Visit our other dedicated websites
Asha Bhonsle Geeta Dutt Hamara Forums Hamara Photos Kishore Kumar Mohd Rafi Nice Songs Shreya Ghoshal
Hamara Forums

Welcome Guest ( Log In | Register )

Hemesha Jawaan Geet

, Tribute to SriLanka Brodcasting Corporation

 
35 Pages V « < 6 7 8 9 10 > »   
Reply to this topicStart new topic
> Hemesha Jawaan Geet, Tribute to SriLanka Brodcasting Corporation
khawar Sohail
post Aug 25 2010, 03:43 PM
Post #106


Regular Member
Group Icon

Group: Members
Posts: 837
Joined: 28-July 07
Member No.: 19849



This Fayyaz ghazal is sung by Kamla Jhariya...khawar
User is offlineProfile CardPM
Go to the top of the page
+Quote Post
khawar Sohail
post Aug 25 2010, 03:51 PM
Post #107


Regular Member
Group Icon

Group: Members
Posts: 837
Joined: 28-July 07
Member No.: 19849



Here is anothe song penned by qamar jalalabadi from film Gokul and beautifully sung by GM Durrani....khawar
User is offlineProfile CardPM
Go to the top of the page
+Quote Post
khawar Sohail
post Aug 25 2010, 04:01 PM
Post #108


Regular Member
Group Icon

Group: Members
Posts: 837
Joined: 28-July 07
Member No.: 19849



Another kamla Jhariya Fayyaz Hashmi combination...What a lovely ghazal!!!khawar
User is offlineProfile CardPM
Go to the top of the page
+Quote Post
khawar Sohail
post Aug 27 2010, 04:04 PM
Post #109


Regular Member
Group Icon

Group: Members
Posts: 837
Joined: 28-July 07
Member No.: 19849



Lyrics in Hindi Films
By A C Tuli
Technologically, Hindi films may have come a long way since the first talkie ‘Alam Aara’ was released in 1931, but, like an immutable law of nature, one basic feature of our filmmaking has remained the same.

That is, songs. Songs have always been one unchanging feature of Bollywood films. Over the last seven decades, the number of songless films we have made perhaps does not run into even double digits. In fact, very few filmmakers are venturesome enough to risk making films sans songs. Songs, therefore, are, and perhaps shall always remain, an important part of Hindi films.

Of course, the quality of lyrics has undergone a vast change over the years. In the initial years of the talkies, film songs were couched in a language that tended to be rather literary, even ornate. Lyricists who were then attracted to the film industry were talented versifiers who had earlier earned some repute by reciting their creations in mushairas and kavi sammelans.

But these poets could hardly make both ends meet by reciting their creations in mushairas and kavi sammelans or even getting them published in magazines and newspapers, so the lure of a steady income brought them to Bombay and Calcutta, two major centers of Hindi films in those days.

In most of the songs of the 30s and 40s recorded on shellac record discs, the name of the lyricist does not appear. Unlike today, perhaps the lyricists of those days were too modest to bother about whether their names had found a mention on the record discs.

However, some well known lyricists of those years were Kamal Amrohi, Kidar Sharma, Dr Safdar ‘Aah’, P.L. Santoshi, D.N. Madhok, Pandit Indra, Wali Saheb, Pradeep, Faiyaz Hashmi, Narender Sharma, Ramesh Gupta and a few others. All of them were gifted poets and quite a few of their creations, set to music by able composers, became very popular.

Some of the best film songs were written by these lyricists in the 40s. Kamaal Amrohi was mostly associated with Sohrab Modi’s Minerva Movietone. He wrote the lyrics of ‘Pukar’ (1939) and ‘Sikandar’ (1941). Later he was associated with Bombay Talkies, where he directed the blockbuster ‘Mahal’ (1949). He also wrote some beautiful lyrics for this film. D.N. Madhok penned some memorable songs for three films with K. L Saigal in the lead – ‘Bhakt Surdas’ (1942), ‘Tansen’ (1943) and ‘Banwara’ (1944). All the songs of these films became popular.

