RARE INFORMATIONS ON HINDUSTANI CLASSICAL MUSIC USED IN COMPOSING SONGS FOR HINDI FILMS.ALMOST ALL THE 'RAAGMALIKAS'COMPOSED FOR HINDI FILMSARE GIVEN WITH COMPLETE LYRICS IN 'HINDI'.INFORMATIVE DETAILS ON VARIOUS RENOWNED CLASSICAL MUSIC ARTISTS, WHO WORKED FOR HINDI FILMS AND MANY MORE INTERESTING ARTICLES ON CLASSICAL AND LIGHT-CLASSICAL MUSIC,JUGALBANDIS,MUSIC- COMPETITIONS,LIVE CONCERTS,ETC.
Kishore kumar has sung this classical melody based on raga'Maru Vihaag' with perfection,doing full justice with the raga.The befitting lyrics are written by Majrooh Sultanpuri keeping the 'mukhada'of the song"payal waali dekh naa" matching with the traditional 'khayal' of raga 'Maru- Vihaag' "Rasiya ho naa..".The music is composed by veteran music director of Hindi films : Chitragupa.This song is picturised on Kishore Kumar himself and dancing heroine of the film Jamuna. The song is: लचकत चमकत चलत कामिनी दहिगुन दमकत चपल दामिनी अरी ओ पल छिन रुक जा ,रुक जा, रुक जा।। "पायल वाली देख ना।" यहीं पे कहीं दिल है पग तले आये ना। पायल वाली देख ना।। जैसे दामिनिया बदरा में उड़े , कुछ दूर चले फिर जा के मुड़े । उठा रे नयन कजरारे, तू इतना समझ के किसी की लगे हाय ना। पायल वाली देख ना ।। कित झूम चली मदिरा सी पिए। मतवारी पवन अंचरा में लिए। ज़माना है यूँ ही मस्ताना, देखो जी कहीं रुत बिन काली घटा छाये ना।। पायल वाली देख ना ...।। कहीं ऐसा ना हो कोई बात बने ,अंगड़ाई मेरी तेरा नाच बने । नाचो री ना बन के चकोरी ,घुँघर कहीं धड़कन मेरी बन जाए ना।। पायल वाली देख ना...||
This raagmala is composed for a stage show in the film picturized on Sunil Dutt and Mumtaz.The situation is a stage ballet based on the stories of Heer-Ranjha,Saleem-Anarkali and Romeo-Juliet's love stories.. .Music director Ravi has composed the lyrics of Sahir using Raagas: Pahadi,Yaman Kalyan,Shuddha Kalyan,Bhairavi and Khammaj in a sequence, for different parts of the stories.The song begins in raga Pahadi : "तू हुस्न है मैं इश्क हूँ , तू मुझमें है मैं तुझमें हूँ । मैं इससे आगे क्या कहूं , तू मुझमें है मैं तुझमें हूँ ।।" The next part is in raga Yaman Kalyan: "ओ सोनिये ओ मेरे महिवाल, आजा ओय आजा । पार नदी के मेरे यार का डेरा, यार का डेरा ओय यार का डेरा । तेरे हवाले रब्बा दिलवर मेरा, दिलवर मेरा ओय दिलवर मेरा ।। रात बला की बढ़ता जाए लहरों का घेरा । कसम खुदा की आज है मिलना मुश्किल मेरा ।। खैर करीं रब्बा रब्बा खैर करीं रब्बा । ओ साथ जियेंगे साथ मरेंगे,यही है फ़साना।। तू हुस्न है मैं इश्क हूँ ....||" Next story of Saleem and Anarkali is in Raga Shuddha Kalyan: " कहाँ सलीम का रूतबा कहाँ अनारकली। ये ऐसी शाखे तमन्ना है जो कभी ना फली।। न बुझ सकेगी बुझाने से अहले दुनिया के। वो शम्मा जो तेरी आँखों में मेरे दिल में जली।। हुज़ूर एक न एक दिन ये बात आएगी , के तख्तो ताज भले हैं कि एक कनीज़ भली ।। मैं तख्तो ताज को ठुकरा के तुझको ले लूँगा, के तख्तो ताज से तेरी गली की ख़ाक भली।। साथ जियेंगे साथ मरेंगे यही है फ़साना। तू हुस्न है मैं इश्क हूँ .......।।" The last part is story of Romeo-Juliet composed in Raga Bhairavi: "फ़सीलें इतनी ऊँची और पहरा इतना संगी है। जिआले रोमियो तू किस तरह पंहुचा बगीचे में ।। ये मेरी जूलिएट के शोख चेहरे की शुआयें हैं । की आधी रात को सूरज निकल आया दरीचे में ।। मेरा कोई बझी शिक्चा तुझे पा ले तो फिर क्या हो? ये सब बातें वो क्यों सोचे जिसे तेरी तमन्ना हो ।। खुदा के वास्ते ए रोमियो इस जिद से बाज आजा । कज़ा आने से पहले मेरे पास ए दिलनवाज़ आजा ।। Now remaining part of this story is in Raga Khammaj: "तुझे जिद है तो प्यारे देख मैं दीवानावार आयी । तू जब बाहों में आयी दिल की दुनिया में बहार आयी ।। साथ जियेंगे साथ मरेंगे यही है फ़साना, तू हुस्न है मैं इश्क हूँ तू मुझमें है मैं तुझमें हूँ ।।"
