The ghazal (Arabic/Pashto/Persian/; , , , ) is a poetic form consisting of rhyming couplets and a refrain, with each line sharing the same meter. A ghazal may be understood as a poetic expression of both the pain of loss or separation and the beauty of love in spite of that pain. The form is ancient, originating in 6th century Arabic verse. It is derived from the Arabian panegyric qasida. The structural requirements of the ghazal are similar in stringency to those of the Petrarchan sonnet. In its style and content it is a genre which has proved capable of an extraordinary variety of expression around its central themes of love and separation. It is one of the principal poetic forms which the Indo-Perso-Arabic civilization offered to the eastern Islamic world.

The ghazal spread into South Asia in the 12th century under the influence of the new Islamic Sultanate courts and Sufi mystics. Although the ghazal is most prominently a form of Dari poetry and Urdu poetry, today it is found in the poetry of many languages of Indian sub-continent.

Ghazals were written by the Persian mystics and poets Rumi (13th century) and Hafiz (14th century), the Azeri poet Fuzuli (16th century), as well as Mirza Ghalib (1797–1869) and Muhammad Iqbal (1877–1938), both of whom wrote ghazals in Persian and Urdu. Through the influence of Johann Wolfgang von Goethe (1749–1832), the ghazal became very popular in Germany in the 19th century, and the form was used extensively by Friedrich Rückert (1788–1866) and August von Platen (1796–1835). The Kashmiri-American poet Agha Shahid Ali was a proponent of the form, both in English and in other languages; he edited a volume of "real ghazals in English".

In some ghazals the poet's name is featured somewhere in the last verse (a convention known as takhallus).

Pronunciation

The Arabic word '''' is pronounced , roughly like the English word ''guzzle'', but with the '''' pronounced without a complete closure between the tongue and the soft palate. In India, the name sounds exotic, as the voiced velar fricative ('''' sound) is not found in native Indic words. In English, the word is pronounced or .

Themes

Illicit unattainable love

The ghazal not only has a specific form, but traditionally deals with just one subject: love, specifically an illicit and unattainable love. The ghazals from Indian sub-continent have an influence of Islamic Mysticism and the subject of love can usually be interpreted for a higher being or for a mortal beloved. The love is always viewed as something that will complete a human being, and if attained will lift him or her into the ranks of the wise, or will bring satisfaction to the soul of the poet. Traditional ghazal love may or may not have an explicit element of sexual desire in it, and the love may be spiritual. The love may be directed to either a man or a woman.

The ghazal is always written from the point of view of the unrequited lover whose beloved is portrayed as unattainable. Most often either the beloved does not return the poet's love or returns it without sincerity, or else the societal circumstances do not allow it. The lover is aware and resigned to this fate but continues loving nonetheless; the lyrical impetus of the poem derives from this tension. Representations of the lover's powerlessness to resist his feelings often include lyrically exaggerated violence. The beloved's power to captivate the speaker may be represented in extended metaphors about the "arrows of his eyes", or by referring to the beloved as an assassin or a killer. Take for example the following couplets from Amir Khusro's Persian ghazal ''Nami danam chi manzil buud shab'':

''nemidanam che manzel bood shab jayi ke man boodam; ''be har soo raghse besmel bood shab jayi ke man boodam. ''pari peykar negari sarv ghadi laleh rokhsari; ''sarapa afat-e del bood shab jayi ke man boodam. I wonder what was the place where I was last night, All around me were half-slaughtered victims of love, tossing about in agony. There was a nymph-like beloved with cypress-like form and tulip-like face, Ruthlessly playing havoc with the hearts of the lovers.

In the context of Sufism

It is not possible to get a full understanding of ghazal poetry without at least being familiar with some concepts of Sufism. All the major historical post-Islamic ghazal poets were either avowed Sufis themselves (like Rumi or Hafiz), or were sympathizers with Sufi ideas. Most ghazals can be viewed in a spiritual context, with the Beloved being a metaphor for God, or the poet's spiritual master. It is the intense Divine Love of sufism that serves as a model for all the forms of love found in ghazal poetry.

Most ghazal scholars today recognize that some ghazal couplets are exclusively about Divine Love (ishq-e-haqiqi), others are about "earthly love" (ishq-e-majazi), but many of them can be interpreted in either context.

