The Classical Music Maestros and Their Everlasting Contributions to Indian Cinema
The mellifluous confluence of Indian classical music and Hindi cinema has yielded some of the most soul-stirring compositions that continue to enchant audiences across generations. The classical maestros of India—whose lineage of knowledge stretches back centuries—brought their erudition to the world of film music, elevating it from mere entertainment to an art form of sublime beauty and profound depth.
The Dawn of Classical Influence in Hindi Cinema
When cinema found its voice in India with Alam Ara (1931), music was an inseparable part of its fabric. However, the early years were dominated by folk and theatre-style compositions. It was in the 1940s and 1950s that classical music found its stronghold, largely due to the influence of stalwarts like Bade Ghulam Ali Khan, Ravi Shankar, Amir Khan Sahab, Shiv-Hari among others. The contributions of these luminaries were not mere embellishments; they were the soul of many compositions that remain timeless.
Bade Ghulam Ali Khan – The Voice of Mughal-E-Azam
One cannot discuss classical influences in Hindi cinema without mentioning Ustad Bade Ghulam Ali Khan’s legendary contribution to Mughal-e-Azam (1960). The hauntingly beautiful Prem Jogan Ban Ke Sundari Piya Ki is a testament to his unparalleled mastery. Khan Saheb, who had never sung for films before, was initially reluctant. It was Naushad’s persistence and a princely sum of Rs. 25,000 (a fortune at the time) that convinced the maestro to lend his voice to the immortal song picturized on Tansen, the great singer in Emperor Akbar’s court.
https://www.youtube.com/watch?v=zJuM0IDrEmM
Ustad Amir Khan – The Visionary Who Redefined Film Music with Khayal
Ustad Amir Khan, the founder of the Indore Gharana and one of the most profound exponents of the Khayal form of Hindustani classical music, left an indelible mark on Hindi film music despite his limited contributions to cinema. His deeply meditative and introspective singing style, characterized by long, leisurely phrases and intricate taans, found a perfect canvas in films that sought to retain the authenticity of classical music.
One of Ustad Amir Khan’s most celebrated film contributions was his soul-stirring rendition of Aaj Gawat Man Mero in Baiju Bawra (1952), a duet with D.V. Paluskar. This iconic piece, based on Raga Desi, stands as a shining example of how pure classical music could be seamlessly integrated into cinema without losing its depth and gravitas. It is said that the song was recorded in a single take, with both maestros completely immersed in the melody, as if performing in a concert rather than a film studio.
Another notable film contribution of Ustad Amir Khan was for Shatranj Ke Khilari (1977), directed by Satyajit Ray. His rendition of Raga Ahir Bhairav in the background score added a somber, reflective quality to the film’s narrative, perfectly complementing the themes of decline and introspection.
It is said that he would often spend hours meditating before a performance, ensuring that he was in complete spiritual and emotional alignment with the raga he was about to render. When approached by music directors for film compositions, he was known to be selective, refusing any project that demanded artistic compromise.
His influence on film music extended beyond his own recordings. Many legendary playback singers, including Manna Dey and Kishore Kumar, acknowledged his impact on their vocal techniques and approach to classical renditions in cinema. Even Lata Mangeshkar once remarked that listening to Ustad Amir Khan was akin to experiencing divinity through sound.
Though his contributions to Hindi cinema were few, their depth was immeasurable. Ustad Amir Khan ensured that whenever his voice graced a film, it carried the weight and dignity of centuries-old classical tradition, making his work timeless and eternally revered.
https://www.youtube.com/watch?v=HYpCJ8yE7z0
Naushad and the Raga Symphony
Among music directors, Naushad remains the most significant torchbearer of Hindustani classical music in Hindi cinema. His compositions were deeply rooted in ragas, and he worked closely with classical legends to ensure authenticity. The use of Raga Gara (Thumri) in Mohe Panghat Pe (Mughal-e-Azam), Raga Malkauns in Man Tarpat Hari Darshan Ko Aaj (Baiju Bawra), and Raga Darbari in O Duniya Ke Rakhwale (Baiju Bawra) showcase his unparalleled ability to blend cinematic expression with classical purity. It is said that he made Mohammed Rafi rehearse O Duniya Ke Rakhwale nearly 50 times before the final take. The song, based on Raga Darbari, is a soul-stirring lament that still sends shivers down the spine of any listener. Naushad once remarked that he never compromised on the authenticity of a raga, even if it meant spending weeks perfecting a single tune. His dedication ensured that classical music found a respected and permanent place in Bollywood.
