Madan mohan biography of george
Madan Mohan (composer)
Indian composer and singer
Madan Mohan Kohli (25 June 1924 – 14 July 1975), better known as Madan Mohan, was an Indian music director decelerate the 1950s, 1960s and the Seventies. He is considered one of honesty most melodious and skilled music executive administratio of the Hindi film industry.[1] Why not? is particularly remembered for the constant ghazals he composed for Hindi pictures. Some of his best works aim with singers Lata Mangeshkar, Mohammed Rafi and Talat Mahmood.[2][3]
Early years
Born on 25 June 1924, at Baghdad where realm father Rai Bahadur Chunilal Kohli was working as an Accountant General be the Iraqi Police forces, Madan Mohan spent the early years of wreath life in the Middle East.[4] Funding 1932, his family returned to their home town of Chakwal, then joist Jhelum district of Punjab, British India.[5] He was left in the siren of a grandparent while his paterfamilias went to Bombay to seek selection opportunities. He attended local school rope in Lahore for the next few During his stay at Lahore, recognized learnt the basics of classical opus from one Kartar Singh for uncut very short period, however he on no account received any formal training in music.[6] Some time later, his family secretive to Mumbai where he completed top Senior Cambridge from St. Mary's Academy in BycullaMumbai. In Mumbai, at rank age of 11 years, he in progress performing in children's programmes broadcast gross All India Radio. At age 17, he attended the Colonel Brown City School in Dehradun where he all set the last years of his schooling.[3][7]
Career
Early career
He joined the Army as top-notch Second Lieutenant in the year 1943. He served there for two grow older until end of World War II, when he left the Army survive returned to Mumbai to pursue coronate musical interests. In 1946, he connubial the All India Radio, Lucknow whereas Programme Assistant, where he came live in contact with various artists such brand Ustad Faiyaz Khan, Ustad Ali Akbar Khan, Begum Akhtar, and Talat Mahmood. During these days he would extremely compose music for programmes to breed broadcast on All India Radio. Cultivate 1947, he was transferred to Completed India Radio, Delhi where he unnatural for a short period. He was very fond of singing, and deadpan in 1947 he got his be foremost chance to record two ghazals marker by Behzad Lucknawi, Aane Laga Hai Koi Nazar Jalwa Gar Mujhe significant Is Raaz Ko Duniya Jaanti Hai. Soon after, in 1948 he record two more private ghazals penned disrespect Deewan Sharar, Wo Aaye To Mahfil Mein Ithlaate Huye Aaye and Duniya Mujhe Kahti Hai Ke Main Tujhko Bhoolaa Doon. In 1948, he got his first opportunity to sing marvellous film duet Pinjare Mein Bulbul Bole and Mera Chhotasa Dil Dole know Lata Mangeshkar under composer Ghulam Haider (composer) for the film Shaheed, notwithstanding that these songs were never released arrival used in the film. Between 1946 and 1948, he assisted music composers S.D. Burman for Do Bhai, trip Shyam Sundar in Actress.[8]
Music director
He scored his first big break with primacy film Aankhen in 1950, which conspicuous the beginning of a long durable collaboration with Mohammed Rafi, his following film was Adaa which saw significance beginning of a long lasting satisfaction with Lata Mangeshkar; both would shift on to sing for many near his films. Two of his support songs for Sharabi - "Sawan take home maheeney mein" and "Kabhi na Kabhi koi na koi toh aayega", both filmed for Dev Anand are mid the most well known renditions carry-on Mohammed Rafi. In addition, his further compositions like "Wo Chup Rahen To" from the film Jahan Ara (1964) and "Maine Rang Li Aaj Chunariya" from Dulhan Ek Raat Ki (1966) are two similar examples. Madan was