Traditionally invoking melancholy, love, longing, and metaphysical questions, ghazals are often sung by Iranian, Afghan, Pakistani, and Indian musicians. The form has roots in seventh-century Arabia, and gained prominence in the thirteenth- and fourteenth-century thanks to such Persian poets as Rumi and Hafiz and later due to Indian poets such as Mirza Ghalib. In the eighteenth-century, the ghazal was used by poets writing in Urdu, a mix of the medieval languages of Northern India, including Persian. Among these poets, Ghalib is the recognized master.

Important poets of Urdu ghazal

In Urdu, some important and respected ghazal poets are Wali, Aatish, Mir Taqi Mir, Mirza Rafi Sauda, Mirza Ghalib, Momin Khan Momin, Zauq, Dard, Daagh, and Jigar Moradabadi. Post-partition poets include Firaq Gorakhpuri, Majrooh Sultanpuri, Faiz Ahmed Faiz, Jaun Elia, Habib Jalib, Munir Niazi, Jan Nisar Akhtar, Shakeb Jalali, Parveen Shakir, Qamar Jalalabadi, Qateel Shifai, Nasir Kazmi, Ahmed Faraz, Makhdoom Mohiuddin, Sahir Ludhianvi, Nida Fazli, Tanwir Phool, Ali Arman, Vikram Singh, Raees Warsi, Hasrat Mohani, Altaf Hussain Hali

Translations and Performance of Classical ghazal

Enormous collections of ghazal have been created by hundreds of well-known poets over the past thousand years in Persian, Turkish, and Urdu, as well as in the Central Asian Turkic languages. Ghazal poems are performed in Uzbek-Tajik Shashmakom, Turkish Makam, Persian Dastgah and Uyghur Muqam. There are many published translations from Persian and Turkish by Annemarie Schimmel, Arthur John Arberry, and many others.

Ghazal "Gayaki", the art of singing or performing the ghazal in Indian classical tradition, is very old. Singers like Ustad Barkat Ali and many other singers in the past used to practice it, but due to the lack of historical records, many names are anonymous. It was with Begum Akhtar, and later on Ustad Mehdi Hassan, that classical rendering of ghazals became popular amongst the masses. The categorization of ghazal singing as a form of "light classical" music is a misconception. Classical ghazals are difficult to render because of the varying moods of the "shers" or couplets in the ghazal. Ustad Amanat Ali Khan, Begum Akhtar, Mehdi Hassan, Jagjit Singh, Farida Khanum and Ustad Ghulam Ali are popular classical ghazal singers.

Ghazal and its popularity

Understanding the complex lyrics of ghazals required education typically available only to the upper classes. The traditional classical ''rāgas'' in which the lyrics were rendered were also difficult to understand. The ghazal has undergone some simplification in terms of words and phrasings, which helps it to reach a larger audience around the world. Most of the ghazals are now sung with various styles which are not limited to ''khayāl, thumri, rāga, tāla'' and other classical and light classical genres. However, these forms of the ghazal are looked down on by purists of the Indian Classical tradition. In Pakistan Noor Jehan, Iqbal Bano, Farida Khanum, Ghulam Ali, Ahmed Rushdi, Ustad Amanat Ali Khan and Mehdi Hassan are known for Ghazal renditions. Singers like Jagjit Singh (who first used a guitar in ghazals), Ahmed and Mohammed Hussain, Hariharan, Mohammad Rafi, Pankaj Udhas and many others have been able to give a new shape to the ghazal by incorporating elements of Western music. In India, in addition to Urdu/Hindi, Ghazals have also been very popular in the Gujarati language. For centuries there have been notable Gujarati ghazal writers like Barkat Virani 'Befaam', Aasim Randeri, Shunya Palanpuri, Amrut 'Ghayal', Khalil Dhantejvi and many more. Some of the notable ghazals of these prominent writers have been sung by Bollywood playback singer Manhar Udhas (the elder brother of noted Ghazal singer Pankaj Udhas). The Canadian classical ghazal singer Cassius Khan has the unusual talent of singing in the recitational style whilst accompanying himself on the tabla. Renowned Ghazal singer, and pioneer of Telugu ghazals, Dr Ghazal Srinivas popularized the Ghazal in Telugu language all over the world. Dr Ghazal Srinivas also introduced ghazal singing in Kannada language and ghazals in Kannada language were written by Markandapuram Srinivas.

