Think of Bollywood music and one name that resounds is Mithoon. To him, creating music means encapsulating the very essence of a story. For instance, in Aashiqui 2, his iconic creation Tum Hi Ho emerged as a piano-based ballad carrying melancholic notes that echoed the film’s ethos. His roots lie intricately in his family’s musical legacy, with father Naresh Sharma’s influence equally profound. With Gadar 2 having recently graced the screens, the artiste recounts how he was approached by director Anil Sharma, expressing his surprise at the idea of remaking the classic film. He also elaborates on his family’s rich musical heritage, inherited from both his grandfather and father. This legacy, he emphasises, has had a deep-seated impact, instilling within him a sense of discipline and dedication. He regards it as a cherished blessing, attributing his work ethic and commitment to the values embedded in this musical lineage. Reflecting on his father’s impact, Mithoon highlights the observations he made while accompanying him to music studios.
Excerpts
You have done the soundtrack for Gadar 2. Please tell us how it happened.
I happened to get a call one day from veteran filmmaker Anil Sharma who told me how important the film means to him. He wanted to meet me and he told me that he was making Gadar 2. I was quite amazed as I wasn’t expecting a cult-classic film to be remade. But he knew people wouldn’t let go of Gadar so easily and wanted me to score the entire soundtrack. That was the first meeting and I felt convinced to be a part of it. Then, it took me a year and a half to prepare the entire score — all the songs of the film.
Could you walk us through your thought process when you craft a melody that captures a film’s narrative?
I don’t have a song bank per se; I work organically. I try to understand the story and see what I can add to it. I feel inspired about it and take it forward gradually — one song at a time. Then, I work on it and get my vocals and instruments put together.
Hailing from a family with a musical legacy, was there any downside that came along with it?
Not at all. I only see the legacy as a blessing. It is not just the big names but also the gharana of music given to me. It’s not just because I have my grandfather’s or my father’s name attached to me but the routine I was put through, which involved getting up at 4.30 in the morning, and practising music — including six to eight hours of piano training. That was the kind of discipline inculcated in me. I don’t see any downside to it. Also, when I started my career, nobody knew that I belonged to this family. But when people got to know more about me and my work, they understood that I come from this gharana of music.
KK’s voice also graced your melodies and his ability to connect with us was undeniable. Can you tell us about a special memory you have with him?
Lots of memories, actually! He was one of the most ‘real’ people I have met in my life. He lived his life the way he sang and performed, be it about love, loyalty, or passion. He sang the title track for Bas Ek Pal, the first film I scored for. It was also fulfilling for me because I was a newcomer in the industry at the time. Right from there to the last film, he was a man full of truth and purity. I don’t know even one thing that wasn’t amazing about him.
Are there any instruments you haven’t yet explored in your compositions but would like to experiment with in the future?
In Gadar 2, I have used the belabahar which is very integral to the score. But I think there is so much more to do. I still want to use the santoor, especially Persian and Kashmiri santoor. I want to use the sarod, which is a very beautiful and strong instrument. I used a lot of shehnai for Shamshera last year. I also want to use the Middle Eastern clarinet. Off the top of my head, Turkish musician, Hüsnü Senlendirici plays the clarinet in a very Hindustani way. Whenever I get a chance in the cinema or outside, I would like to use these instruments for my music.
How do you decide which instrument to use when composing music?
For me, music comes from the emotions. In Aashiqui 2 when I made Tum Hi Ho, a piano-based song, it was because I could feel the loneliness in the notes of the piano. The raindrops falling on the actors were quite significant in portraying the love and passion, which made me think that employing the piano would be perfect. So, it all comes down to emotions because all our instruments and music together represent human nature and emotions.
How did your father’s expertise in musical arrangements impact your understanding of music composition?
More than my father’s expertise, it was about observing him that had an impact on me. As a kid, I would accompany him to a music studio. Back then, music used to be recorded in a 100-piece orchestra and my father was an arranger and chief conductor. He would be putting the entire orchestra together. Whenever I entered, I saw the kind of love and respect he commanded. I always wondered what makes my father so special. As I grew up, I understood that it was not about him but his art. People salute his art and that has inspired me to work hard, do well and not be half-baked as a musician.
Gadar 2 is running in theatres. — chokita@newindianexpress.com @PaulChokita