The first and foremost populist duo music composers: Husnalal Bhagatram

-Satish Chopra

‘Chup chup kharey ho jaroor koyee baat hei, pehli mulaqaat hei jee pehli mulaqaat hei’ sung by Lata Mangeshkar & Premlata for film ‘Bari Behan’ in the year 1949 was certainly one of the most popular melodies of its time.

I still remember, during my childhood days, open air evening theatre and ‘Ramlila’ were the most conventional media of entertainment for practically all sections and class of the society. Before the start of the show, there used to be musicians, who kept the waiting audience occupied with some popular melodies from films or otherwise. And, invariably every day there used to be one song- ‘Chup chup kharey ho____’.

More than fifty years have since passed. Lata Mangeshkar sang thousands of her songs and made a number of records. The name of co-singer Premlata can merely be found in a few nostalgic gramophone records, those even if available cannot be played as the desired pins for 78 rpm record players are not in use. The music listening systems have been replaced by totally different concepts.

But, the fact remains that as and when the melody is being played; the young listening young lad cannot resist by asking her or his grand parent, as to who composed such an enthralling melody and is it the same Lata Mangeshkar who sang ‘Didi tera dewar diwana’; the popular song of much later years, but has fast faded away and is no where in listening. Why there is no good music of fifties and sixties in the air. The reasons are many!

Amongst a large number of initial music composers, who shaped the destiny of Lata Mangeshkar, one of the foremost composers were duo- Husnalal Bhgatram. The duet ‘Chup chup kharey ho’ was certainly one such song, which was composed by Husnalal Bhagatram, who commenced their music journey with film ‘Chand’ (1944) starring Begum Para & Prem Adib. Its song- ‘Do dilon ko ye duniyan, milnein nahin deti’ (sung by a totally unknown Manju) became an instant success.

The other notable endeavor followed was ‘Pyar ki Jeet’ (1948) starring Suraiya & Rehman was a musical super-hit. Some of the songs of singing-star Suraiya- ‘Tere nainon ne chori kiya, mera chhota sa jia, o pardesia’, ‘O door jaane waley’ & ‘Koyee dunian mein hamaari tarah’ are still considered as her favorites. The beauty of virgin tonal quality of voice of the singer- explored by the composers- in these melodies is indeed superb.

Then there was an all time popular song of Mohd Rafi in this film- ‘Ik dil key tukre hazaar hue koi yahan gira’. Also, there were, of course some fascinating duets sung by Surinder Kaur, the melody queen of Punjab ; Meena Kapoor and Ram Kamlani.

The film- ‘Badi Behan’ released in the year 1949 was a class in the history of Indian cine music. Besides the most popular song- ‘Chup chup kharey ho____’ just have a glance at other seven numbers- ‘Wo pass rahein ya door rahein’, ‘Tum mujhko bhool jaao ab hum naa mil sakeinge’, ‘Likhnein waley ney, likh dee meri taqdeer mein barbaadi likhnein waley ney’ & ‘Bigree bananey waley, bigree banaa dey’ (Suraiya) and ‘Muhabbat ke dokhe mein koyee naa akey’ (Mohd Rafi). And; the virgin and simply heart throbbing Lata numbers are simply great. In ‘Chaley janaa nahin’ and ‘Jo dil mein khushi ban kar ayey’ Lata was perhaps at her best and there could not have been a better return gift to the composer- Husnalal on her twentieth birth day (Lata was born in 1929). The utterance coming straight from the singer’s heart, at times makes the listener cry, as an outcome of eternal pleasure. The quality of a diamond-cutter in master violinist Husnalal in particular can be visualized through these two everlasting melodies of Lata Mangeshkar. The Punjabi style dholak played by the musician, Shanker (of Shanker Jaikishan duo) was again a notable landmark.

In view of the grand success of music of ‘Bari Behan’; immediately there after Shanker Jaikishan formed the team for Raj Kapoor’s all time great film- ‘Barsaat’, replacing Ram Gangoli. In all time great melodies of ‘Barsaat’ we can very well observe the glimpses of instrumentation of the mentors of Shanker. The playing with excellence dholak and violin in particular was the soul of its immortal melodies. Just listen to some its songs ‘Jiya beqraar hai’, ‘Patlee qamar hai’ & ‘Barsaat mein___’. The touches of dholak in practicall all the numbers is simply outstanding. And then violin in another song- ‘Mujhe kisi se pyar ho gaya___’. Thus, another duo music composers created a chapter in the history of Hindi cine music. Consequently, we cannot overlook, the vital training Shanker had from his genius mentors- Husnalal Bhagatram.

Husnalal Bhagatram composed music for fifty films and created some soul throbbing melodies. A few of their memorable numbers include- ‘Teri is do rangee duniyan mein’ (Lata)- film ‘Sawan Bhadhon’- 1949; ‘Lut gayee ummidon ki dulian’ (Lata) and ’Hei kaam mohabbat ka fariyaad kiyey janaa (Rafi)- film ‘Jaltarang’- 1949; ’Dil hi to hei jo tarap gayaa’ (Lata) –film ‘Aadhi Raat’-1950; ‘Chhota sa fasanaa hei terey merey pyar ka’ (Lata & Rafi)-film ‘Birha ki Raat’-1950; ‘Mujhse ye keh rahee hei taqdeer ki lakirein’ (Geeta Roy & Shamshad), ‘Tootey huey dil se morey awaaz ye aayee’ (Rafi), ‘Agar dil kisi se lagaya na hotaa’ (Lata)- film ‘Gauna’-1950; ’Dil le ke dil diya hei, ehsaan kya kiya hei’ (Lata & Rafi)- film ‘Stage’-1951; ‘Mohabbat ki hum chot khhayey huey hein’ (Talat Mehmood)- film ‘Farmaish’-1953; ‘Wo paas bhi rehkar paas nahin, hum door bhi rehkar door nahin’ (Lata)- film ‘Afsanaa’- 1951; ‘O parwaney, shamma ko apni ruswa na karna’ (Suraiya)- film –‘Shamma Parwana’-1954; ’Aye meri zindagi tujhey dhundhun kahan’ (Talat Mahmood)- film ‘Adal-e-Jahangir’- 1955 ‘Manwa mein pyar doley’ (Mukesh & Zohra) –film ‘Sartaj’-1950; ‘Yaad aa rahaa hei dilko bhoola hua fasanaa’ (Suraiya)-film ‘Amar Kahani’- 1949. .