In English

After nearly a century of "false starts" -- that is, early experiments by James Clarence Mangan, James Elroy Flecker, Adrienne Rich, Phyllis Webb., etc., many of which did not adhere wholly or in part to the traditional principles of the form, experiments dubbed as "the bastard ghazal" -- the ghazal finally began to be recognized as a viable closed form in English-language poetry sometime in the early to mid 1990s. This came about largely as a result of serious, true-to-form examples being published by noted American poets John Hollander, W. S. Merwin and Elise Paschen, as well as by Kashmiri-American poet Agha Shahid Ali, who had been teaching and spreading word of the ghazal at various American universities over the previous two decades.

In 1996, Ali compiled and edited the world's first anthology of English-language ghazals, published by Wesleyan University Press in 2000 as ''Ravishing DisUnities: Real Ghazals in English''. (Fewer than one in ten of the ghazals collected in "Real Ghazals in English" observe the constraints of the form.)

A ghazal is composed of couplets, five or more. The couplets may have nothing to do with one another, except for the formal unity derived from a strict rhyme and rhythm pattern.

A ghazal in English which observes the traditional restrictions of the form:

Where are you now? Who lies beneath your spell tonight? Whom else from rapture’s road will you expel tonight? Those “Fabrics of Cashmere--“ ”to make Me beautiful--“ “Trinket”-- to gem– “Me to adorn– How– tell”-- tonight? I beg for haven: Prisons, let open your gates– A refugee from Belief seeks a cell tonight. God’s vintage loneliness has turned to vinegar– All the archangels– their wings frozen– fell tonight. Lord, cried out the idols, Don’t let us be broken Only we can convert the infidel tonight. Mughal ceilings, let your mirrored convexities multiply me at once under your spell tonight. He’s freed some fire from ice in pity for Heaven. He’s left open– for God– the doors of Hell tonight. In the heart’s veined temple, all statues have been smashed No priest in saffron’s left to toll its knell tonight God, limit these punishments, there’s still Judgment Day– I’m a mere sinner, I’m no infidel tonight. Executioners near the woman at the window. Damn you, Elijah, I’ll bless Jezebel tonight. The hunt is over, and I hear the Call to Prayer fade into that of the wounded gazelle tonight. My rivals for your love– you’ve invited them all? This is mere insult, this is no farewell tonight. And I, Shahid, only am escaped to tell thee– God sobs in my arms. Call me Ishmael tonight.

(Agha Shahid Ali)

Ghazals composed in English by notable poets

Agha Shahid Ali, "Ghazal ('...exiles')"

Robert Bly, ''The Night Abraham Called to the Stars'' and ''My Sentence Was a Thousand Years of Joy''

Francis Brabazon, ''In Dust I Sing'' (Beguine Library, 1974).

Lorna Crozier, "Bones in Their Wings"

Judith Fitzgerald, ''Twenty-Six Ways Out of This World'' (Oberon), 1999.

Thomas Hardy, "The Mother Mourns"

Jim Harrison, ''Outlyer and Ghazals'' (Touchstone), 1971

John Hollander, "Ghazal On Ghazals"

Galway Kinnell, "Sheffield Ghazal 4: Driving West", "Sheffield Ghazal 5: Passing the Cemetery" (Mariner Books), 2001

Maxine Kumin, "On the Table"

Marilyn Krysl, "Ghazals for the Turn of the Century"

Edward Lowbury, "A Ghazel (for Pauline)" (1968); "Prometheus: a ghazel" (1976); "Remembering Nine (a ghazel for Peter Russell)" (1981)

W. S. Merwin, "The Causeway"

William Matthews, "Guzzle", "Drizzle"

Elise Paschen, "Sam's Ghazal"

Robert Pinsky, "The Hall"

Spencer Reece, ''Florida Ghazals''

Adrienne Rich, ''Ghazals: Homage to Ghalib''

John Thompson, "Stilt Jack" (Anansi), 1978.

Andrew D. Chumbley, "Qutub" (Xoanon), 1995.

Natasha Trethewey, "Miscegenation", 2006.

Phyllis Webb, ''Water and Light: Ghazals and Anti Ghazals'' (Coach House), 1984.

