Rajendra Karn

Subha Bahadur Sunam was a legendary Nepali music composer, saxophonist, and retired Brigadier General of the Nepal Army, celebrated for shaping modern Nepali music. Active for over five decades, he began composing at age 20 and became known for blending classical and contemporary styles. He co-composed the iconic song Parkhi Basey Aula Bhani with Sambhujeet Baskota under the name ShubhaSambhujeet. As a saxophone virtuoso, he was also the music mentor to Prince Dipendra. His contributions enriched Radio Nepal’s golden era and inspired generations of musicians. Sunam passed away in 2022 at age 74, leaving behind a profound musical legacy.

Sharmila Sharma is a Nepali actress known for her emotionally grounded roles in films, telefilms, and serials since 2000. She debuted with Hulchul and appeared in Hasideu Ek Phera, Mero Maya Timilai, Shaanti, and Kachuli. Her television work includes popular serials like Bhumari, Hari Bahadur–Madan Bahadur, Tito Satya, and Naari. She also acted in acclaimed films such as Juthe and Ati Bho, and has featured in dozens of music videos and short films. Sharmila is praised for portraying relatable, socially aware characters that resonate with everyday Nepali life, making her a respected figure in both mainstream and alternative visual storytelling.

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.