PERFECTION WAS NAUSHAD SAHAB'S MOTTO
WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR
EMAIL: sunrise607@rediffmail.com
Music maestro Naushad’s birth anniversary will be observed on 25th December. The Lucknow born Naushad’s orthodox family was against his growing passion for film music and he often got caned due to his love for music. But there was no stopping Naushad saab, the film buff, from pursuing his goal of becoming a music director.After working as an assistant to many music directors of the time Naushad hit big time as an independent music with the successful Premnagar in 1940. But it was the music of Rattan in 1944 that etched Naushad’s name forever in the annals of Indin film music history. The film and the songs are remembered to this day.
Naushad churned out hit after hit in the 1940s mainly in the films of A.R. Kardar - Shahjehan, Dard, Dillagi, Dulari, and Mehboob Khan - Anmol Ghadi (1946), Anoki Ada, Andaaz,etc.Naushad was among the early composers, who, gave Lata Mangeshkar an opportunity to sing for Andaaz and Dulari which were instrumental in her rise to the top along with Mahal.
But conceivably Naushad`s supreme contribution was to base film songs on Indian Classical Music. Many of his compositions were inspired by Ragas and he even used distinguished classical artistes like Ustad Amir Khan and D.V. Pulaskar in Baiju Bawra (1952) and Ustad Bade Gulam Ali Khan in Mughal-e-Azam (1960). Baiju Bawra demonstrated Naushad`s grasp of classical music. Lata Mangeshkar once said the music Naushad saab composed for Baiju Bawra surprised her as it It was entirely different from what he had done before. The purity of the ragas was maintained to the greatest possible extent.
Naushad with friend writer Vrajendra Gaur
Naushad used to study every aspect of his tunes thoroughly. If he weren`t contented with even one word, he would ask the lyricist to pen the entire song again, to his satisfaction. It is important to mention here that most of Naushad's songs were written by Shakeel and sung by Rafi. He would take a fortnight to compose a single song. Perfection was his motto.
This condensed workload worked to his advantage as he went on to score the music for perennial classics - Mother India (1957), Mughal-e-Azam (1960), Ganga Jamuna (1961) and Mere Mehboob (1963). In Mughal-e-Azam, Naushad`s musical score was outstanding. S it was indeed scandalous that Naushad lost the Filmfare award that year [1960], to Shankar-Jaikishen for their score in Dil Apna Aur Preet Parayee.
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With the 1960s and the decline of Dilip Kumar, Naushad who used to compose music for most of the thespian`s film also suffered a reversal of fortune as film after film of theirs came unstuck at the box-office..
It is surprising that Nausahad saab arguably the greatest music director of Hindi films won just a solitary Filmfare award for Baiju Bawra because he deserved a lot more.
WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR
WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR
EMAIL: sunrise607@rediffmail.com
Music maestro Naushad’s birth anniversary will be observed on 25th December. The Lucknow born Naushad’s orthodox family was against his growing passion for film music and he often got caned due to his love for music. But there was no stopping Naushad saab, the film buff, from pursuing his goal of becoming a music director.After working as an assistant to many music directors of the time Naushad hit big time as an independent music with the successful Premnagar in 1940. But it was the music of Rattan in 1944 that etched Naushad’s name forever in the annals of Indin film music history. The film and the songs are remembered to this day.
But conceivably Naushad`s supreme contribution was to base film songs on Indian Classical Music. Many of his compositions were inspired by Ragas and he even used distinguished classical artistes like Ustad Amir Khan and D.V. Pulaskar in Baiju Bawra (1952) and Ustad Bade Gulam Ali Khan in Mughal-e-Azam (1960). Baiju Bawra demonstrated Naushad`s grasp of classical music. Lata Mangeshkar once said the music Naushad saab composed for Baiju Bawra surprised her as it It was entirely different from what he had done before. The purity of the ragas was maintained to the greatest possible extent.
Naushad used to study every aspect of his tunes thoroughly. If he weren`t contented with even one word, he would ask the lyricist to pen the entire song again, to his satisfaction. It is important to mention here that most of Naushad's songs were written by Shakeel and sung by Rafi. He would take a fortnight to compose a single song. Perfection was his motto.
This condensed workload worked to his advantage as he went on to score the music for perennial classics - Mother India (1957), Mughal-e-Azam (1960), Ganga Jamuna (1961) and Mere Mehboob (1963). In Mughal-e-Azam, Naushad`s musical score was outstanding. S it was indeed scandalous that Naushad lost the Filmfare award that year [1960], to Shankar-Jaikishen for their score in Dil Apna Aur Preet Parayee.
NAUSHAD WITH SUNEEL GAUR
With the 1960s and the decline of Dilip Kumar, Naushad who used to compose music for most of the thespian`s film also suffered a reversal of fortune as film after film of theirs came unstuck at the box-office..
It is surprising that Nausahad saab arguably the greatest music director of Hindi films won just a solitary Filmfare award for Baiju Bawra because he deserved a lot more.
WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR
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