Kitna dukh bhulaaya tumne pyaari
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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MUSIC is an integral part of every Indian. From birth to death, we are drenched in music. During Vedic times, the Rishis used to teach their students verses in Taal and Sur, so that the students would remember them easily. You will have observed that whenever there is a Mahapooja or an Yadnya, the Purohits will recite the Mantras in a typical rhythm and sur.
In our school days, teachers used to literally force us to learn poems by heart in a tune, so that it was easier to remember. Not only poems, even the Maths teacher taught us the ” Pahade ” (Paadhe or the Tables) in a particular tune. That is how we remember the difficult tables of 1/4, 1/2, 3/4, 1-1/2,or the 1-1/4 etc even today. In these days of calculators and Mobiles, the tables are nowhere now !
In ancient times, Fine Arts like Dance, Drama and Music were the exclusive preserves of the Royalties and the Rich. Over a period, the commoners too found pleasures in village arts like Folk dances and Folk songs. In every festival and during the Harvesting times, there used to be musical entertainments.
Record making came to India in 1902, when a song by a professional singer ( read Tawayaf) Gauhar Jan was recorded by a German technician in a Hotel in Calcutta. A factory was set up in Dumdum,Calcutta in 1908 by the gramophone company-UK to make records in India. There was no looking back ever since. There was a spate of records of songs and geets, Bhajans and Gazals etc, by noted singers and classical gurus. By 1925, Electrical recordings started. Gramophones became popular and singers also multiplied. Records of geets, Thumris, ghazals, natya sangeet, Bhajans, Naats,love songs, sad songs etc became available and the songs became popular quickly.
In 1930, All India Radio started and in 1931 the films started talking. However, records of film songs were in general not made those days, though the first film song record came in 1932. Until about 1939-40, records of all film songs were not made from every film. So, people continued to enjoy the NON FILM SONGS by famous singers. This trend of making records of NFS was so popular that most Film singers started their careers by recording NFS. Examples are Talat Mehmood, Hemant Kumar, S D Burman, Lata, Asha, Mukesh, Rafi etc.
Those of our readers, who were young in the 40s…50s….60s, will remember the melodious NFS played on Radios and in homes. Songs of Saigal, Jagmohan, Pankaj Mullick, Kamla Jharia, Juthika Roy, Paluskar, Talat, Mukesh, Hemant etc were played in many Hotels and restaurants too.
NON FILM SONGS played a very vital role in entertaining people and in giving opportunities to singers to become famous. As Radio became popular, these songs reached millions of Indians, and the singer’s names became famous all over India. Singers like Jagmohan, Pankaj Mullick and Talat Mehmood were invited to sing their NFS on stage shows and they toured countries all over the world for these shows.
As Radio Ceylon became more and more popular after 1950 and the Vividh Bharati after 1957, film songs started getting extensive exposure and slowly they stole the limelight from the NFS. However some NFS were immortal and are remembered even today.
There is a popular equation that Non Film Songs means Talat, Jagmohan, Pankaj mullick, Juthika Roy, Hemant etc. But the fact is from 1930 onwards, almost every Film singer sang Non Film songs, because NFS had a special place in people’s heart then.
Today we are about to enjoy one such famous and very very melodious NFS by Hemant Kumar- ” Kitna dukh bhulaya tumne pyari “, which was recorded somewhere in early 40s, when Hemant Kumar started recording Bangla and Hindi Geets, prior to his involvement in film music.
Poet Lyricist Faiyaz Hashmi and composer Kamal Dasgupta were regularly churning out wonderful melodies on 78 RPM every month and listeners all over India were enjoying them fully.
Actually,in 1985,Jagmohan Sursagar wrote in his Autobiography…..
” In the initial stages Kamal Dasgupta was influenced by Rabindranath Tagore. Tagore’s songs and compositions(Rabindra sangeet) were extremely popular, but were limited to Bangla people only. Ghazal, qawwali, Dadra, Naat, Thumri, Hori, Kajari etc used to come to market but had a very limited listenership. These never reached the top.