The story of comparison of Satyabhama and Rukmini's love towards Krishna had many shades.Therefore music directors Lakshmikant-Pyarelal created a raagmalika for the presentation of this episode in the film 'RAJA AUR RUNK'.They have done commendable job of composing the lyrics in suitable ragas as the mood of the scenes required.
satyabhama aur rukmini rani dono krishn ki thi deewaani bhaama agni ka angaara, rukmini shital jal ki dhaara o puja ke phul chadhaati, yeh paayal ke geet sunaati (kanhaiya o kanhaiya koyi murali ki taan suna de mere tann mann mein aag laga de, laga de) - (2) kanhaiya o kanhaiya aa aa aa aa aa main hi tohe dekhu sawariya, dekhe na koyi duji najariya mai hi to hu teri bawariya mai hi sunu bas tori basuriya bansi bajaiya kanhaiya o kanhaiya koyi murali ki taan suna de mere tann mann mein aag laga de, laga de kanhaiya o kanhaiya janm divas rukmini ka aaya, sajani ne saajan ko bulaaya vyakul naina baat nihaare, aaj mere ghar naath padhaare main nahi jaane dungi kaanha, main na sunungi koyi bahaana priye kisika mann na todo, dekho, suno, jaane do, chhodo narayan, narayan, baat huyi kya krishn muraari kyun ruthi hai sundar naari achchhe samay par aap padhaare, vipda mein hai praan hamaare rukmini kahe mere sang aao, bhaama kahe naath mat jaao jiska nimantran aaya pehle, bhagvan jaaye usake mehle narad ji, narayan rukmini ke sang chale kanhaayi, bhaama ko yeh baat na bhaayi narayan, kyun baithi ho khoyi khoyi, mere yogya hai seva koyi bhare nahi abhi ghav purane, phir aaye ho aag lagane main sabka sevak tum jaano, chahe parakhlo jo na mano koi upay aap bataye, wo sautan ke ghar na jaaye accha to ek vrat rakhogi, apne pati ka daan karogi wah wah dhoonda khub upay, aapse toh bas raam bachaay nis din dekhu jinake sapne, kho baithu woh pritam apne tum nahi samajhi kaisa khona, unake barabar tolke sona mol bhraman ko dena, mohan ko waapas le lena bas itna hi, aap kare wrat ki taiyaari, bhaama jeeti rukmini haari parantu krishn hai bhaari jitna, tere paas hai sona itna wa Narad ji, sone ke bhandar jo kholu, ek nahi sau krishn main tolu Narayan! Narayan! kuchh dhoka hai raam duhaayi, itni bhaari nahi kanhaayi yeh tera sona nakali hai, mera manmohan asali hai mere paas jo tha le aayi, de do mujhko krishn kanhaayi de du leke jarasa sona, mohan hai ya koyi khilauna chal tujhko sansaar mein bechu, daaso ke baazaar mein bechu lo yeh tambura bansi bajaiya, pakdo yeh kartal kanhaiya bhama swami, kaisa swami, kiska swami, swami ki ho gayi nilami, nilami Suno suno ai jaanewaalo hai yeh sasta maal uthaalo - (2) Sabki mann ki aas main bechu, kaisa sundar das main bechu Jivan ki naiya ka khiwaiya, (iska naam hai Krishna Kanhaiya -2) Main padati hu paanv tumhaare, nagari nagari dware dware Mjhko yu badnam karo na, Shyam ko tum nilaam karo na Apna ghar jo aap jalaaye, usaki bigadi kaun banaaye Bhul huyi mujhse yeh bhaari, jaau kaha viraha ki maari Rukmini se tum baat yeh puchho, kaise milenge naath yeh puchho Rukmini meri bhul bhula de, koyi jatan kar Krishna mila de Aa Bhaama main tujhpe waari, tu hai mere Krishna ki pyaari Kya yeh dukh kewal tera hai, jo tera hai woh mera hai, Na maaya se, Na shakti se, Bhagvan milte hai bhakti se kanhaiya kanhaiya kanhaiya kanhaiya - (2) Pat meri rakho mere bansi bajaiya Kanhaiya Kanhaiya Kanhaiya Kanhaiya Jivan do paladon ka taraaju, ek mein jag saara, ek mein bas tu Jag halka tu bhaari bansi bajaiya, Kanhaiya Kanhaiya Kanhaiya Kanhaiya Pat meri rakho mere bansi bajaiya Jai Jai Krishna Kanhaiya!