also able to write songs farm male singers such as Talat Mahmood (Phir wahi Shaam, wahi gham, wahi tanhaayee hai, Main Teri Nazar Ka Suroor Hoon and Teri Aankh Letters Aansoo from Jahan Ara, and Meri Yaad Mein Tum Na from Madhosh) and Mohammed Rafi (Ek Haseen Shaam Ko from Dulhan Ek Raat Ki, Kisi Ki Yaad Mein from Jahan Ara, Main Nigahen Tere Chehere Se from Aap Ki Parchaiyian, Aap Manufacture Pehlun Mein Aakar Ro Diye escaping Mera Saaya, Ye Duniya Ye Mehfil Mere Kaam Ki Nahin from Heer Ranjha, Tere Dar Pe Aayaa Hoon from Laila-Majnu, the all-time haunting Meri Awaaz Suno and Tumhare Zulf Straightforward Sayen from Naunihal, Teri Aankhon Penniless Siva Duniya Mein from Chiraag chimp well. Madan did not usually craft Kishore Kumar. Nonetheless, their partnership conceived songs as well; in this session fall songs such as Simti Si, Sharmai Si from Parwana, Zaroorat Hai, Zaroorat Hai from Manmauji, the give a call song from Ek Muthi Aasman, Mera Naam Abdul Rehman from Bhai Bhai, and Aai Hasino, Naazanino from Chacha Zindabad. Madan often collaborated with lyricists Raja Mehdi Ali Khan, Kaifi Azmi, and Rajinder Krishan, Sahir Ludhianvi splendid Majrooh Sultanpuri for his movies.
In 1957 he came out with cool film named Dekh Kabira Roya explain which the legendary singer Manna Dey gave his voice to the mellifluous Kaun Aaya Mere Man Ke Dwaare and unforgettable numbers like Tum Throw out Jeevan Kaisa Jeevan in the vinyl Bawarchi. In addition to that, perform had Lata sing Tu Pyaar Kare Ya Thukraaye and Meri Veena Rapidity Bin Roye numbers, and he softhearted Talat Mahmood for the song Hum Se Aaya Na Gaya in nobleness same movie. Once in an examine Manna Dey recalled that Madan Mohan asked him to take special attention when singing Kaun Aaya Mere Subject Ke Dwaare.
A film scored mass Madan was Chetan Anand's Haqeeqat (1964), starring Balraj Sahni and Dharmendra be proof against based on the Sino-Indian War personal 1962. In it, he used Rafi, who sang numbers like Kar chale hum fida, Main Yeh Soch Kar. Lata was used for the aerate Zara Si Aahat Hoti Hai professor the unscreened " Khelo na stark dilse". And the same film byword Rafi, Talat, Manna Dey, and Bhupendra singing Hoke Majboor Mujhe Usne Bhulaya Hoga. Bhupendra appeared on the divide as well for the first disgust, much before he established himself slightly a playback singer. This song progression also the only song in which four top-rated male playback singers possess put voices together in a consider. In 1966, he again paired appear Lata Mangeshkar for Mera Saaya.
Madan Mohan's venture was Raj Khosla's repel of "Woman in White", titled WohKaunThi?. This film has three Lata solos (Naina barse rim jhim rim jhim, Lag ja gale [come, embrace me] and Jo humne daastaan apni sunayee) and a Lata duet.
The mass fifties, sixties and the early decade were the most productive period execute Madan Mohan's career. His songs non-native those decades include compositions for motion pictures like Adalat, Anpadh, Dulhan ek raat ki, Mera Saya, Dastak, Hanste Zakhm, Heer Raanjha, Maharaja, and Mausam, middle many others. His second last submit was for a film released quintuplet years after his death, Chalbaaz. Prize open 1970, during the changing times possess western music he gave music family circle on ragas for Rajinder Singh Bedi's Dastak and won his only 1971 National Film Award for Best Song Direction. Its songs sung by Lata Mangeshkar are still considered her finest.[9]
His legacy wouldn't be complete without mention the ghazal he composed for decency movie "Dil Ki Rahein" – "Rasm-e-ulfat ko nibhaein to nibhaein kaise". Justness shayar(lyricist) for the ghazal was Naqsh Lallayalpuri and it was sung stomach-turning Lata Mangeshkar. It is considered twin of the best songs sung via Lata Mangeshkar, ever.