https://www.youtube.com/watch?v=7dQ3OeuSeOY
K.L. Saigal and the Early Classical Touch
Kundan Lal Saigal’s songs were steeped in classical overtones, especially his renditions in Devdas (1935) and Tansen (1943). Songs like Babul Mora Naihar Chhooto Jaye (based on Raga Bhairavi) and Diya Jalao (based on Raga Deepak) reflect the deep imprint of classical music on the formative years of Hindi film music. Saigal’s voice, tinged with the melancholic strains of Indian classical traditions, was instrumental in popularizing classical music among the masses.
https://www.youtube.com/watch?v=ouheLTzfeBc
The Ravi Shankar Effect
When Pandit Ravi Shankar stepped into the world of cinema, he brought with him an aura of unparalleled sophistication. His compositions for Anuradha (1960) remain some of the finest examples of raga-based film music. The song Jaane Kaise Sapnon Mein Kho Gayi Akhiyan, based on Raga Tilak Kamod, is a piece of sheer brilliance.
https://www.youtube.com/watch?v=b55RygjuITY
Shankar’s work in cinema was not limited to mainstream Bollywood. His background score for Pather Panchali (1955), Aparajito (1956), and Apur Sansar (1959) in Satyajit Ray’s Apu Trilogy gave Indian cinema some of its most evocative and deeply rooted classical themes. His ability to infuse classical melodies with narrative storytelling was unparalleled, and his collaborations with international filmmakers, including his legendary association with Richard Attenborough’s Gandhi (1982), further solidified his reputation as a global icon of Indian classical music.
https://www.youtube.com/watch?v=xLJixpEej8A
Ali Akbar Khan – The Sarod Maestro’s Timeless Film Compositions
Ustad Ali Akbar Khan, the legendary sarod virtuoso, played a crucial role in introducing the evocative depth of Hindustani classical music into Indian cinema. His compositions for Aandhiyan (1952), directed by Chetan Anand, and Householder (1963) stand as shining examples of classical music seamlessly integrated into the cinematic experience.
His work in Devi (1960), directed by Satyajit Ray, and Khudito Pashan (1960), based on Rabindranath Tagore’s story, showcased his ability to translate deep ragas into moving film scores. Ray himself once remarked that Ali Akbar Khan’s music had the ability to communicate emotions that words could not.
It is said that Khan Saheb was initially hesitant to compose for films, fearing the dilution of classical purity. However, the respect he had for directors like Chetan Anand and Satyajit Ray convinced him otherwise. His film compositions retain an unmistakable classical essence, filled with soul-stirring melodies and intricate raga-based improvisations.
https://www.youtube.com/watch?v=WTeJ3GVKMyE
Vilayat Khan Sahab – A Rare Foray into Film Music
The legendary sitar maestro Ustad Vilayat Khan made a rare but significant contribution to Hindi cinema with his compositions for Jalsaghar (1958) and Kadambari (1976). His nuanced approach to melody creation and the emotive depth of his compositions make these films standout examples of classical music integration in cinema.
https://www.youtube.com/watch?v=23HCYJXrDXM
Shiv-Hari: A Duo of Classical Brilliance Bridging Tradition and Modernity
The composer duo Pandit Shivkumar Sharma and Pandit Hariprasad Chaurasia, famously known as Shiv-Hari, revolutionized Hindi film music by seamlessly blending Indian classical melodies with contemporary orchestration. Their collaboration with filmmaker Yash Chopra resulted in some of the most soulful and ethereal compositions in Bollywood history.