Today is 30th October,2012 ,the 38th Death Anniversary of 'Ghazal Queen' of India:Begum Akhtar. She left this world on 30th October,1974 in Ahmedabad, during her stage programme there.It was very shocking to all music lovers of the world,who were acquainted with her sentimental singing of ghazals, thumris, dadras, tappa, khayal and all types of light-classical melodies.In his tribute to Begum Akhtar,the President of India at that time,Sri Fakharuddin Ali Ahmad said "she was the only singer who always pronounced the lyrics correctly in her singing of ghazals etc.".One could see her many times in tears after her concerts.She was born on 7th January,1914 in Faizabad (Uttar Pradesh).Her 'Birth Number' was '7',which played an important role in her life.Her earlier name was'AKHTARI' which has '7' letters. She died in her 61st (6+1=7) year of life.Her last Long Play record 'KALAM-E-ASATIZA' was being recorded by music director Khayyam,with a selection of 8 ghazals by Begum Akhtar herself .But due to her untimely death only 7 ghazals could be recorded.And thus last LP of Begum Akhtar was released by HMV with her '7' ghazals only on it.Also according to numerology the 'Single Reduced Number' of her date of death (3+0+1+0+1+9+7+4=25=2+5=7) was again'7'.Here is her last video recording for Jullundhar studio of Doordrs.These ghazals were written by Kaifi Azmi in September,1974 and then it was recorded in the voice of Begum Akhtar. She got trained in classical music by the renowned Ustads of her time,Ustad Ata Mohammad Khan, Abdul Waheed Khan and Ustad Jhande Khan of Patiala Gharana . In the early days of her singing career she was known as 'Akhtari Bai Faizabadi'. She appeared on the stage at the age of only fifteen years,in a programme organised ,to collect the funds for the help of earthquake victims of Bihar in 1930.She sang the ghazal"Toone butey harjayee kuch aisi ada payee,takata hai teri soorat har ek tamashai...",a dadra"Sunder saree mori maike mailai gayee,kauna se jaibe gavanava ho ram.."and two more numbers.Smt. Sarojini Naidu was present in that programme.She praised for the superb singing of Akhtari and gifted her a saree of Khadi.Akhtari got very much encouraged with this honour and went ahead in her career to great heights.Her most popular numbers of those days were:'Deewana banana hai to deewana bana de...','Na socha na samjha...','Koyaliya mat kar pukar karejawa lage kataar..','Chha rahi kali ghata jiya mora lahraye hai..','Nihure nihure baharen anganwa goriya..','Abke sawanghar aaja..'.Shakeel Badayuni's ghazal 'Aye mohabbat tere anzam pe rona aaya...'was her most popular ghazal.Being composed in raga Bhairavi she used to conclude her programmes,by singing it. After her marriage with Barrister Ishtiaq Ahmad Abbasi of Lucknow in 1945,she was known as Begum Akhtar.She also
acted in certain Hindi films of 1930s and 1940s:Ek Di KiBadshahat, Nal Damyanti(1933),Ameena, Mumtaj Begum (1934), Jawani Ka Nasha(1935), Naseeb Ka Chakkar(1936),etc.But she left acting in films, for the sake of her career in singing.Her well known movie was Mehboob Khan's 'ROTI'(1942).She sang six songs in it,for music director Anil Biswas.Later she appeared on the screen only for a thumri singing sequence in Satyajit Ray's famous award winning film'JALSA -GHAR'(1958).
