hats off to u for great explanation..a slap for those who think 'man mohana' is weakest.. ARR rocks..keep it up.
--- In arrahmanfans@yahoogroups.com, "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. >