John Edgar Wideman, "Lost Letter"

Rob Winger, "The Chimney Stone" (Nightwood Editions), 2010

Sukhdarshan Dhaliwal, "Ghazals at Twilight" (SD Publications), 2009

Ghazal singers

Some notable ghazal singers are:

Ahmed Rushdi

Asha Bhosle

Ahmed and Mohammed Hussain

Anup Jalota

Ataullah Khan

Aziz Mian

Begum Akhtar

Chitra Singh

Ghulam Ali

Jagjit Singh

Salma Agha

Yateesh M. Acharya

Kiran Ahluwalia

Mahwash

Ustad Amanat Ali Khan

Najma Akhtar

Talat Aziz

Iqbal Bano

Mohammed Rafi

Mehdi Hassan

Munni Begum

Malika Pukhraj

Hariharan

Cassius Khan

Ghulam Abbas Khan

Nusrat Fateh Ali Khan

Farida Khanum

Runa Laila

Master Madan

Talat Mahmood

Lata Mangeshkar

Penaz Masani

Habib Wali Mohammad

Nayyara Noor

Noorjehan

Shishir Parkhie

Abida Parveen

Anuradha Paudwal

Reshma

Sabri Brothers

Mohammad Hussain Sarahang

Mohammad Reza Shajarian

Bhupinder and Mitali Singh

Jasvinder Singh

Tahira Syed

Manhar Udhas

Pankaj Udhas

Ahmad Wali

Ghazal Srinivas

Many Indian and Pakistani film singers are famous for singing ghazals. These include:

Asha Bhosle

Ahmed Rushdi

Chitra Singh

Jagjit Singh

Mehdi Hassan

Talat Mahmood

Hariharan

Mohammad Rafi

Noor Jehan

Lata Mangeshkar

Srilekha Parthasarathy

K. L. Saigal

Ghulam Abbas Khan

Notes

References

Agha Shahid Ali (ed.). ''Ravishing Disunities: Real Ghazals in English''. ISBN 0-8195-6437-0.

Agha Shahid Ali. ''Call Me Ishmael Tonight: A Book of Ghazals''. ISBN 0-393-05195-1.

Bailey, J. O. ''The Poetry of Thomas Hardy: A handbook and Commentary''. ISBN 0-8078-1135-1

Doty, Gene (ed./sitemaster). ''The Ghazal Page''; various postings, 1999—2010.

Kanda, K.C., editor. Masterpieces of the Urdu Ghazal: From the 17th to the 20th Century. Sterling Pub Private Ltd., 1991.

Mufti, Aamir. "Towards a Lyric History of India." boundary 2, 31: 2, 2004

Reichhold, Jane (ed.). ''Lynx''; various issues, 1996—2000.

Watkins, R. W. (ed.). ''Contemporary Ghazals''; Nos. 1 and 2, 2003—2004.

External links

Urdu poetic forms

http://www.indianchild.com/literature/urdu-literature.htm

a ghazalsagar all in one ghazal site

A Desertful of Roses The Divan-e Ghalib - in Urdu, with Devanagari and Roman transliterations. Also includes a collection of concise commentaries on each verse by well-known scholars, as well as other critical information.

The Ghazal Page, an online journal devoted to the ghazal in English.

Louis Werner, 2001, A Gift of Ghazals, ''Saudi Aramco World''

* Category:Poetic form

ar:غزل (شعر) az:Qəzəl bn:গজল bs:Gazel de:Ghasel es:Gazal eo:Gazalo fa:غزل fr:Ghazal gl:Ghazal hy:Գազել hi:ग़ज़ल it:Ghazal hu:Gazal ml:ഗസല്‍ mr:गझल ms:Ghazal nl:Gazal no:Gasel uz:Gʻazal pnb:غزل ps:غزل pl:Gazel ro:Gazel ru:Газель (строфа) si:ගසල් ගීත fi:Gaseeli sv:Ghasel ta:கசல் (இசை) tt:Газәл te:గజల్ tr:Gazel uk:Газель (жанр) ur:غزل fiu-vro:Gaseel

Coordinates	55°45′06″N37°37′04″N
name	Ustad Mehdi Hassan
background	solo_singer
alias	Khan Sahib'King of ''ghazal''' (}}

