Remembering our Legends: enduring impact of Saleem-Iqbal compositions

One of the major inputs into our rich melodic heritage came from composers of film songs both before and after the emergence of Pakistan on the political map of the world in August 1947.
A large number of original composers provided melodic raiment for countless film songs, which are still hummed and whistled by millions not only in Pakistan but also elsewhere in the sub-continent. Indeed, they have been enshrined in the annals of south Asian music.
A few days ago, I attended a wedding ceremony in the old Walled City of Lahore where the band in attendance played a song from a Punjabi film, which has now become a part of our folk musical heritage. Yes, you have guessed it right. It was 'Veer mera ghori charriya' from the film 'Kartar Singh' produced from Lahore in 1959. The composers of the widely popular song were brothers Saleem Husain and Iqbal Husain, who used the pseudonym of Saleem-Iqbal for their film compositions. For me the song revived the fond memories of the good old days, when I was associated with several composers who were busy in composing new tunes for film songs.
During the decade of 1940s, teenagers Cheema (Saleem) and Baala (Iqbal) were members of a street theatre, whose repertoire included Waris Shah's epic love story 'Heer'. They used to stage the play in the narrow lanes of old Lahore for the pleasure of city dwellers. In those days, street theatre was a very popular and inexpensive mode of entertainment.
I vividly remember the days when brothers Saleem and Iqbal acted in the plays they staged in streets. Little did I realise that two decades later, we would get so close to each other as members of musical fraternity. Brothers Saleem and Iqbal were trained in the art of singing and acting, first by their father Master Ilam Din, a renowned local professional musician, whose baithak was located inside Bhaati Gate, Lahore and later Saleem was associated with composer Feroze Nizami as his assistant, when he returned from Bombay shortly after the creation of Pakistan.
About mid-50s, the duo of Saleem-Iqbal made its debut by scoring music for a Punjabi box office hit film 'Sheikh Chilli', several songs of which, including 'Sayyo nee maira dil dharkey' and 'Laal parranda', became popular soon after the release of the movie.
The song 'Veer Maira Ghori Charriya' took the name and fame of the composers to every nook and cranny of the country. Written by Waris Ludhanvi the chorus was led by Naseem Begum in Saif-ud-Saif's Punjabi film 'Kartar Singh'. This song is now a favourite of young girl friends of the brides and is rendered in every home of the bride in Pakistan and Indian Punjab on the occasion of their marriages.
Out of about 30 films for which Saleem - Iqbal scored music, a majority did good business at the box office. The films 'Kartar Singh', 'Darwaza' and 'Baaji' won wide public acclaim after their release in the decade of the 1960s.
Composed in the strand of classical ragas the songs of Saleem-Iqbal in those days were considered a guarantee for the success of a film. The song 'Piya Naheen' Aye for the film 'Darwaza' composed in raga Kalavai, and 'Chanda Tori Chandani Mein' in raga Bhairveen by Saleem-Iqbal (sung by Naseem Begum) substantiate the point.
As Saleem clearly excelled his older brother Iqbal in singing, he was given special attention by their father, Master Ilam Din. Later in his career, Saleem Husain also benefited from the melodic wisdom of Ustad Khurshid Butt and his mentor Ustad Sardar Khan Delhiwaley. The last Ustad of Saleem Hussain was maestro Abdul Qadir Piya Rang, who was not a professional musician in a genetic sense, but was as competent as a seasoned gharana singer could be. Classical vocalist and composer Piya-rang hailed from the United Provinces (UP) of undivided India.
Refinement of melodic phrases, restrained emotion and subtle atmosphere were some of the qualities of Saleem-Iqbal compositions for which they drew equally upon classical modes and folk traditions. Their sensitivity to the finer shades of musical feeling provided them a unique place in the art of composition.
In addition to composing music for films, Saleem Husain, after the death of his brother Iqbal Husain, regularly took part in classical music programmes aired by Radio Pakistan, Lahore. For five years, he taught music to young aspirants at Lahore Arts Council's Music Academy.
Brothers Saleem and Iqbal were among those illustrious sons of Pakistan, whose contributions to film music were acknowledged by critic and connoisseurs. It will take a long time for his universally popular songs 'Veer Maira Ghori Charriya' and 'Saanoo Nehar waley pull te boola kay' to be matched by others with the same tender feeling, appeal, romanticism and sonic enchantment. Going by the prevailing definition, a folk song's authorship is shrouded in anonymity, but this song of Waris Ludhianvi composed by Saleem-Iqbal has the singular distinction of being identified with their names.
The duo of composers Saleem-Iqbal was lucky as its very first composition in Punjabi film 'Sheikh Chilli' reached the lips of millions, particularly in Punjab on both sides of the Wagha border. As has been the case with a number of duos, if one member of it was strong in composing a song, the other took care of arranging the melodic interludes and building the orchestral infrastructures of the song. After a song had been provided melodic raiment by Saleem Husain, older brother Iqbal would take over till it was recorded.
Like many original composers, Saleem Husain also became disenchanted with Pakistan film industry when he was asked to pirate others' compositions. Refusing to oblige he said goodbye to his creative career, which at one time was the envy of his contemporaries. It creates a great deal of nostalgia for me when I recall my many years association with Saleem and Iqbal when we used to sing, enjoy listening to the music of other composers and confabulate on music for hours on end.