Music director Madan Mohan was her ardent fan and he persuaded her for singing playback songs in his films: Ehsaan and Dana Pani(1953).Pandit Jasraj was a great fan of her singing since his school days ,as he has disclosed it in his interview.Jigar Muradabadi was her favourite shayar but she sang the ghazals of many upcoming shayars also like:Sudarshan Fakir,Ali Jaleeli,Jasdanwala etc. Her early records were for Megaphone record company but later she recorde many memorable LPs for HMV record company.Who can forget her ghazals:'Aayee barsaat to barsaat ne dil tod diya..','Woh jo hum mein tum mein quarar tha..','Mere humnafas mere humnawa..','Jikr us parivash ka aur phir bayan apna..','Apnonke sitam hum se bataye nahin jaate..' and many more.
Akhtaribai in film'ROTI'(1942)
Her First LP RECORD
She will always remain alive in the hearts of her music lovers through her unforgettable immortal melodies.
This rare forgotten melody from Hindi film GRAHASTHI(1963) is based on raga 'Malkauns',a very prominent late night raga of Hindusani classical music.Here music director Ravi has used the raga Malkauns in its Drut form because it was to be picturized for a dance number performed by famous dancer and heroine of the film:Rajshree. Actor Manoj Kumar has been shown singing the song on the stage in the film.The song is written by Shakeel Badayuni and sung by Mohammad Rafi and Asha Bhosle.The lyrics of the song are: "पायल खुल खुल जाए राम , (मोहम्मद रफ़ी ) मोरी पायल खुल खुल जाए राम ।। छेड करत मोसे नन्दलाल , मोरा अंग अंग बल खाए राम।। ग म स नि स नि ध म ग म ध नि स...।। पायल खुल खुल जाये राम ।। (आशा भोंसले ) लाख जतन करूँ एक न माने , रूप तकत बैयाँ धरत छलिया ।। बार बार ढल जाए चुनरिया , काह करूँ मैं हाय राम ।। मोरी पायल खुल खुल जाये राम ....।।"
Raga Desh is a very sweet raga as it has a flavour of folk music .The 'aalap' part of it is very impressively presented by genius music composer of Hindi films Late Sri Jaidev in the song "Aayee ritu saawan ki..." from the Hindi film: :'AALAAP'.The song is penned by Dr. Rahi Masoom Raza and sung by Kumari Faiyyaz and Bhupendra,with full devotion,keeping the depth and grace of the raga alive.The film 'AALAAP'(1977)had Classical Music as its central theme and Jaidev did full justice with the subject.He also created a Raagmalika for that part of the film ,when Amitabh and Rekha learn music from Chhaya Devi (Amma).The song is: "आयी ऋतु सावन की, पिया मोरा जाये रे। आयी ऋतु सावन की ....।। बैरन बिजुरी चमकन लागी, बदरी ताना मारे रे । ऐसे में कोई जाए पिया, तू रूठो क्यों जाए रे।। आयी ऋतु सावन की ...।। तुम ही अनूक बिदेस जाइयत, सब आये हैं दुआर रे । ऐसे में कोई जाए पिया, तू रूठो क्यों जाए रे, आयी ऋतु सावन की.... ।।"
The Raga 'Aheer Bhairav' is a morning melody.Its use in the music compositions of film songs is very rare.But due to the genius of veteran music director of Hindi films,Dada S.D.Burman, we got this superb creation to enjoy for ever.Dada was a disciple of Great Ustad Faiyyaz Khan Saheb of Agra Gharana and before the recording of this song, he took his permission to present his Guru's composition in a film.The Addha Taal used on Tabla has increased the depth of the raga Aheer Bhairav in the song.The efforts of all involved in the screen presentation of this composition, is outstanding.Great actors Ashok Kumar and Kanhaiya Lal have presented the real depth and pathos of the song