) | Born = July 18, 1927Luna, Jhunjhunu, Rajasthan, India | death_date = | instrument = Harmonium | genre = Classical music, Ghazal, Playback singing | occupation = Singer, Composer | years_active = 1957–1999 (Retired) | website = }} Mehdi Hassan (}}) is a Pakistani ''ghazal'' schlagersänger and a former playback singer for Lollywood. He is famously known as the 'King of ghazal' (}}). He has ruled the Pakistan film industry along with Ahmed Rushdi. He was honoured with ''Tamgha-e-Imtiaz'', Pride of Performance and ''Hilal-e-Imtiaz'' by the Government of Pakistan, and Gorkha Dakshina Bahu by the Government of Nepal.

Career

Mehdi Hassan was born on 18 July 1927 in a village called Luna in Rajasthan, India into a family of traditional musicians. He claims to be the 16th generation of hereditary musicians hailing from the Kalawant clan of musicians. Mehdi Hassan had his musical grooming from his father Ustad Azeem Khan and uncle Ustad Ismail Khan who were both traditional Dhrupad singers. The life story of Mehdi Hassan is a journey of trials and tribulations. After partition the family migrated to Pakistan and suffered severe financial hardships.

To make both the ends meet Mehdi started working in a bicycle shop and later became a car and diesel tractor mechanic. Despite the hardships, his passion for music didn’t wither and he kept up the routine of practice on a daily basis.

The struggle ended when Mehdi Hassan was given the opportunity to sing on Radio Pakistan in 1957, primarily as a thumri singer, which earned him recognition within the musical fraternity. At the time, Ustad Barkat Ali Khan, Begum Akhtar and Mukhtar Begum were considered the stalwarts of ''ghazal rendition''.

He also had a passion for Urdu poetry and began to experiment by singing ''ghazals'' on a part-time basis. He cites radio officers Z.A. Bukhari and Rafiq Anwar as additional influences in his progression as a ''ghazal'' singer.

Later career

Following a severe illness in the late 80s, Mehdi Hassan stepped down from playback singing. Later due to severity of his illness he completely departed from music. He now lives a secluded life in Karachi which he has made his permanent residence. Nevertheless, he often visits Lahore where he spends most of his time with his children and other family members.

In October 2010, HMV released "Sarhadein" in which probably the first and last duet song "Tera Milana" featuring Mehdi Hassan and Lata Mangeshkar was released. This song was composed by Mr. Hassan himself written by Farhat Shahzad. Mr. Hassan recorded it in Pakistan in 2009, and Lata Mangeshkar later heard the track and recorded her part in India in 2010 and later mixed together for a duet.

Awards

He has been the recipient of numerous awards and recognitions: the ''Tamgha-i-Imtiaz'' granted to him by Gen Ayub Khan; the Pride of Performance bestowed on him by Gen Ziaul Haq; and the ''Hilal-i-Imtiaz'' conferred by Gen Pervez Musharraf. Besides the Nigar Film and Graduate Awards from Pakistan, he was presented the Saigal Award in Jalandhar, India, in 1979, whereas the Gorkha Dakshina Bahu Award was given to him in Nepal in 1983. Recently, he travelled to Dubai to receive yet another award.

Personal life

Mehdi Hassan is married and has fourteen children, nine of whom are boys and five of whom are girls. Like him, most of his children are also interested in the field of music. Born on 18 July 1927 (PTV celebrated his birthday on 18 July 2010 in Sunday Lounge).

