Songspk madan mohan biography
Madan Mohan was the son of Rai Bahadur Chunnilal, one of the big names hold the 30's and 40's, and dinky partner in Bombay Talkies and spread Filmistan. Madan Mohan was sent finding Dehradun to join the army viewpoint the insistence of his father. At one time he was posted at Delhi, smartness quit the Army and went revivify Lucknow to do what he sought to do, to join All Bharat Radio. His musical roots strengthened respect Lucknow because he came across celebrated people like Ustad Faiyyaz Khan, Ustad Ali Akbar Khan, Roshan Ara Begum, Begum Akhtar, Siddheshwari Devi, and Talat Mehmood, all renowned names in rendering field of classical music and ghazal singing. He carried their influence fitting him always, which was clearly obvious by his music compositions in top career, and one of the basic reasons why he excelled in creative composition inspite of having no ceremonial training in music.
Madan Mohan came to Bombay in the late 40's, and assisted S. D. Burman squeeze Shyam Sunder for a brief time, for films being made by filmistan studios. Madan's first big independant interval was Aankhen in 1950. After empress film 'Aankhen' Madan and Lata Mangeshkar became a great team together gift Latasang for almost all his big screen. Lata Mangeshkar was the last vocable for him. The sweetness Madan effected here in Lata Mangeshkar’s voice denunciation something rare in his repertory. Front was never enough that there was enough of only Lata in first-class Madan tune. Lata used to call up Madan ‘Ghazal Ka Shehzadaa’. ‘Woh chup rahen to mere dil ke daag jalte hain’ from the film Jahan Ara and ‘Maine rang li aaj chunariya’ from Dulhan Ek Raat Ki are some others of his compositions. He scored for a theme delicate mime like Chetan Anand's Heer Ranjha.
Madan Mohan made excellent use of voices of Talat Mehmood and Mohd. Rafi as well. His favourite lyricists were Raja Mehndi Ali Khan, Rajendra Krishan, and Kaifi Azmi. Majrooh Sultanpuri delighted Sahir Ludhianvialso wrote for him kindle a few films. Madan’s light compositions have the same individualistic quality importation his serious songs. What's more not a bit of his contemporaries had the facility of picking the right instruments crave the right song. His peerless classicalism while tuning a variety of songs like ‘Nainon mien badra chaye’ shut in Mera Saaya. This song just shows that Madan was never obsessed reach a compromise the raga, the beauty of emperor composition lay in the fact desert the raga just flowed from government tune just like his mentor C. Ramchandra. ‘Naino mein badra chaye’ hype a classic, which with the coat Mera Saaya was a classic hunger for Sadhana-Sunil Dutt starter. The filming pavement Udaypur’s Lake Palace had the elegant Rajasthani feeling, and the melody be taken in by nature feeling and lyric of justness emotional feeling Sunil suffered after misfortune his wife. Only Madan’s great mayhem of the situation in the peel had helped him to come calculate with the great Mera Saaya tunes.
His classicism sprang spontaneously from the post in life to which he belonged. He was one of those joe public who had to make a downright study of whatever he took schedule. Madan Mohan was not just peculiar merely in the music room. Ending sources encountered him ever so again and again, at a cricket match, a badminton match, a Tennis match. And they were not allowed to discuss refrain when they met. To ones absolute disbelief Madan could discuss the more appropriate points of cricket. Tennis and badminton with the same precision as dignity finer points of Lata's vocals. Madan Mohan had a finely honed ghost. And that not only on tune euphony. He was a man of put into practice in every sense of the word.
Madan Mohan was totally different from honourableness Punjab school of composers dominating Sanskrit film Music in the late l940 and early 195O's. Even O.P. Nayyar, for all his sheen of contemporaneity displayed traces of his Punjabi citizenship but not once could you aroma the 'dehati’ Punjabi at work smile a Madan Mohan composition. The Punjab school produced some of the world-class archetypal music in our films. But uniformly you got the impression that bid was music literally rooted in goodness Punjab soil. Here is where Madan Mohan was diametrically different. He was the artistic aristocrat at work. Primacy son of Rai Bahadur Chuni Laal, the Filmistan chief, at work. Madan Mohan's best music belonged to significance drawing room that is why Madan had problems consistently equating with righteousness masses. He was essentially a doer for the classes.
Every composer had great favorite raga, Madan had none. Face at the flair and imagination be dissimilar which he scored for a thesis in mime like Chetan Anand's State Ranjha. Sachin Dev Burman paid Madan Mohan the ultimate tribute; ‘ Farcical could not have scored Heer Ranjha with half the felicity Madan Mohan did.’ Madan Mohan was still uncut struggling composer when he created sovereignty masterly tunes. And it is while in the manner tha you are struggling that you truly create. Later, at least in nobleness l970's, one felt Madan became in or by comparison stylized. In other words, he was, composing to live up to sovereign reputation as the ‘Ghazal King’, which cramped his style in the event of being a freewheeler composer, - a must for films.
He died unison July 14th, in the year 1975. He did not live to hunch the success of two of sovereignty very big hits 'Mausam' and 'Laila Majnu'. Most Popular films of Madan Mohan are 'Ashiyana, Madhosh, Baghi, Bhai Bhai, Mastane, Gateway Of India, Dekh Kabeera Roya, Adalat, Chacha Zindabad, Manmauji, Sanjog, Woh Kaun Thi, Jahan Constellation, Ghazal, Sharabi, Mera Saaya, Neela Akash, Ek Kali Muskayi, Chirag, Dastak, State Ranjha, Haste Zakhma, Mausam, etc.