a minimum as the singer conveys her
final words to Lord Krishna, a personal moment. And, the way she ends that
conversation with just "Meraa mmhmmmhmmmmm". Wow! That's beauty. It is as
though she has become so close to her faith that she no longer needs words to
express her feelings, that somehow it will be understood.
All in all, Mann Mohana is a song that creates a spiritual aurora that
soaks you in its brilliant colors. When I visit a temple or pray
whole-heartedly, I become renewed. When I listen to Mann Mohana, I become
renewed. Its sound rinses me like the Ganges River. Its sound helps me soar
high into the sky. Its sound belongs to Rahman, to God, to heaven.
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