Nikitha Gandhi’s almost ethereal voice carries the Prologue till Rahman unleashes a dramatic crescendo! In Signs of The Last Prophet, the same prelude by Nikitha is connected to a stunning choir, all culminating in a sprawling finale! Makkah 740 AD, true to its name, showcases Middle Eastern exotica in a pulsating package, while in The Birth and The Land of Friendship, Rahman pulls off a melody reminiscent of Daniel Robles’ iconic Andean folk El Cóndor Pasa. Abraha, A Mother’s Advice To Her Son, The Search, Protecting The Innocent, The Sermon and Halima’s Healing, the orchestral splendor carries the undeniable brilliance of Rahman. Of the 5 pieces featuring Le Trio Joubran, Roubama is a pensive introduction to their sound, while Shajaan spruces the pace a notch higher, even as The Camel’s Divine Intervention mixes a pulsating first half to a somber closure. For Through The Sands and The Last Hajj of Abdul Mutallib, the trio is joined by Sana Moussa and Dilshaad Shabbir Shaikh, respectively, with the latter’s beautiful melody reminding one of Saamy’s Idhuthaana’s raaga. Rahman ropes in Natalie Di Luccio for a goosebumps-inducing Western choir variant of Islamic hymnal chorus in The Sea Miracle. Ya Muhammad is the only conventionally complete song of the soundtrack, with Dilshaad sounding almost like Rahman, and the tune crackling with a lilt as gentle as a camel ride. The soundtrack’s signature tune is from Ababeel (and its slower variant with a mega ending in And He Was Named Mohammad) – haunting melody. Rahman’s music for Muhammad is ambitiously grand and suitably affecting.
Keywords: Muhammad The Messenger of God, A R Rahman, Majid Majidi, #200, 200
Listen to the soundtrack:
Buy the soundtrack from iTunes.
PS: A 200 worder, in essence/spirit, but with more words thanks to the sheer number of tracks.