” The fusion of Gazal,Dadra and Qawali with Bangla Geet style gave birth to Hindi Hindi Non Film Songs or geets. As such Geet had a known and accepted place in Literature, but not in Music. To establish this new Genre, Kamal babu used lyrics by Pt.Madhur, Pt. Anjum and Faiyaz Hashmi, got them sung by Jagmohan, Hemant, Talat, Juthika etc. Their records were inscribed with ‘ Hindi Geet (Hindustani Song) ‘. What thus started as NFS Geet from 1936 continued upto next 20 years non stop. “
Let us know about Faiyyaz Hashmi first……Fayyaz was born on 18-6- 1920 at Calcutta. His father, Syed Muhammad Hussain Hashmi Dilgeer was a very famous poet and writer of stage drama. He was director at the top class theater of that time named “ MADAN THEATER LTD.” He knew 8 languages.
Senior lyricist, Faiyyaz Hashmi, passed away in Karachi on Nov 29 th 2011. He shot to fame after penning lyrics for such non-film songs as ;Ye Raatein Ye Mausam; (Pankaj Mullick), ;Tasveer Teri Dil Mera; (Talat Mehmood), ;Dil Ko Hai Tum Se Pyar Kyun; (Jagmohan), ;Bhala Tha Kitna Apna Bachpan; (Hemant Kumar), and so many more rendered by the likes of Juthika Roy and Feroza Begum.
Mr. Fayyaz Hashmi is a legendary song and dialogue writer and above all a true loving person. He is by himself an institution and a common asset of the Indo-Pakistan film-world. His admirers as ever are not confined in national frontiers. Those fond of Hindi / Urdu songs anywhere in the world have affection for him. The emergence of this bright star was evidenced much before independence of India, when Fayyaz Hashmi, still a teenager wrote the most famous song “Tasveer Teri Dil Mera Behla Na Sakhe Gi”. It was recorded in the voice of Talat Mehmood and music was composed by Kamal Das Gupta. This song brought “Talat” to limelight. Music for most of the Fayyaz Hashmi’s songs recorded at Calcutta was composed by Kamal Das Gupta.
The dynamic achievements of young Fayyaz Hashmi and his clarity of expression by using simple words were greatly appreciated by Qazi Nazrul Islam -“Tum mann main doob kar mann ka bhed nikaltey ho. Aasan shubdoon mein mushkil baat kehna buhut mushkil hay”. His unique combination of Urdu, Hindi and Sanskrit words to produce a harmonious song thus became a guideline for the future poets of geets. The transformation of some traditional Bangla songs was also facilitated. He has also written songs in Brij Bhasa and Purbi. His pre-independence songs total to about 1000.
Fayyaz Hashmi wrote his first verse “Chaman main Ghuncha-o-gul ka tabassum dekhne walo – Kabhi tum ne haseen kalyoon ka murjhana bhi dekha hai” when he was in 7th class. As a student of 9th class, he was participating in regular “mushairas”. He got an assignment in the British owned Gramophone Company at DumDum (now called Jessore Road, Kolkotta) India. He served there during 1943 to 1948 period. At that time the average monthly production of record was only 16. Once all the records (16) issued in a month were written by Mr. Fayyaz Hashmi- a record by itself. Some of the evergreen hit songs of Mr. Fayyaz Hashmi are quoted here:
1- Honton se gulfishan hain who – Aankhoon se ashkbar hum Talat Mahmood
2- Do Kafir Aankhoon ne mara Talat Mahmood
3- Dil ko hai tum se pyar kyoon Jag Mohan
4- Aaj use phir dekha hai Jag Mohan
5- Bhala tha kitna apna bachpan Hemant Kumar
6- Yeh Raaten yeh mausam yeh hansa hansana Pankhaj Mallick
(Also re-sung by Lata Mangeshkar as a tribute to the legendary Pankhaj Mallick)
7- Tasveer teri dil mera behla na sake gi Talat Mehmood
8- Ab yad hamein kyoon aati ho Hemant Kumar
9- Kitna dukh bhulaya tum ne Hemant Kumar
10-Maloom hay mujhko – ban Jao gi tum ek din taqdeer hamari Jag Mohan.
While in India, he wrote 48 songs in 9 Hindi films, namely-Subah Shyam-44, Meghdoot-45, Zameen Aasmaan-46, Pehchan-46, Krishna Leela-46, Arabian Nights-46, Giribala-47, Faisla-47 and Iran ki ek raat-49
He chose to migrate to Pakistan after the Partition.
