It remains a matter to reckon that out of about 3,000 Tagore songs, Lata Mangeshkar has sung just a handful, of which just six songs are extant and opens up a new trajectory of music research. Mangeshkar’s oeuvre contains a spectrum of over 185 Bengali songs that include film and non-film modern (or adhunik) songs, and also Rabindra Sangeet. The bard’s songs are universally relatable and acknowledged, albeit rather stringent in their grammar, notational structure and emotive acceptability. In India, if classical music is held at the highest pedestal with its musicological poignancy, then closer home, our Rabindra Sangeet (songs of Rabindranath Tagore) occupies a very coveted place in national culture. Her voice not only strikes a chord in a million hearts by songs in Hindi or Marathi, her first language, the genius has a record of singing in over 36 languages national and international taken together, which also includes Swahili and Nepali. They say, music traverses beyond language, so does Mangeshkar. With a titanic presence in B-town music, she has also proved equal mettle in non-film ghazal, bhajan, khayal, devotionals, and every other kind that is worth a rendition as well.
Lata mangeshkar bhajan full#
I was full of it’-it makes perfect sense.īut it would be a cliché to consider Lata Mangeshkar thus, until we shed light on her versatility. So when she says, ‘It was not really the external influences that made me a singer.
She helmed the plea for royalty for the playback singers, which till then would go to producer, composer or even the actor.īy virtue of being a prime and early example of women empowerment in the country and music industry, the Nightingale of India also becomes a face of many such unknown Indian women, who have been there and seen it all-been the bread-winner of a big family, and grown to a level to be the kingpin of India’s highest grossing film industry. This is not just for her magical voice, but also her unparalleled contribution in giving playback singers their due and credit. Reigning over the charts and hearts for about 70 years, there is no doubt that Mangeshkar is an institution in Bollywood. In India, she has achieved iconic status, and created everlasting music that has become the soundtrack to our lives.’ But beyond that, the fact that she is the only Asian to receive platinum disc from EMI, London, also speaks of her international standing. As one of her dear friends and biographer, Nasreen Munni Kabir writes in Lata Mangeshkar in her Own Voice, ‘Her songs have helped spread an appreciation of Hindi film music throughout the world. We, thus, celebrate with a rather different take on this Bharat Ratna, who lights up India’s culture space. As she turns a year older, we look (forward) at her and be as mesmerized as antiquity has always been. Born on September 28, 1929, in Solapur, Maharashtra, in a Marathi family of linnets and larks-melodious parents and four younger siblings-Mangeshkar embodies a number of aspects that call for a revelatory analysis, at any point in time.
She sang in 20 Indian languages and has worked on over 2,000 soundtracks, singing for all the major Indian actresses and in every style from pop to bhajan and back again.Lata Mangeshkar, the name says it all-a name that epitomizes a number of paradigms and shifts, yesterday and today. Burman over certain disputes, and eventually got her way. There is no question Lata wielded incredible influence in Bollywood: in the '60s she refused to sing with Mohammed Rafi and for director R.D.
Greatest Indian film singers, struggled for years in her sister's shadow. Even Lata's younger sister Asha Bhosle, now recognized as one of the For the next four decades, most of the top-notch material went to Mangeshkar, and her voice was heard in hundreds of films some people even accused her of monopolizing the field. After film singer Noor Jehan moved to Pakistan, Mangeshkar's only serious rival was Shamshad Begum, whom she eventually edged out of the running. Her style became the norm, while the more throaty style disappeared. While her distinctive, high voice was initially derided as too reedy for a lead playback singer, a 1949 quadruple-film attack that included Barsaat and Andaaz rocketed her to the front of the pack. He began teaching Lata music when she was five years old when he died, she went into film to support her mothers and sisters, singing and acting in any bit part to make money. Her father was a classical musician and dramatist trained in the Gwalior gharana (school). Mangeshkar actually started out as a bit-part actress in the 1930s. Her voice provided the soundtrack for at least two generations of Indians and is now a global phenomenon. Lata Mangeshkar is the first voice of Indian film and the most recorded singing artist in history.
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