But he touched rare heights of fame when he wrote the lyrics of ‘Rattan’ and which were set to immortal music by Naushad. His songs, ‘Akhiyan mila ke jiya bharma ke chale nahin jana’ and ‘Sawan ke badlo unse yeh ja kaho, taqdeer mein yehi tha sajan mere na ro…’ and ‘Jab tum hi chale pardes laga kar thes o preetam pyara…’ were such a rage with the cine-going masses of the 40s that these remained on their lips for years together.

Kidar Sharma began his career with New Theatres of Calcutta. He wrote the songs of ‘Devdas’ starring K. L. Saigal and several other New Theatres films before moving to Bombay in the early 40s. The famous Saigal lori ‘So ja rajkumari so ja…’ was also written by Kidar Sharma for the New Theatres film ‘Zindagi’ (1940). Apart from writing lyrics for films, he was also a successful film director who directed some memorable films like ‘Chitralekha’ and ‘Banwre Nain’.

P.L. Santoshi, apart from scripting and directing films, was also a good lyricist. His lyrics for the Filmistan’s ‘Shenai’ (1947) and ‘Sargam’ (1950) created a sensation. Particularly his comic number for ‘Shehnai’, ‘Aana meri jaan meri jaan, Sunday ke Sunday’ was hilarious with its rib-tickling wording.

Lyricists who were based in Calcutta also deserve a mention here. They were on the payroll of New Theatres. Prominent among them were Arzoo Lakhnavi, Kidar Sharma, Pandit Sudarshan, Pandit Bhushan and a few others. Of all these, Arzoo Lakhnavi was the most talented lyricist. He was an Urdu poet of considerable merit.
He wrote the lyrics of many New Theatres films, among which ‘Dushman’, ‘Lagan’ and ‘Doctor’ are well known. Songs like ‘Chale pawan ki chaal jag mein chale pawan ki chaal’, ‘Aaj apni mehnaton ka mujh ko samra mil gaya’, ‘Karun kya aas niras bhai karun kya aas niras bhai…’, ‘Ik bangla bane nyara’, ‘Preet mein hai jeevan jokhon’, ‘Yeh kaisa anyaye data, yeh kaisa anyaye…’, and several others were written by Arzoo Lakhnavi.

Pt. Sudarshan wrote some beautiful songs to which the blind singer K. C. Dey gave his melodious voice. Among them are such well-known bhajans, ‘Baba man ki aankhen khol’, ‘Teri gathri mein laga chor musafir jaag zara’ and others.

Pandit Bushan wrote lyrics for several New Theatres films, but his best ones figured in the film ‘Meri Behn’ (1944). Songs like ‘Ai katib-e-taqdeer mujhe itna bata de…’, ‘Do naina matwale tihare hum par zulm karen’, and ‘Chhupo na chhupo na o pyari sajaniya hum se chhupo na chhupo na…’ are the perennial favourite of lovers of film music.

In the 30s and 40s, actors, lyricists and music directors were often associated with certain filmmaking companies. Thus, poet Pradeep who was also a good singer, started his career with Bombay Talkies and wrote songs for mostly their films. He wrote some outstanding songs for the super-hit film of 1943 - ‘Kismet’.

The patriotic number of this film, ‘Door hato ai duniya walo Hindustan hamara hai’, was at one time as famous as our national anthem. Songs written by Pradeep and to which he gave his own voice are also quite popular. His ‘Dekh tere sansaar ki halat kya ho gayee bhagwan, kitna badal gaya insaan…’, ‘Pinjare ke panchhi re…’ and quite a few others are as popular today as they were in the 50s.

Two lyricists who dominated the film scene after the partition of the country are Shakeel Badayuni and Majrooh Sultanpuri. Others who vied with them for name and fame were Rajinder Krishan, Prem Dhawan, Bharat Vyas, Raja Mehdi Ali Khan, Qmar Jalalabadi, Sahir Ludhianvi, Anjaan (father of present-day lyricist Sameer) et al. Rajinder Krishan, apart from scripting stories for films, was perhaps the most creative lyricist of the 50s. His lyrics for films like ‘Anarkali’ (1953) and ‘Adalat’ (1958) are impeccable gems of Urdu ghazal writing. Present-day lyricist Javed Akhtar is one of his ardent admirers.