In 1948, he was posted as recording Manager at Dhaka Center of the Gramophone Company and thereafter in 1951 at Lahore. He promoted many talents like Farida Khanum, Saeen Marna, Saeen Akhtar and Saeen Budha. He diverted towards the writing of film songs in 1956. “Kunwari Bewa” was the first film in Pakistan with his songs. He wrote more than 2000 songs for films and Gramophone Recording Company. He had also written stories, dialogues and scripts of many hit films like AULAD, ZAMAN KIYA KAHE GA, NEHLEY PE DEHLA, INTEKHAB, PEHCHAN, KHUDA AUR MUHABBAT, GHAREEBON KA BADSHAH etc. including “ HUM AIK HAIN” which was also directed by him. It was the first Pakistani film with 5 songs filmed in colour and as such a record in Pakistan film industry.
Every film, songs of which were written by Mr. Fayyaz Hashmi became super hit like SAHELI, AULAD, ASHIANA, SUHAGAN, HONAHAR, PEGHAM, SARTAJ, SHAREEK-E-HAYAT, EID MUBARAK, SHABNAM, LOVE IN JUNGLE, TOBA, SAWAL, LAKHOON MAIN AIK, DEWAR BHABI etc.
He received Graduate Award 3 times and also Nigar award for the best song in 1978 on “Chalo Achha Hua Tum Bhool Gaye” film “Lakhoon Main Aik”. He received International award in 1986 and another Nigar award in 1988 for the best dialogue of film “ Ghareebon Ka Badshah”. In addition to these he recounts about 11 Silver Jubilee Awards and 17 Golden Jubilee**. “Deewane Tere Pyar ke” is the latest film all songs of which have been written Fayyaz Hashmi.
The first compilation of his poetry was published as “ RAG RANG” in 1944 in India. His poems were published in various journals and magazines like Adbi Duniya, Adbe Lateef, Alamgeer, Beesveen Sadi, Shama (Delhi), Chitrali (Dhaka), Nigar (Karachi), Amar Jadeed and Amrit Bazar Patrika (Calcutta, India). He wrote many Naats and Qawwalis. He also wrote many National songs like (Ae Quiad-e-Azam tera ehsan hai ehsan” & “ Suraj Kare Salam – Chanda kare Salam”.
On the publication of his mystic verses, Mr. Raees Amrohi commented that “History of Sufi poets is indicative of a glorious future for them and Mr. Fayyaz.
(Based primarily on the article by Nadeemur Rehman, courtesy shri Rajnikumar Pandya ji and my own notes. )
Today’s NFS by Hemant kumar – my favourite singer – is very melodious and had become very popular in the 40s, 50s and the 60s. Enjoy…..
Song- Kitna dukh bhulaaya tumne pyaari (Hemant Kumar NFS)(1945) Singer-Singer- Hemant Kumar, Lyricist- Fayyaz Hashmi, MD- Kamal Dasgupta
Lyrics
kitna dukh bhulaaya tumne pyaari ee
kitna dukh bhulaaya tumne pyaari ee
mere zakhmi dil pe rakhkar apna komal haath
mere zakhmi dil pe rakhkar apna komal haath
preetam kyun ghabraaye ho
preetam kyun ghabraaye ho
bas chhed ke itni baat
sab dard mitaaya tumne ae pyaari
sab dard mitaaya tumne ae pyaari
apni bal khaayi zulfen seene se mere bichha ke
apni bal khaayi zulfen seene se mere bichha ke
apne gulaabi honthon ko
apne gulaabi honthon ko
mere honthon se milaa ke ae
amrit ras pilaaya tumne pyaari
amrit ras pilaaya tumne pyaari
ham tum chup baithhe hain
ham tum chup baithhe hain
dil kahta hai kisse dil ke
churaa liyaa hai hosh hamaara
churaa liyaa hai hosh hamaara
chaar aankhon ne milke
kismat ko jagaaya tumne pyaari
kismat ko jagaaya tumne pyaari
kismat ko jagaaya tumne pyaari
source https://atulsongaday.me/2021/06/11/kitna-dukh-bhulaaya-tumne-pyaari/
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from https://lyricsjohal.blogspot.com/2021/06/kitna-dukh-bhulaaya-tumne-pyaari.html Kitna dukh bhulaaya tumne pyaari