A noteworthy approach in Nayyar’s compositions was that he believed the film songs must be lively and entertaining.
By Promod Puri
In the Golden Era of Bollywood music, stretching from the ‘50s to the ’60, the Hindi film industry produced the most memorable songs that are now an integral part of the north Indian cultural scene.
Stalwarts like Naushad Ali Khan, S.D. Burman, C. Ramchandra, Shanker Jaikishan, Roshan, Khayyam, and many more contributed significantly to the entertaining segment of Hindi films.
However, music director O. P. Nayyar occupies a unique position among these great composers for his distinctive and refreshing blend of Western and Indian musical elements.
Unlike his three brothers, who were all in the medical profession, Nayyar, despite objections from his parents, adamantly drifted towards a music career.
In this advent, he was instantly successful as a music director, starting with Aasman in 1952. He scored the music of 72 films over 50 years in his blockbuster achievement.
His compositions often featured the harmonium, bongos, and brass instruments, setting them apart from the prevalent musical trends of the time.
A noteworthy approach in Nayyar’s compositions was that he believed the film songs must be lively and entertaining. That was why he earned tremendous popularity song after song the moment these got released.
Melody and rhythm were his trademarks in generating lively and entertaining creations. His created compositions still enjoy popularity in musical functions, especially marriage parties. For example, these are the evergreens that never get worn out from the vinyl:
Leke Pahla Pahla Pyar, Udan Jab Jab Zulfen Teri, Sar Par Topi, Mera Naam Chin Chin Choo, Ankhon Hi Ankhon Mein, Kabhi Aar Kabhi Paar Laga, Kahin Pe Nighan Kahin Pe Nishana, Yeh Desh Hai Veer Jawano Ka, Tumsa Nahin Dekha, Aye Dil Hai Mushkil’, ‘Yoon To Humne Lakh Haseen Dekhe, and many, many more.
An outstanding feature of O.P. Nayyar’s contribution to film music was when he realized that the beats of a running horse carrier create their rhythms. He could feel there was music a horse created, and he captured it in several of his compositions. All of them were super hits.
Here are the few gems of O.P. Nayyar that can give you an enjoyable ride in the Tonga beats:
‘Zara Haule Haule Chalo Mere Saajna’ from Sawan Ki Ghata
Mang Ke Saath Tumhara’ from Naya Daur
Piya, piya piya, mera jiya pukare (Baap re Baap).
From the genus of O.P. Nayyar, these two numbers have been my all-time favourites that reflect the superb combination of Western and Hindustani instrumental music and the soft and melodic touch to the poetic expressions in the lyrics:
“Jaiye Aap Kahan Jayenge,” film Mere Sanam.
“Pyar par bas to nahi,” film Sone Ki Chidiya.
Omkar Prasad Nayyar was born in Lahore on January 16, 1926, and died in Mumbai on January 28, 2007. A postal stamp in his honour was released by the government of India in 2013.
Promod Puri.com 