Discography

Kehna Usey

Nazrana

Live at Royal Albert Hall

Andaz-e-Mastana

Classical Ghazals vol. 1, 2, 3

Dil Jo Rota Hai

Ghalib Ghazals

Ghazals For Ever Vol 1

Golden Collection Of Mehdi Hasan Vol 1, 2

Golden Greats

In Concert

Khuli Jo Aankh

Life Story

Live at Khambays

Live Concert in India

Mehdi Hassan

Mehdi Hassan Ghazals Vol 1

Sada E Ishq

Sarhadein

Sur Ki Koi Seema Nahin

The Finest Ghazals

The Legend

Yaadgar Ghazalen Vol 1

Tarz

Naqsh-e-Faryadi

Ghazals

Aage barhe na qissa -e -ishq -e- butaan se hum

Aaj Tak Yaad Hai Woh Piar Ka Manzar

Aankhon Se Mili Aankhen

Aap Ki Aankhon Ne

Aaye Kuchh Abr Kuchh Sharaab Aaye

Ab Ke Hum Bichde To Shaayad Kabhi Khwaabon Mein Mile

Ae Raushnion Ke Shahr

Aik Bus Tu Hi Nahin

Apnon Ne Gham Diye To Yaad Aa Gaya

Bhuuli bisri chand umeedein

Chalte ho to chaman ko chaliye

Charaag-e-toor Jalao Bada Andhera Hai

Dekh to dil keh jaan se uthta hai

Dil-E-Nadan Tujhe Hua Kya Hai (Lyrics: Mirza Ghalib)

Dil Ki Baat Labon Par Laakar

Dil Men Toofan Chupae Betha Hon

Duniya Kisi Ke Pyaar Mein Jaanat Se Kam Nahin

Dayam Pada Hua Tere Dar Pe Nahi Hoon Main (Lyrics: Mirza Ghalib)

Ek Bar Chale Aao

Ek bus tu hi nhi mujhse khafa ho betha

Ek Sitam Aur Meri Jaan, Abhi Jaan Baqi Hai

Fikr Hii Thaharii To Dil Ko Fikr-E-Khubaa.N Kyo.N Na Ho

Ga Mere Dewane Dil

Garmii-E-Hasarat-E-Naakaam Se Jal Jaate Hai.N

Gulon Main Rang Bhare, Baad-e-Naubahaar Chale (Lyrics: Faiz Ahmed Faiz)

Gulshan gulshan shola e gul ki

Guncha-e-Shauq Laga hei Khilne

Hamari Sanson Men Aaj Tak

Har Dard Ko

Hum mei koi ghum nahi tha ghum-e-aashiqi sai pahlay

Ik Husn Ki Dewi Se Mujhe Pyaar Hua Thaa

Jab Bhi Aati Hei Teri Yaad Kabhi Shaam ke Baad

Jab Bhi Chahen Ek Nai Sorat

Jab Bhi Pee Kar

Jab Koi Piar Se Bulaae Ga

Jab Us zulf Ki Baat Chali

Jahan Jake Chain

Kahan Gai Woh Wafa

Khuli Jo Aankh Woh Tha

Kiya Hei Pyaar Jisse Humne Zindagi ki Tarah

Kya Bhala Mujhko Parakhne Ka Nateeja Nikla

Kyoon Humse Khafa Ho Gaye Ae Jaan-E-Tamanna

Main Hosh Mein Tha

Main Khyala hu kisi aur ka

Main nazar se pee rha hoon

Mohabat Karne Wale

Mohabat Zindagi Hai Aur Tum Meri Mohabat Ho

Mujhe Tum Nazar Se Gira To Rahe Ho

Naavak andaz jidhar diida-e-jaana honge

Patta Patta Boota Boota

Phuul hi phuul khil utthe

Pyaar Bhare Do Sharmile Nain

Rafta Rafta Wo Meri Hasti Ka Saamaan Ho Gaye

Ranjish Hi Sahi Dil Hi Dukhaane Ke Liye Aa

Rim Jhim Ki Barsaat Hai Aur Jaage Huye Jazbaat Hain

Roshan Jamal-e-yaar Se Hain

Saamne Aa Ke Tujhko Pukara Nahin

Sahar Ho Rahi Hai

Shikwa Na Kar Gila Na Kar Ye Duniya Hai Pyaare

Shola Tha Jal Bujha Hoon

Tanha Thi Aur Hamesha Se Tanha Hai Zindagi

Tark-e-Ulfat Ka Sila

Tere Bheege Badan Ki Khooshboo Se

Tere Mere Piar Ka Aisa Nata Hai

Toote Hue Khwabon Ke Liye

Thah ar Thorri Der To

Tu Meri Zindagi Hei (Copied by Nadeem Sharavan in "Ashiqi" Hindi Movie India)