Shakeel Badayuni teamed up mostly with music director Naushad. Their pairing led to the creation of some immortal melodies. The songs of films like ‘Dard’, ‘Mela’, ’Dilagi’, ‘Dulari’, ‘Jadoo’, ‘Baiju Bawra’, ‘Aan’, ‘Mother India’, ‘Kohinoor’ and several others are now considered classics of Hindi film music.

Majrooh Sultanpuri began his career with A.R. Kardar’s ‘Shahjehan’ (1946). He was lucky enough to have his lyrics rendered in the voice of the immortal singer K. L. Saigal. So, from the very first film he became a popular lyricist when his songs, ‘Jab dil hi toot gaya’ and ‘Gham diye mustkil kitna nazuk hai dil’ became chartbusters of those days. Majrooh had a fairly long career in the film industry. He teamed up with different music directors and such indeed was his talent that he did not disappoint any. Some of the most haunting songs of Hindi films were crafted by Majrooh Sultanpuri.

Sahir Ludhiavi began his career by writing lyrics for two films ‘Sazza’ and ‘Naujawan’, both released in 1951. He was at the peak of his career with Guru Dutt’s ‘Pyasa’ (1957). Sahir wrote lyrics for scores of films and he was one of the most highly paid lyricists of the film industry.

There were a few other lyricists in the 50s who distinguished themselves by writing some memorable songs. Noor Lakhnavi wrote the lyrics for V. Shantaram’s ‘Parchhain’ (1952). The song, ‘Mohabat hi na jo samje wo zalim pyar kya jane…’ such a haunting melody that even today it rings a bell in old-timers. Baizad Lakhnavi wrote the lyrics for Raj Kapoor’s maiden directorial effort ‘Aag’ (1948). The song of this film, ‘Zinda hoon is tara ke gham mein zindagi nahin…’ is a flawless peace of versification. Thereafter he wrote lyrics for many films.

In the 70s it was Anand Bakshi who towered above all. He was such a prolific song writer that at the peak of his career he signed films by the dozens and yet disappointed no filmmaker. He had a natural gift for writing the lyrics demanded of him. Dev Kohli was another lyricist in the 80s who specialized in writing songs with a sprinkling of Punjabi words in them.

Presently, we have a number of lyricists in the film industry who are quite capable of writing songs demanded of them. But we should not fault them for writing mostly cheap stuff, for that is what our filmmakers nowadays want. Sameer is still prominent among them.

Of course the language of present-day film songs has come down to the level of banality. But, we still have some highly talented lyricists like Javed Akhtar and Gulzar around. But the sort of films that we make nowadays have hardly any scope for adjusting the sort of ghazals that Shakeel Badayuni, Majrooh Sultanpuri and Sahir Ludhianvi wrote for films in the 50s and 60s.

Imagine a song like ‘Tum na jane kis jahan mein kho gaye’ or ‘Chaudhvi ka chaand ho yaa aftaab ho’ picturised on a present-day film heroine or hero! No, we are quite comfortable with our bawdy buffoonery expressed through songs like ‘Tujhe ghori pe bithaya kisne bootni ke…’ and such other songs with the language of the streets.
Here I present one song penned by DN Madhok, film Preet.......khawar
User is offlineProfile CardPM
Go to the top of the page
+Quote Post
khawar Sohail
post Aug 27 2010, 04:09 PM
Post #110


Regular Member
Group Icon

Group: Members
Posts: 837
Joined: 28-July 07
Member No.: 19849



K Dutta composed Lata's first song in Bari maa. Here is another gem by same composer from film Gumashtta. Song is penned by Waheed Qureshi. This song is on request of R&D....khawar
User is offlineProfile CardPM
Go to the top of the page
+Quote Post
khawar Sohail
post Aug 27 2010, 04:14 PM
Post #111