A glance at the profile of duo- Husnlal Bhagatram. They were the younger bothers of Pt Amarnath-who himself was a musician of eminence and died young. He was also associated with the all time great music of film ‘Mirza Saheban’ (1947) starring Noorjehan & Trilok Kapoor). Both the bothers -Husnalal (born- 1920) and Bhagatram (born-1914) -had their initial music training under the guidance Pt Amarnath and thereafter from Pt Dilip Chand Vedi, a highly respected personality in the field of classical music.

Husnalal’s zest for learning of violin took him to Ustad Bashir Khan. The beauty of command over violin can be seen in different compositions of duo’s songs in various films. In his personal life as well, the first passion of Husnalal was classical playing of violin. A day before his demise, he played classic violin at yearly ‘Harballabh Music Festival’ at Jullundhar. His favorite raag was ‘Malkauns’.

More than an ardent composer, he was a dedicated violist. His favorite raag was Malkauns. In giving shape to Lata Mangeshkar’s tonal cord for a song, Husnalal used to play the tune on violin. Years after his demise, I was given to understand by Nirlmalaji, his beloved wife that before going to sleep, he used to invariably play violin, what ever may be the time.

As stated, the duo (along with their elder brother, Pt Amarnath) composed some admirable melodies for Noorjehan for the film ‘Mirza Saheban’ (1947)- ‘Kya ye tera pyar thaa’, ‘Aajaa tujhe afsanaa judai ka sunayein’ (solo); ‘Haath seeney pe jo rakh do, to karaar aa jayey’, ‘Tum aankhon se door huyee, neend aakhon se door’ (with G.M. Durrani). The list of memorable songs of Noorjehan- whether sung in undivided India or later in Pakistan- is certainly incomplete without these fabulous numbers.

If a collection of all time great film duets (sung in male & female voices) is prepared, it will be predominantly incomplete without incredible- ‘Sun merey sajnaa, dekhoji mujhey bhool na janaa’- based on raag Pahari and sung by Lata Mangeshkar & Mohd Rafi for film-‘Aansoo’ (1952). Due to length of the song, it was recorded on both sides of a 78 rpm record. Just listen to the opening notes, sung by Lata Mangeshkar –the taan in singing word ‘Saajnaa’. The quality of flute and drum playing. The pauses in the vocal articulations, the delivery of lyrical dialogues mixed with deep feelings, in-between remarkable touches of shehnai, fascinating style of rendering of words bhool and rooth by Lata; creating a unique soul stirring impact on the listeners’ head and heart.

Kishore Kumar sang just two songs for Husnalal Bhagatram for the film ‘Kafila’ (1952). Simply have a note of his fascinating numbers, when he sings -‘Wo meri taraf yun chale aa rahein hein’ and also ‘Dil lekey dil diya hei’ (with Lata).

In B.R. Chopra’s maiden film ‘Afsana’ (1950) music was composed by the duo. In this film Lata sang a classic number- ‘Wo paas bhi reh kar paas nahin, hum door bhi rehkar door nahin’ and ‘Abhee to mein jawan hoon’ which is considered by some a better than the earlier version of Mallka Pukhraj.

The chapter on Husnalal Bhagatram will be certainly incomplete, if a mention is not made to -‘Suno suno aye duniyan walo, Bapu ki ye amar kahani’, which was recorded after the demise of Mahatma Gandhi. The singer-in- making 24 years old Mohd Rafi became a celebrity overnight with this recording. The lyrics were written by Rajinder Krishan and composed by the duo within a record time of just 24 hours, soon after the sad demise of Mahatma Gandhi, father of the Nation. More than a million copies of a set of two 78 rpm discs of this recording were sold within one month. In a way, during those days, who so ever owned a gramophone, supposed to have bought these two records.

What better popularity in the annals of music history- film or otherwise- one can expect. However, the destiny unfolded another event. The complexities of relationships and consequent discard by the industry, compelled Husnalal to leave Bombay and settle in a large disputed compound in commercial Paharganj area of Delhi for his remaining short span of life.

In Delhi, he taught music to his music loving disciples. nstead of charging any fee, at times he offered them meals and tea. He, also performed violin recitals on All India Radio and at other renowned concerts.

On the chilly morning of 28 December, 1968 he went out for his routine morning walk and had a cardiac arrest on the way. He fell down at nearby Gole Market vicinity and was taken to the then Willington Hospital (presently RML) where he was declared as –“an unknown body brought dead.”

The fate of his elder brother Bhagatram was no better. For his survival, he worked as a mere musician with different composers. He too died unsung in the year 1973.

-Satish Chopra, BA/26B Ashok Vihar-I, Delhi-110052 # 8802805055/27134229

Email: satishchopra@rediffmail.com