Without Rahman
What turns a prolific film composer into a restrained one? From dozens of new soundtracks every year over two decades, to a single new score annually is a dramatic change of pace.
I sense panic among some fans. It will be a long wait for that one A.R. Rahman score, but it needn’t be an agonising one. Just think of the time you will finally have to revisit the Maestro’s lesser-known compositions. His output over two decades is immense. There is bound to be new music hidden away in a background score, or in new interpretations, or in new improvisations at numerous live performances of the past.
Here’s an example. The 2010 Nobel Peace Prize Concert featured Mausam & Escape as you have never heard before, with Strings, Clarinet and Rahman on the Grand Piano. How is this not new? How is this not as good as a new soundtrack?
I can’t imagine a year without Rahman’s music. But if this will free Rahman to re-imagine his earlier compositions and explore new avenues, I will gladly wait for that one annual score.