Regular Member
Group Icon

Group: Members
Posts: 837
Joined: 28-July 07
Member No.: 19849



Here I present a beautiful song by Feroza Begum (wife of kamaldas gupta).....khawar
User is offlineProfile CardPM
Go to the top of the page
+Quote Post
khawar Sohail
post Aug 28 2010, 11:26 AM
Post #112


Regular Member
Group Icon

Group: Members
Posts: 837
Joined: 28-July 07
Member No.: 19849



Here is another song by poet DN madhok brilliantly sung by lata and composed by Hansraj behl......khawar
User is offlineProfile CardPM
Go to the top of the page
+Quote Post
khawar Sohail
post Aug 28 2010, 11:36 AM
Post #113


Regular Member
Group Icon

Group: Members
Posts: 837
Joined: 28-July 07
Member No.: 19849



Here is another beautiful Faiz nazm by Feroza begum......khawar
User is offlineProfile CardPM
Go to the top of the page
+Quote Post
khawar Sohail
post Aug 28 2010, 11:46 AM
Post #114


Regular Member
Group Icon

Group: Members
Posts: 837
Joined: 28-July 07
Member No.: 19849



Music director Zafar Khursheed did very few movies (any body have list of his movies, kindly upload here). His most famous one was Dil 1946 with Nurjahan. Here is one rare duet of NJ with moti from dil. The song is dedicated to Prof. Inaam Nadeem sahib....khawar
User is offlineProfile CardPM
Go to the top of the page
+Quote Post
khawar Sohail
post Aug 28 2010, 12:27 PM
Post #115


Regular Member
Group Icon

Group: Members
Posts: 837
Joined: 28-July 07
Member No.: 19849



It is a cruel irony of fate that Khan Mastana who has also provided music for some films under a different name and was also a singer of repute, would die decades later on the streets of Mumbai, begging near the Mahim Dargah. I learn that the same fate awaits his son too near the said Dargah. Some of his beautiful songs are PANGAT PE EK CHHABEELEE in Main Hari (1940), ZINDAGI HAI PYAAR SE with chorus and two others in Sikandar (1941), a duet with Parul Ghosh, KANTE LAAGE RE SAJANWA MOSE RAAH CHALI NA JAAYE in Basant (1942), HAMM APNE DARD KA QISSAA SUNAAYE JAATE HAIN in Muqabla (1942) and even as late as 1959 in Nek Parveen: MAULA KI REHMAT SE HOGI HAR MUSHKIL AASAAN.

Here i play one of his songs from film sawna aaya re 1949....khawar
User is offlineProfile CardPM
Go to the top of the page
+Quote Post
Faraaj73
post Aug 28 2010, 06:40 PM
Post #116


Dedicated Member
Group Icon

Group: Members
Posts: 2198
Joined: 1-July 08
From: Sydney, Australia
Member No.: 58864



QUOTE(khawar Sohail @ Aug 28 2010, 04:57 PM) *

It is a cruel irony of fate that Khan Mastana who has also provided music for some films under a different name and was also a singer of repute, would die decades later on the streets of Mumbai, begging near the Mahim Dargah. I learn that the same fate awaits his son too near the said Dargah. Some of his beautiful songs are PANGAT PE EK CHHABEELEE in Main Hari (1940), ZINDAGI HAI PYAAR SE with chorus and two others in Sikandar (1941), a duet with Parul Ghosh, KANTE LAAGE RE SAJANWA MOSE RAAH CHALI NA JAAYE in Basant (1942), HAMM APNE DARD KA QISSAA SUNAAYE JAATE HAIN in Muqabla (1942) and even as late as 1959 in Nek Parveen: MAULA KI REHMAT SE HOGI HAR MUSHKIL AASAAN.

Here i play one of his songs from film sawna aaya re 1949....khawar

Khawar Saab

I believe the Parul Ghosh duet Kaanta Laago Re Sajanwa from Basant (1942) and composed by Pannalal Ghosh had Arun Kumar (Dheere Dheere Aa Re Badal) as the male singer and not Hafeez Khan Mastana...


