Hey Dasun.. U've spoken our Hearts out, while touching it with ur
flowery words that do, indeed praise the artist in RAHMAN in the best
way. I've made a copy of ur words, for there r not many who can make
another tear a happy tear for the one he loves, n u've done just that
to me..
I'm touched.. Thanx..
> --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera <dtdja@> wrote:
> >
> >
> > Aesthetic Judgment (Taste)
> >
> > I don't have to tell you that ARR's taste is of the highest possible
> kind compared with composers of all time. I mean how many composers
> the world-over has ever had the privilege of being compared to the
> ideal of Mozart, let alone being called one? Not even the kings of
> melody of the West Richard Rogers (of The Sound of Music (59) fame)
> Sir Francis Lai (Love Story (1970)), Maurice Jarr (Dr. Zhivago
> (1965)), or even Ennio Morricone, who have written some of the most
> soulful and moving music I have ever heard, have been told they are
> like Mozart, at least not to my knowledge. Most music lovers, and all
> great minds, Leo Tolstoy and Albert Einstein among them, have
> acknowledged unanimously that Mozart's music is the most perfect and
> the most universal imagined, no, let me use the word conjured, by any
> human being; because imagination, to many, could still mean there's
> some conscious involvement in that process of creation; perhaps, it is
> still a conscious process, but it is a far superior sense of
> consciousness that, by average human standards, it cannot be called
> one. If anybody here has seen the Oscar-winning movie Amadeus (84) by
> Milos Forman, you can see why it is so: Mozart's music, to use a
> phrase Einstein once used, seems like have simply been `plucked out of
> the universe'; the great scientist who adored Mozart and used to play
> his Sonatas on his little violin when he wanted a break from his
> scientific pursuits, says that compared to Mozart, Beethoven's music
> feels `too personal, almost naked.' Tolstoy, in his polemical book
> `What is Art?' destroys the kind of conscious creativity that he
> believes Beethoven and the followers of the Romantic movement that he
> charted, Richard Wagner, for example, brought about to Europe,
> overthrowing the musical dominance of the spontaneous and universal
> music of Mozart.
> >
> > In essence, Mozart's music and its perfection are not a result of
> conscious processing, they come from a superior sense of natural
> harmony and an extremely rare capability of letting go of one's self
> and connecting with the universal spirit and listening to it in all
> its infinite beauty. There cannot be a more fitting description of
> ARR's music and how he has conjured his magical output over the years;
> and it is no accident that the West would offer up their ideal for
> comparison with the best the East has offered to date. That sort of
> taste, a sincere kinship with the natural harmony and beauty of the
> universe, with God, if you will, years in an industry cannot fade away
> or dilute, and, if anything, I can confidently say that ARR's taste
> has, over the years, been refined like fine old wine, and I have not
> witnessed an instance where his aesthetic judgment, given the proper
> opportunities, has faltered beyond identification. In his choice of
> movies, directors, and lyrics, there maybe exceptions, but I will
> address these in a later category.
> >
> > It is difficult to pin down one or two works from the 92-96 period
> in which, like Rano said, beauty oozed out of every single phrase that
> he weaved, but I will pick two of my favorite songs `Kannalane' from
> Bombay (95) and `Uyirum Neeye' from Pavitra (94) in which I think ARR
> achieves the highest form of perfection. Sometime back, I analyzed the
> beauty of the song Uyirum Neeye from a conceptual viewpoint, so if
> anybody is interested, let me know and I will send it to you or post
> it on the forum. Kannalane (or Kehna Hai Kya), I hear, has entered the
> music textbooks in certain parts of the world (Canada, if I recall
> correctly)! Yes, these are songs of superior beauty that they have
> that universal appeal that Tolstoy hailed as the finest ingredient of
> the greatest of art.
> >
> > What about now? What are the ARR compositions within the past 5
> years which evoke the same feelings in me? Piya Ho from Water (2005)
> and Do Kadam from Meenaxi (2004) for sure are my favorites from this
> period with Tere Bina from Guru not too far off. When I refer to the
> perfection of these songs, I mean that I don't feel that I need to
> remove any part, any phrase, any instrument, sound or note, everything
> is in the right place at the right time! If anybody felt differently
> about these songs, I would be curious to know which parts destroy the
> perfection of these songs. I can write an essay on the song Do Kadam
> and will do soon so that I can back up my feelings just like I did
> with Uyirum Neeye. Do Kadam is so personal for me that I don't want to
> hold it up as universal! This song symbolizes what ARR and I share in
> silence without speaking a single word with each-other, but by
> connecting to the same universal spirit that we both trust
> wholeheartedly and by whose mysterious ways we are awed day in and day
> out. The highest taste, as Immanuel Kant defines it, is always
> subjective, but universal, and it will always flow from God and only
> God; Not only is ARR connected with Him, he can articulate His beauty
> with such ease and finesse that it brings many a tear to my eye
> thinking how much of my faith I owe to ARR; Even as I share this very
> personal story with you, I can feel a warm tear roll down my cheek.
> Now if that's not beauty, I don't know what is.
> >
> >
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