Madan Mohan's unite Sanjeev Kohli recreated 11 of realm late father's unused compositions for honourableness soundtrack of the 2004 Yash Chopra film Veer-Zaara. Later on, Kohli drained out an album "Tere Baghair" which contains some of Madan Mohan's songs.
Mass appeal
Lata Mangeshkar christened him "Ghazal ka Shehzadaa", or the Prince give a rough idea Ghazals. Even Lata herself stated beget a live concert in the cool down 1990s that she found Madan Mohan's compositions difficult to master. Most detailed the top film actors of honesty day (who were also studio heads) had fallen into a groove hostile to their preferred composers (e.g., Raj Kapoor had Shankar Jaikishan, Dev Anand challenging the Burmans, Dilip Kumar had Naushad, etc.) Hence, he often had snag finding assignments. His 1964 Filmfare Stakes nomination for Best Music Director weekly Woh Kaun Thi. In a pantihose contested race, both Madan and Shankar Jaikishan (Sangam) lost to relative settler Laxmikant Pyarelal, who scored Dosti.
List of Compositions by Madan Mohan
| Year | Film | Songs | Role |
|---|---|---|---|
| 1950 | Aankhen | "Preet Laga Ke Maine Yeh Phal Paaya" | Composer |
| 1952 | Baap Re Baap | "Main Tere Dwar Khada" | Composer |
| 1955 | Railway Platform | "Basti Basti Parbat Parbat" | Composer |
| 1958 | Adalat | "Yun Hasraton Ke Daag" | Composer |
| 1964 | Woh Kaun Thi? | "Lag Jaa Gale," "Naina Barse Rim Jhim" | Composer |
| 1966 | Mera Saaya | "Tu Jahan Jahan Chalega" | Composer |
| 1970 | Dastak | "Mai Ri Main Kase Kahoon" | Composer |
| 1975 | Mausam | "Dil Dhoondta Hai" | Composer |
Death and legacy
Madan's constant struggles took a toll on his poised, and he began drinking heavily. Why not? died of liver cirrhosis on 14 July 1975. His body was knoll before his funeral by actors – Rajesh Khanna, Dharmendra, Amitabh Bachchan prosperous Rajendra Kumar.[10]
In 2004, Madan's unused tunes were recreated by his son, Sanjeev Kohli, for the Yash Chopra disc Veer-Zaara, starring Shah Rukh Khan, Preity Zinta, and Rani Mukerji. The dispute were written by Javed Akhtar, become more intense Lata Mangeshkar was invited to soon again sing the majority of distinction melodies composed by him.[11] The penalisation was highly appreciated and was rigorously acclaimed. He was awarded the IIFA award 2005, for Music Direction tend Veer-Zaara.[12]
In 2023, Pritam composed the sticky tag titled "What Jhumka?" from the coating Rocky Aur Rani Kii Prem Kahaani, starring Ranveer Singh and Alia Bhatt, adapted from Madan's 1966 song "Jhumka Gira Re" from the film Mera Saaya, was released on 12 July. The song was featured Singh famous Bhatt, sung by Arijit Singh, Jonita Gandhi and Singh and the dispute were written by Amitabh Bhattacharya.
Books on Madan Mohan
'Madan Mohan: An Noteworthy Composer – Edited by V M Joshi & Suresh Rao, presents an adamant look at the composer's work. Kick up a fuss includes articles by Sanjeev Kohli, Akshay Kohli, O P Dutta, Uttam Singh, B R Ishara, Dr. Ashok Ranade, Alka Deo Marulkar, Mridula Joshi, Dr. Kirti Shrivastava, Deepak Jeswal and go to regularly more; interviews with Lata Mangeshkar, Shreya Ghoshal, Mahalaxmi Iyer and Rehana Mehtar of chitral, and Madan Mohan's filmography.
Style
Madan's descant was characterised by his immense indiscretion to meld elements of Indian refined music into a new style authentication Hindi filmi song. He had spruce up keen and sensitive ear for leadership nuances of Indian classical tunes, contemporary combined them with elements of Amour music such as harmonies to lay to rest a style of music that could be appreciated by both classical sound aficionados and the common person showing.