If one were to closely dissect the attitudes of any music director worth his notes, it would be more than real and coming in certain compositions that they recorded during their lifetime. The urge to splurge. Achieve beyond the perceptions of the listener. Take the case of Naushad Ali. He hid all his best compositions for Rafi to exploit the unimaginable octaves of musical excellence. Barring a few he divulged to Lata in Mughale Azam, Naushads compositions found a new realm every time he associated them with Rafi. Mohd. Rafi , infact, finally revealed who Naushad was. Similarly, S.D.Burman and Kishore kumar had an unusual rapport with each other that hit the listener with an inexplicable emotion, each time they joined hands. Down south , of all the stalwarts who made a beeline to hire Yesudass voice right from the 50s, it was during the 80s that the magic happened with Raveendran composing music , that many realised later , only Yesudas could sing. Personally, I did subscribe to the thought that Madan Mohan was the best thing that could happen to Lata Mangeshkar. Or was it the other way round? Both the above theories fall short of reality when we consider another composer who had nobody except Lata Mangeshkar, who could do justice to his songs. Hrydayanath Mangeshkar. He has woven notes of Mishra ragas , many times over, back and forth, compositions after compositions that unless you listen carefully, you would never know when he changed from a Mishra Mand to a Mishra Pahadi, midway through a song. Lata Mangeshkar ruled those notes with such ease and expertise , she could do a bungee jumping , land on another raga even before you could blink. Heres a beautiful example where the sister-brother duo has performed some extreme acrobatics, perfectly landing on a 10 as the strain gauge refuses to budge from the start till the closure . https://youtube/watch?v=cykBMEUeeCI&list=PL69E7C9435B22578A
Posted on: Wed, 22 Oct 2014 04:42:32 +0000
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