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RANK :?? A Film by S. Film: M. Film: Girivalam Casting: Sham.. Composer: Deva Director: TamilBoss. Murugesh TamilBoss. Film: Kathal Thiruda Casting: Sherin Composer: Bharani Director: TamilBoss. Joined: 30 Aug Posts: She grew in stature as a Carnatic musician learning from legends like Semmangudi and T. Her disciples run to thousands. She taught Carnatic music to Hariharan as his first Guru.

But, even as a child, Hariharan was attracted to Hindustani music than Carnatic music. And he was particularly partial to the Ghazals of Mehdi Hasan.

Having decided that Hindustani music was his destiny, even as a teenager Hariharan managed to become the disciple of the famous singer and teacher Ustad Ghulam Mustafa Khan. Ghulam Mustafa Khan is the heir of the glorious Rampur-Sahaswan Gharana which was a branch of Saania music tradition established by Mian Tansen himself. Hariharan got completely immersed in this Hindustani music tradition by his music tutelage under Ustad Ghulam Mustafa Khan.

His daily routine now included anything between 10 to 13 hours of practice and music training. He consummately devoted his total attention to the subtleties, nuances and flourishes of the Urdu verses. Later his mastery in Urdu won admiration even in Lucknow, the capital of Urdu in India. In the meanwhile, having graduated from college, Hariharan started giving small concerts. Composer Jaidev, who officiated as a judge in an All India music competition in noticed Hariharan who had won it.

That was how he was called upon to sing his number in Gaman. But for years thereafter Hariharan did not get any opportunity worth mentioning in films but he was singing now and then a few film songs in Hindi. That was when most of his albums I have mentioned earlier in this article were released. He himself composed the music of most of his Ghazals.

He took up the Ghazals already popular in Pakistan and India and totally recomposed them in different ragas and sang them. It was no ordinary feat that he succeeded hugely in this labour of love. He acquired a huge fan following all over India and Pakistan through his Ghazal albums and concerts.

We could list many things as special musical qualities of Hariharan. His voice counts as a principal specialty. It has a unique romantic touch to it. The indefinably heart-warming nuances of music that he imparts with his voice are inimitable. The fund of his imagination and the depth of his knowledge of music aided by very many years of the most rigorous practice enabled the effortless flow of musical flourishes that are spell-binding.

With his grasp of the minutest details of Hindustani classical music on top of an already sound foundation of Carnatic classical music, he commanded absolute felicity in any kind of notes of creative musical expressions. It was only from then on that Hariharan came to be known as a full-time film playback singer. Hariharan is reported to have sung over thousand songs in Hindi films but he had very few hit numbers there.

These were mostly Hindi versions of A. I have to mention that there was nothing great about the composition and rendering of the song other than the lyrics which placed upfront the idea of national integration and the philosophy that life alone is important and not war.

He has won the Best Singer award from Government of Tamilnadu, twice, and once each from Governments of Andhra Pradesh and Kerala, apart from countless awards like Filmfare, etc. It was in Tamil that he received the opportunities to sing many songs that had quality music which also became super hits. It is true to say that it was in his mother tongue Tamil alone that he was recognized as a full fledged screen playback singer.

May be the acclaim and success that attended his Tamil film songs and the disappointment at not becoming a super star singer at all India level disoriented and transformed him! Little slip by little slip he let slip the reality of his Ghazal moorings. It appears that post-nineties he saw Ghazal singing as a side line that did not attract the big crowd and began concentrating on becoming a famous playback singer and the most successful pop star of India.

In the beginning he appeared to be succeeding in it. But all his efforts at pop music that followed were unmitigated disappointments. After the no show of two succeeding albums, Colonial Cousins were practically lost.

He made an effort to resuscitate the Colonial Cousins as a composer duo by scoring music for the two failed Tamil films Modhi Vilaiyaadu and Chikkubukku. He has been losing his place as a topnotch Ghazal singer from the end nineties onwards. Today he appears standing forlorn with nothing worthwhile to contribute in Ghazals. For his ardent fans like me, his Ghazal concerts have long since become parodies that are disappointing in the extreme.

His shows on stage have become a stage to demonstrate his gladiatorial narcissism where he sings elaborations that nobody else can sing. Now, he has taken this unbecoming demeanour even to stage shows of film and pop music where he concentrates on proving that he stands way above his fellow stage singers.

If the composer is not strict in keeping him faithful to the score during recording, he apparently takes that as a licence to indulge in such exaggerated flourishes which are totally graceless. Over the years he has developed the habit of shooting himself in the foot by appearing on the stage, taking after some flambuoyant and outlandish western singers, in weird costumes and weird hairdos ill-suited to his appearance.

It appears that he believes in enhancing his appeal with all these! Obviously, no Ghazal singer whose forte is to sit in absolute peace behind his harmonium read behind his music! Who will tell Hariharan that even the likes of Lionel Richie, whom he claims to be his pop music idol, never appeared in such absurd costumes and make-ups?

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