Rabin Lal Shrestha

Sanjeev Barali is a famous guitarist, music arranger & composer in Nepal. He has played guitar in more then thousands of songs and Hundreds have performed in concerts.

Phoebe Shrestha is a Nepali violinist known for her expressive bowing style, refined classical technique, and ability to blend Western orchestral sensibilities with contemporary Nepali music. Active in studio sessions, live ensembles, and collaborative projects, she brings a warm, lyrical tone to film scores, acoustic arrangements, and cross‑genre performances. Her growing presence in Nepal’s modern music scene reflects both technical discipline and a distinctive emotional clarity in her playing.

Subarna Limbu is a pioneering Nepali musician with over 40 years of professional experience, widely recognized as one of the earliest artists to bring the bass guitar into the mainstream of Nepali contemporary and rock music. His career spans Nepal and India, where he performed with formative bands such as Diamond (Darjeeling) and Brotherhood, contributing to the rise of modern Nepali rock. He is celebrated as the iconic bassist of the evergreen Prism Band, performing and singing at major venues, including regular appearances at five‑star hotels and high‑profile events. Subarna Limbu is also known for his role as a composer, with works such as “Hawa Sanga Bagu Bhanchha, Paat Sanga Bolu Bhanchha”, performed by Darjeeling‑based singer Pawan Gole, who continues to present Limbu’s compositions on major stages like Paleti.

Manohari Singh (1931–2010), born in Kolkata to a Nepalese Bhusal family, is celebrated as one of South Asia’s finest woodwind and orchestral arrangers. Though globally known for his work with R.D. Burman, his Nepali heritage and musical upbringing in a Nepali household shaped his tonal sensibility, melodic phrasing, and emotional depth — qualities that strongly resonated with Nepali film composers.His mastery of alto saxophone, flute, piccolo, clarinet, mandolin, and bansuri made him a sought‑after session musician whose sound influenced the orchestral palette of Nepali film music in the 1980s–1990s. Many Nepali composers — especially those working in Mumbai and Kolkata studios — relied on his phrasing style, brass‑woodwind layering, and melodic counterlines as a reference point.Although he did not score many Nepali films directly, his arrangement style, brass band roots, and Nepali musical lineage helped shape the cross‑border sound that Nepali cinema adopted during its modern era. His work as part of the Basu–Manohari duo also inspired Nepali arrangers who studied Indian studio orchestration.