Among the few music directors, I hold in high regard, Madan Mohan ranks the topmost. When I started working in the film industry, Madan Mohan was known to be a melodious music director. I worked with such a connoisseur from 1958 to 1964 - almost six years. Then I joined hands with Laxmikant and we started composing songs together.

My father, Ramprasad Sharma was a very talented instrumentalist and music composer. He had the ability to write notations. Several instrumentalists learnt the art from him and as a result, made it big in life. In fact, my father was my first guru. At a very tender age, I started learning violin at his feet and within a short period of time, I gained through mastery. At the age of 12, I got the opportunity to play for a film and by the time I was 14 years old, I had graduated to the ranks of A-grade artistes. In those days, violinists like Jerry, Oscar, Anthony, Durado, Narvekar and Gajanan were among the select few who had firmly established themselves in the industry. I was included in their club. There were two styles of playing a violin in those days. One was the Indian way in which Narvekar and Gajanan were absolute masters. The other one was western style for which Jerry, Oscar, Anthony and Durado were reputed. I learnt both these styles and gained fame within a short period.

Madanji liked my style and he had great affection for me. As he came from defence background, he was very strict. And yet, he was very emotional as well. Though he showed that he was tough from outside, he was very soft within. He was a tough disciplinarian. Once, I had worked continuously for almost three and a half days and the last recording was that of Madanji. The film was Dekh Kabira Roya (1957). The recording was scheduled at 3.00 pm, but by the time I finished my earlier job and reached the place of recording, it was 4.30 pm. The rehearsal was in progress. As I was about to get my violin out of its case and start the practice, Madanji came to me and said: "My recording was scheduled at 3.00 pm". On hearing that statement, I quietly packed the violin and left the place. I was well aware of his sense of discipline but the situation on that day was such that I was helpless and because of late. I was hurt because he just stuck to his principle and did not bother to ask why a young man, who was always punctual, got delayed on that particular day.

After a few days, his assistant, Mr.Suri called up: "Please come for the rehearsal tomorrow". I was still angry and said: "I am very busy at the moment. I have no time". On hearing this, Madanji picked up the phone and said: "I know you have become a big man and you have minted money. Forget the past. There is one recording scheduled this evening and I need you there". I felt that he was magnanimous enough to talk to me over the phone. So I too did not stretch the matter any further and went for the recording.

In those days, I had developed a peculiar habit. Normally, during the tea break, musicians went out of the recording room to have their tea. I would, on the contrary, sit in the corner of the studio where the piano was kept and would observe the music composer closely. By watching their movements, the way they prepared for the next recording, I learnt a lot and that helped me when I became a music director. During the tea break also, Madanji used to work without a halt. He would sing incessantly, fully involved in his music. He would sing every single word in different ways and study which one would sound better. He had a good voice. To hear him sing his own compositions was a marvelous experience. He would make several variations while singing and also while preparing the melodies. As a result, we had a harrowing time taking down the notations of his compositions.

There were days when we would have just about managed to complete writing one notation and he would have revised its tune and singing and it would be time to take down the new version. Though it would trouble us then, when we listened to the final version, we would fell that it was worth all the pains and efforts put in.

Master Sonik was his arranger and he knew exactly what Madanji had in mind. They were well tuned to each other. I shall narrate one incident during the making of Haqeeqat. The recording of the song Main Ye Sochkar Uske Dar Se Uthaa Thaa was going on. For the rehearsal, there were eight violins, one piano and one flute. The rehearsal continued for a long time. Rafisaab did the last rehearsal at 8.00 pm. Then Madanji and Chetan Anand discussed something between themselves. Immediately thereafter, Madanji called Master Sonik and said: "Arrange a solo piece for Pyare".

At that time Jerry, Oscar, Anthony, Durado and Narvekar, all very reputed violinists were present, but he chose me. Sonikji prepared a piece within three quarters of an hour that matched the song. Madanji approved of it and then I rehearsed the piece. Robert accompanied me on the piano and Sumant Raj played the flute. The arrangements were modified five to six times and the final recording was done. Little did I know that the small piece I played would make history. Even today several fans talk about the song and that very piece of violin in particular. I feel that I do not deserve the credit. The credit goes to Madanji who selected me from the eight well established violinists and got the piece played to a specific manner. All talented instrumentalists of those times worked with Madanji and he had the skill and ability to bring to the forefront each person's talent. No wonder instruments like sarangi, sitar, flute, sarod and violin are prominent and effective in his music.

When we talk of Madanji, Lataji's name automatically comes to mind. The songs that the two have done together are astounding. Lataji is such a unique singer that she gets totally involved in the style of the music composer and renders the song with complete devotion. It is her forte to adapt to different styles of music and that must be appreciated. Her method of working is unique. During the rehearsal, she sings in a lower scale and not in her natural voice. In our technical language, we call it "carrying power". After the rehearsal is over, when the mikes go up, we can listen to the power of here original voice and only then we understand how she has rendered the song. However, we never can fathom how she controls her breaking. In fact when she used to come for our recordings, I would try desperately to figure out her breathing technique. She would sing with such complete concentration that I would forget everything else and be all ears to her melody. Once, she requested me to compose a melody in Madanji's style. Consequently, we prepared the scores of the song Meree Zindagee Ke Chiraag Ko for the film Jaal. Which became very popular.

One striking feature of Madanji's songs I have noticed is the use of light classical music. The combination of notes in his music is just out of the world. Therefore, his music is unparalleled. It just stands apart. Since he also had knowledge of the art of recording, the songs had a certain kind of completeness about them.

Today it is 30 years since Madanji's death. I feel happy on seeing the respect that he is getting. But I feel sad too, because he did not get the respect he was worthy of when he was alive. I consider myself blessed to have had the opportunity of working with a musical wizard like him.

(This article excerpted from the book "Madan Mohan - Ultimate Melodies" by Vishwas Nerurkar)