Who is laxmikant pyarelal

Pyarelal is always worked with Laxmikant both are very popular and successful Indian Composer Duo. Pyarelal was born on 3 September in Mumbai, Maharashtra, India. He also plays the violin in studios. In India, people are known as a Laxmikant—Pyarelal, because both composed music always together and hitbox office with Rajshri Productions in the film Dosti.

No more info about her family. Composer Laxmikant-Pyarelal duo was extremely popular and successful in their times. After the death of his partner Laxmikant in , Pyarelal stopped giving music. Pyarelal had a fondness for music since childhood and wanted to grow up to be a musician.

He received his early education in music from his father, Pandit Ramprasad. Even then, though, they were capable of pulling a rabbit out of the hat once in a while — like they did in Prahaar and Bhairavi. A grieving Pyarelal stopped composing for a few years. But in recent times, his symphonies have been conducted at venues across Europe.

In retrospect, it seems as if their life tracks were running towards each other until , at which point of time they fused to become one. Laxmikant and Pyarelal were similar in some ways while being the perfect foil for each other in some others.

Laxmikant was gregarious and slightly flamboyant taking after his idol Jaikishan , whereas Pyarelal was an introvert.

Laxmikant was stronger in Indian music styles, whereas Pyarelal came with a strong conceptual grounding in Western music and instrumentation. At the same time, many things about them were the same. A financially impoverished background, for one. And a strong flair for music, for another. These apart, their humility, immense talent, propensity to learn quickly and hunger to make a mark formed the bulwark of their friendship and creative collaboration.

Both of them had the same musical sensibility and deep understanding of a wide range of instruments. All this meant that L-P were never a hyphenated entity. Indeed, in a recent conversation with me, Pyarelal said with a hearty laugh that people often mistook him for Laxmikant, and vice versa. Though it was never a strict rule, Laxmikant would create the tunes more often, and Pyarelal would handle the arrangement, notations and rehearsals with the orchestra.

He would interact with producers, directors and the media with aplomb. Since they had worked with several composers in their early days, they knew that the styles of those masters could insidiously seep into their own music. And so, they consciously tried to prevent this. To me, theirs is a music whose soul is wholly Indian. They used Western rhythms and instruments in many songs notably, the accordion and saxophone , but the overall feel of their music is still Indian.

Their songs are rich with the fragrance of our soil. The extensive use of instruments such as the shehnai, santoor, bansuri, sarod, tabla and dholak stands out. L-P varied their soundscape from film to film, even when working with the same filmmaker or banner repeatedly. Occasionally, some rhythm phrases, especially of the dholak and tabla, are the only clues that a song is an L-P creation.

But the tunes, arrangement and overall sound are fresh and different. Take the case of Raj Khosla, for instance. L-P created a new mosaic of sound for each of his films they composed for.

And, even if you listen to their music from any two consecutive films, you will find that it sounds different. Staying in step with the music of the times without compromising on mood or melody was another thing they did well. In creating their textured music over the years, L-P were helped by Shashikant and Gorakhnath, extremely talented musicians, arrangers and assistants. Soon after Taal was released in , Subhash Ghai told Rakesh Bakshi to inform his father that he Ghai wanted to make a musical, and that Anand Bakshi should get ready to write its songs.

L-P worked with Anand Bakshi in films, creating 1, songs in the process. Working together for the first time in Mr X in Bombay , the three greats went on to form a never-before, never-after kind of partnership over the next three decades.

Curiously, when I try to describe their work with Majrooh, I fumble for words. L-P collaborated with the senior poet in about 45 films. Peep into the chest closely and you will identify the likes of Shivranjani, Yaman, Todi, Bhairavi and Kalavati jostling for space. From there, the two were responsible for the music used in hundreds of Bollywood films starting running through the '90s. They actually wrote both separately and together, but always credited their work jointly as Laxmikant Pyarelal.

After Kudalkar's death ended the duo, Sharma went into semi-retirement. AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. Blues Classical Country. Electronic Folk International. Jazz Latin New Age.