Kind Regards
Faraaj



Music expresses that which cannot be said and on which it is impossible to be silent. - Victor Hugo

There is only one better thing than music - live music. - Jacek Bukowski

I hate music, especially when it's played. - Jimmy Durante

No good opera plot can be sensible, for people do not sing when they are feeling sensible. - W. H. Auden
User is offlineProfile CardPM
Go to the top of the page
+Quote Post
khawar Sohail
post Aug 29 2010, 08:45 AM
Post #117


Regular Member
Group Icon

Group: Members
Posts: 837
Joined: 28-July 07
Member No.: 19849



Thanks for correction Faraaj sahib. I took this info from internet. Are Khan Mastana & Hafeez khan same person? khawar
User is offlineProfile CardPM
Go to the top of the page
+Quote Post
khawar Sohail
post Aug 29 2010, 08:53 AM
Post #118


Regular Member
Group Icon

Group: Members
Posts: 837
Joined: 28-July 07
Member No.: 19849



Lets move on to Rafi rare song from film Rahnuma 1948. This song was composed by an obscure music director Dhummi Khan. I was unable to find much info about him.
Following are some Rafi songs from the year 1948.
Some of 1948 songs of Rafi:

Actress:

HAMM APNE DIL KA FASAANAA; AY DIL MEREEE AA.NHO.N ME.N, and a duet with Shamshad Begum: DHEERE DHEERE BOL KOEE SUN NAA LE.
Shyam Sunder provided the music, while J.Naqshab wrote the lyrics. Raja Mehdi Ali Khan was another lyricst for this movie which had Rehana and Prem Adib in the lead roles while the story was written by K.A. Abbas. Najam Naqvi was the director. In Bombay, it was premiered at the Novelty Cinema.

Adalat:

DOH VIDAA DOH PRAAN; QISMAT TOH DEKHO; KYOO.N BICHA.D GAYEE; and a duet with Mohantara Talpade, BAIRAN HO GAYEE RAAT.
Music Director was Datta Devjekar. Mahipal was the lyricist.

Shehnaz:

The unforgettable solo, MOHABBAT MEIN KHUDAAYA AYSE GUZRE ZINDAGI APNI, and AY DIL TUJHEE KO NEEND NAA AAYE. Then there were four duets with Amirbai Karnataki who was also the music director for Shehnaz: TERE NAZDEEK AATE HAIN; and NAZAARON SE KHELOON. These two songs and the 2nd solo were written by Pilbheeti. Then then we have ZINDAGI KEE RAAH MEIN TEZ CHAL and the first solo penned by Devbandi. Fiza Kausari wrote the duet MUJHE TUMSE MUHABBAT HAI.

Lal Dupatta:
This was a Madhubala starrer and a movie of "Dances, Songs and Love". Sapru and Ulhas also figured in this movie which was released at the Opera House in Bombay. The two duets of Rafi with Shamshad Begum are: CHALO JAMNA KE TEER and ARREE O ALBELI NAAR. The first one was penned by D.N Madhok and the second one by Manhar Khanna. Gyan Dutta was the music director.

Rehnuma (The Guide):

It had two solos: QISMAT SE KOEE KYAA BOLE and SULTAAN-E-MADINA. The two duets were: EK AISA MAHAL BANAAYEN with Rekha Rani, and EK ABRE SIYAAH CHHAAYAA with Shamshad Begum. The last song was written by Dhumi Khan and the others were written by Habib Sarhadi. It was Dhumi Khan who provided the music.

Amar Prem:

Rafi had two duets here. One was with Raj Kumari: AAO CHALE MANVAA MORE DUUR and the other was with Rekha Rani: YAMUNAA KE TAT. Music was by Datta Thakar and the lyrics were written by Mohan Mishra.

Khidki:

The music for this film was composed by C.Ramchandra who was also a singer. Rafi sang with him and Shamshad Begum in AJI MERAA BHEE KOI HAAL SUNO (which cites FIFTY-FIFTY as the solution to all problems of the world), comedy song. The tune of just the two words, FIFTY-FIFTY reminds me of a Shabnam (Dilip-Kamini-S.D. Burman) song of Shamshad Begum: PHIR DEKH MAZAA! Another song, KHUSHIYAAN MANAAYEN KYOON had Rafi sing along with him again and with G.M. Sajan and chorus. The songs were written by P.L. Santoshi.