on the screen.In the first part when kanhaiyya Lal teaches the raga to child Ashok Kumar then S.D.Baatish and Suman Kalyanpur sing this song. In the second part Manna Dey sings the complete song for Ashok Kumar.Lyricist Shailendra has penned this unforgettable song: "पूछो न कैसे मैंने रैन बितायी| इक पल जैसे इक जुग बीता | जुग बीते मोहे नींद न आयी ।। उत जले दीपक इत मन मेरा, फिर भी न जाये मेरे घर का अँधेरा।। तड़पत तरसत उमर गँवाई ।। पूछो ना कैसे मैंने रैन बितायी|| ना कहीं चंदा ना कहीं तारे, जोत के प्यासे मेरे नैन बेचारे। भोर भी आस की किरन न लायी।। पूछो ना कैसे मैंने रैन बितायी....।।"
In Hindi film KHILONA(1970) there was a dream sequence, in which heroine of he movie Mumtaz finds herself in the same situation as faced by Shakuntala, in the play written by Kavi Kalidas.This was shown as a ballet in he film, for which music directors Lakshmi Kant-Pyarelal composed a raagmala depicting the various situations in the play.Lyrics were written by Anand Bakshi,.The song is sung by Manna Dey and Lata Mangeshkar in different moods and ragas according to the sotryline described through the song: "ये नाटक कवि लिख गए कालिदास। यहीं पे तपोवन की भूमि के पास ।। किसी मृग का पीछा करते हुए, तकी सुंदरी एक दुष्यंत ने। शिकारी का मन हो गया खुद शिकार, उसे भा गयी उस चमन की बहार । लगती थी वो कोई अप्सरा , उसका था नाम शकुंतला ।। इक कली थी वो जो चटक गयी, भंवरे के संग भटक गयी । प्रीतम को मन में बसा लिया , गन्धर्व विवाह रचा लिया। जब सेज सज गयी प्रीत से , मन ने कहा मनमीत से : मोहे छोड़ तो न जाओगे, ओ रसिया मन बसिया पिया लेके जिया । सगरी नगरी के तुम हो राजन, डरती हूँ मैं ये सोच के साजन । मोहे भूल तो न जाओगे ।। वन की रानी के वो गीत गाते हुए, राजा वापस नगरिया को जाते हुए , एक अंगूठी निशानी उसे दे गया, प्रेम की एक निशानी उसे दे गया ।। जागते वक़्त भी सोयी रहती थी वो, सैय्याँ के ध्यान में खोयी रहती वो । एक दिन द्वार पर आया एक महर्षि , कोई है? कोई है? उसने आवाज़ दी । प्यार की हाय किस्मत है कितनी ख़राब , जब मिला ना अतिथि को कोई जवाब , दे दिया उसने निर्दोष को ये श्राप : जा तू खोयी है जिसके लिए इस तरह , भूल जाए तुझे इस तरह जिस तरह , भूल जाती है सुबह गयी रात को , भूल जाता है पागल कही बात को।।" This play was composed using the ragas:चारुकेशी ,खम्माज ,पहाड़ी ,नट भैरव in a sequence,creating a Raagmala.
All this happened in the climax sequence of Hindi film MERI SOORAT TERI AANKHEN(1963).The hero of the film(Ashok Kumar) is ugly faced but is a marvellous classical singer.He always hides himself from the people who like the beauty only.In this episode he has to sing on the stage for a kathak dancer.The music director of the film S.D.Burman composed in raga Bhairavi the song "Naache man mora magan tikta dhigi dhigi.... " written by poet Shailendra and sung with full devotion by singer Mohd.Rafi.The beauty of the song is specially used 'Dhaivat' on Tabla in Kaharawa Taal(8 beats) by Pt. Samta Prasad.Asha Parekh once said that she danced her best on this song.Music director S.D.Burman kept on waiting for Samta Prasad's arrival from Banaras and postponed the recording of this song.He was very particular about the special beats on tabla to be played in this song,which only Samta Prasad could do for him.The lyrics to suit the mood of the song are: " नाचे मन मोरा मगन तिक ता धिगी धिगी । बदरा घिर आये रुत है भीगी भीगी ।। कुहुके कोयलिया कहीं दूर पपीहा पुकारे । झूला झूलें सखियाँ की घर आजा बालम हमारे ।। बदरा घिर आये रुत है भीगी भीगी , नाचे मन मोरा .......।\"