Shiv-Hari composed music for eight films, each a testament to their unparalleled ability to weave classical ragas into mainstream cinema. Their filmography includes:
- Silsila (1981) – Songs like Dekha Ek Khwab and Neela Aasman So Gaya showcased the dreamy, poetic quality of their compositions.
https://www.youtube.com/watch?v=43wT0xhvfsA - Faasle (1985) – Though the film did not achieve commercial success, its music, including Tum Mere Samne and Jab Koi Baat Bigad Jaye, remains memorable.
- Vijay (1988) – The soundtrack featured a rich orchestration, with songs like Aaj Koi Dua Karo evoking deep emotions.
- Chandni (1989) – A landmark album with unforgettable tracks like Mere Haathon Mein, Tere Mere Hothon Pe, and Lagi Aaj Sawan Ki.
https://www.youtube.com/watch?v=Oo-WHs3bw34 - Lamhe (1991) – Songs like Megha Re Megha and Morni Baga Ma Bole reflected their expertise in folk-classical fusion.
https://www.youtube.com/watch?v=Uj0iJoz76a8 - Parampara (1993) – The compositions, though less commercially popular, carried the unmistakable imprint of their classical sensibilities.
- Darr (1993) – Featuring one of their most celebrated works, including Jaadu Teri Nazar and Tu Mere Samne.
https://www.youtube.com/watch?v=n_oP9Onj0r0 - Sahibaan (1993) – They again paired with the lyricist Anand Bakshi.
Yash Chopra’s trust in Shiv-Hari was absolute, often allowing them complete creative freedom. It is said that during the making of Chandni, Shivkumar Sharma composed the iconic Mere Haathon Mein in a single night, inspired by the essence of playful romance that the film demanded.
The duo’s compositions stand apart because they did not merely adapt classical music for films; they infused films with the very soul of classical traditions. Their music remains a bridge between the purist and the popular, ensuring that the grandeur of Indian classical music found a cherished place in mainstream Bollywood.
The composer duo Shivkumar Sharma and Hariprasad Chaurasia, known as Shiv-Hari, brought the ethereal beauty of the santoor and flute into Hindi film music. Their compositions for Silsila (1981), Chandni (1989), and Lamhe (1991) are treasured for their delicate classical textures blended with contemporary orchestration. Megha Re Megha (Lamhe), Mere Haathon Mein (Chandni), and Neela Aasman So Gaya (Silsila) stand as testimony to their classical expertise.
Zakir Hussain – The Rhythmic Genius Adding Percussive Brilliance to Cinema
Ustad Zakir Hussain, one of the greatest tabla maestros of all time, brought his percussive genius to Indian and international cinema with compositions and background scores that blended traditional rhythm with contemporary storytelling. His first major foray into film music came with Heat and Dust (1983), where his intricate tabla work lent an authentic Indian essence to the British-Indian period drama.
Zakir Hussain’s compositions reflect his deep understanding of rhythm as an emotive force. His background score for In Custody (1993), based on Anita Desai’s novel, captured the pathos of fading Urdu poetry through its subtle rhythmic textures. The film’s soundtrack was hailed for its ability to evoke nostalgia and melancholy through tabla solos and Hindustani classical motifs.
One of the most significant aspects of Zakir Hussain’s contributions to cinema is his ability to merge classical percussion with modern soundscapes. His collaboration with John McLaughlin for The Hundred-Foot Journey (2014) showcased his versatility, blending Indian and Western musical traditions seamlessly.
Zakir Hussain’s film scores often featured intricate tabla solos, setting them apart from conventional film compositions. His ability to merge rhythm with storytelling remains unmatched.
https://www.youtube.com/watch?v=3OefvEdlwPo
Conclusion: An Undying Bond
The confluence of Indian classical music and Hindi cinema is a testament to the timeless nature of our musical traditions. It has shaped generations of music lovers, fostering an appreciation for ragas and their emotional depth. The classical giants who lent their expertise to film music ensured that even within a commercial framework, the soul of Indian classical music remained unblemished. It is a legacy that continues to inspire, and as long as cinema exists, the echoes of these maestros will never fade.
By Sharmistha Goswami Chatterjee