Chunariya:

A duet with Geeta Dutt was: PHOOL KO BHOOL KE LE BAITHA KHAAR. The solo of Rafi, SAB KUCHH LUTAAYAA HAMNE AAKAR TERI GALI MEIN, placed the music director Hansraj Behl among the top class music directors of the day. This movie saw Asha Bhonsle singing her first Hindi line in Chunariya under Hansraj Behl. Mulkraj Bhakri was the lyricist.

Satyanarayan:

Rafi had three duets with Beena Pani: KYAA YAAD HAI TUMKO; MERA DIL GHAAYAL KARKE; and DIL WAALE SAAHAB GHAZAB KAR DAALA. The lyricists were Surjit Sethi and Sevak.

Kajal:

A duet with Suraiya: TAARON BHARI RAAT HAI which was written by D.N. Madhok. Music was by Ghulam Mohammed.

Rang Mahal:

Again, a duet with Suraiya, ROOTHO NAA TUM BAHAAR MEIN, composed by K. Dutta.

Bhakt Gopal Bhaiya:
This was the movie that exclaimed that it was for the mothers of today and the generations of tomorrow. Rafi had two solo Bhajans: RADHE SHYAM, RADHE SHYAM RADHE SHYAM TUU GAAYE JAA and BHAGWAAN HAMM CHEEKH RAHEN HAIN, and there was ASSI BARAS KA BUDDHA BAABA, all written by Ramesh Gupta. Music was by S.R. Vyas.
Khawar
User is offlineProfile CardPM
Go to the top of the page
+Quote Post
khawar Sohail
post Aug 29 2010, 09:12 AM
Post #119


Regular Member
Group Icon

Group: Members
Posts: 837
Joined: 28-July 07
Member No.: 19849



Coming back to Khan Mastana. It is sad to see such a brilliant singer had to beg to live. I think these things can only happen in South Asia. In pak artists/poet have been persecuted for their views whereas in India its mostly the economical hardships. Here I post a breathtaking song sung by Khan Mastana from 1950 Hanste Rehna. Listen to this song and decide for yourself....khawar

This post has been edited by khawar Sohail: Aug 29 2010, 09:20 AM
User is offlineProfile CardPM
Go to the top of the page
+Quote Post
khawar Sohail
post Aug 31 2010, 04:04 PM
Post #120


Regular Member
Group Icon

Group: Members
Posts: 837
Joined: 28-July 07
Member No.: 19849



A child prodigy: Master Madan
‘Yun naa reh reh kar hamein tarsaaiye’ and ‘Hairat se tak rahaa hei jahane wafa mujhe’ these two ghazals of Master Madan recorded at the tender age of eight years, on a 78 rpm gramophone record is a priceless collection of yesteryears’ immortal music.

Anyone with even a passing interest in music is familiar with these two Sagar Nizami’s ghazals, sung by the extraordinary child prodigy- Master Madan, who died at an age of just less than fifteen.

These two ghazals have certainly retained the magic even after a gap of more than sixty five years, which is evident from a collection of ten CDs released by HMV by the title- ‘Ghazal Ka Safar’. This collection includes these two ghazals of Master Madan, along with recordings of majority of eminent ghazal singers of the previous century. The collection was edited by Jagjit Singh, the famous singer.

Till the end of previous century, just these two songs of Master Madan were available. However, after strenuous efforts by some ardent music collectors, we could trace six more of his fabulous renderings. Thus, making available collection of his perfectly modulated songs to eight.

A few lines about the life of the celebrity. Master Madan was born on 26 December, 1927, in an orthodox Sikh family in a village of Punjab called- ‘Khankhana’, built and named by Abdul Rahim Khankhana in Jallandhar District. Abdul Rahim Khankhana was one of the nauratans (courtiers) of Emperor Akbar. Besides a warrior, an eminent Hindi & Arabic poet-philosopher, he was popularly known as ‘Rahim’.

Master Madan’s father Sardar Amar Singh was in the service with Education Department and his mother Puran Devi was a religious lady. She too died young in the year 1942

The child prodigy started singing at the tender age of three and quickly became a craze all over India. His astonishingly mature voice left a deep impression on the listeners in general and devout Sikhs in particular. Listen to his captivating rendition- ‘Chetna hei to chet ley’ a hymn (sahabad) of Guru Teg Bahadur Saheb- which is a classic example of his excellent understanding of thought and feel of whatever he sang. Shanti Devi, his elder sister had revealed that- he always carried a portrait of Guru Nanak wrapped in silk, a rosary and a ‘gutka’ (abridged holy Granth) where ever he went.

He gave his first public performance at the age of three and a half years at Dharampur Sanitorium (Himachal Pradesh) where he enthralled the audience by singing in dhrupad style of Indian classical music. According to Shanti Devi; the listeners were spell-bound with his command over laykaari and surtaal (rhyme and rhythm). The young lad concluded the recital with a devotional composition ‘Hey sharda naman karoon’ in raag mishr kafi. The critics hailed it as the beginning of a fabulous era.

After the conclusion of this captivating recital, he was bestowed with a gold ring, a shawl and a gold medal. His first successful performance made him a celebrity. There was a grand news coverage in the print media. Some of such paper clippings are still available with Ravinder Kaur, the niece (bother’s daughter) of Master Madan at Butail Building, Shimla.

Overnight, the identity of the genius spread like fire all over the music fraternity of the country. After his grand success, he commenced giving performances along with his elder brother Master Mohan. Every where he was in demand. Though, posters portrayed the photographs of both the brothers, there used to be a special mention of mesmerizing singing of Master Madan.

The maestro commenced his training in music at the age of seven years, under the able guidance of Pt Amar Nath, a great musician and elder brother of composer duo- Husnalal Bhagatram. He had composed music for film ‘Mirza Saheban’, wherein Noorjehan sang some of her captivating numbers. The two ghazals referred to above were also composed by Pt Amar Nath.

Master Madan’s elder brother Master Mohan, who was in Shimla, also used to sing and played violin. This was the time when the legendry singer K.L. Saigal too was in Shimla. Very often, Saigal used to bring his harmonium to their home- ‘Butail Building’ Lower Bazar, Shimla- for his singing and his brother played violin..

In 1940 Mahatma Gandhi visited Shimla and very few people turned up at his meeting, as most of them had gone to a concert of Master Madan.

The singing sensation was a particular favourite of the rulers of Indian states, who conferred many medals on him, which he invariably wore at his recitations. He was always in demand for his singing. Thereby his family was thrilled, as he used to bring lot of money and valuable presents.

But, this took its toll. In view of excessive strain under which the young boy lived and performed, his health began to suffer. He would complain of exhaustion and low fewer. Sadly, he was not properly taken care of and provided adequate medical attention. When at a later stage, he was taken for an examination, he was found to be beyond recovery. The diagnosis was a slow poison that had affected his vital organs. The genius with his immortal voice died in Shimla on 5 June, 1942 several months short of his 15th birthday. He was cremated wearing all his medals.

There had been many rumours about the cause of his death. One such gossip went that at one time when he was performing at Ambala, a local singing girl had invited him to her Kotha and gave him a doctored paan (betel leaf). Another said that at Radio Station Delhi, he was given mercury in his drink by a jealous performer. Yet another was that in Calcutta, after his sensational concert at which he sang a thumri- Bintee suno meri, someone gave him a slow-acting poison in his drink. It was noticed in retrospect that he never recovered his voice after that particular performance. .

However, the fact is that it was the greed of the family or envy of the rivals that killed the child-prodigy- Master Madan, leaving behind recordings of just eight classic classicals:
Here I post a thumri by Master madan......khawar
User is offlineProfile CardPM
Go to the top of the page
+Quote Post

35 Pages V « < 6 7 8 9 10 > » 
Reply to this topicStart new topic
1 User(s) are reading this topic (1 Guests and 0 Anonymous Users)
0 Members:


 



- Lo-Fi Version | Disclaimer | HF Guidelines | Be An Angel Time is now: 29th March 2024 - 10:28 AM