Usne Jab Meri Taraf

Uzr Aane Mein Bhi Hei Aur Bulaate bhi nahin

Wo Dil Nawaaj Hei Lekin Nazar Shinaas Nahin

Yaaro Kisii Qaatil Se Kabhii Pyaar Na Maa.Ngo

Yun na mil mujhse khafa ho jaise

Ye Dhooan Kahan Se Uthta Hei

Ye Kaghzi Phool Jaise Chahre

Ye Mojazaa Bhii Muhabbat Kabhii Dikhaaye Mujhe

Ye Tera Naazuk Badan Hai Ya Koi Mehka Gulaab

Yoon Zindagi Ki Raah Mein Takra Gaya Koi

Zindagi Mein To Sabhi Pyaar Kiya Karte Hain

Zulf Ko Teri Ghataon Ka Payam Aaya Hai

Mehadi Hassan also sung Persian/dari Ghazals In Kabul Afghnistn in 1970s.

See also

Ghulam Ali

*

References

Mehdi Hassan Video Collection

Lyrics and Translations of Mehdi Hassan Songs

Songs and Albums by Mehdi Hassan

Mehdi Hasan Songs

Mehdi Hassan

Shahanshah-e-Ghazal

Mehdi Hassan & the complete list of his film songs

Mehdi Hassan Biography on Sadarang Archives

Indian Express

External links

Category:1927 births Category:Living people Category:Ghazal singers Category:Hilal-i-Imtiaz Category:Muhajir people Category:Nigar Award winners Category:Pakistani ghazal singers Category:Pakistani Muslims Category:Pakistani Shi'a Muslims Category:Pakistani singers Category:Recipients of the Pride of Performance award Category:People from Jhunjhunu district

fr:Mehdi Hassan hi:मेहदी हसन ml:മെഹ്ദി ഹസൻ (ഗായകൻ) pnb:مہدی حسن ur:مہدی حسن

Coordinates	55°45′06″N37°37′04″N
name	Farida Khanum
background	solo_singer
birth name	Farida Khanum
origin	Kolkata, India
genre	Ghazal
occupation	singer
years active	1950–present
website	}}

Farida Khanum (born 1935) is a Pakistani Ghazal singer from Punjab. ''The Times of India'' has called her "Malika-e-Ghazal" (Queen of Ghazal).

In 2005, she was awarded the ''Hilal-e-Imtiaz'', Pakistan's second highest civilian honour by President Pervez Musharraf.

Early life

Born in (1935) in Calcutta and raised in Amritsar. Her sister is Mukhtar Begum.

She started learning Khayal from her sister Mukhtar Begum at age seven and later learnt classical music from Ustad Ashiq Ali Khan. Her sister Mukhtar Begum would take her, a seven-year-old Farida, to Khan’s place for riyaaz. She migrated to Pakistan after partition of India in 1947.

Career

Farida Khanum gave her first public concert in 1950 and then joined Radio Pakistan where she courted fame and fortune. She became a star when Pakistan’s president Ayub Khan invited her to a public recital in the ’60s.

The ghazal she is most associated with is "Aaj Jaane Ki Zidd Naa Karo".

Personal life

Farida Khanum lives in Lahore, Pakistan. She has 1 son and 5 daughters. She lives with her second oldest daughter, and her only son, his wife and kids. One of her daughters lives with her husband and kids in New York, One of her daughters lives in Canada. Her youngest daughter is a specialist in endocrinology currently working in Services Hospital,Lahore and lives with her husband and kids.

Discography

1978 Farida Khanum In Concert

1979 Farida Khanum In Concert Vol. 2

1985 Taghazzul Farida Khanum Vol 1

1980 Farida Khanum In Concert Vol. 3

1993 Farida Khanum: Meri Pasand Vol 2

1993 Farida Khanum: Meri Pasand Vol 1

References

External links

Farida Khannum gets Haafiz Ali Khan Award - Indian Express

Category:1935 births Category:Living people Category:Hilal-i-Imtiaz Category:Pakistani female singers Category:Pakistani ghazal singers Category:People from Amritsar Category:Punjabi people

de:Farida Khanum pnb:فریدہ خانم

Coordinates	55°45′06″N37°37′04″N
name	Jagjit Singh
background	solo_singer
born	February 08, 1941Sri Ganganagar, Rajasthan, India
genre	Ghazal, Classical, Devotional, Folk
occupation	Composer, Singer, Music Director, Activist, Entrepreneur
instrument	Vocals, Harmonium, Tanpura, Piano
years active	1966–present
label	EMI, HMV, Saregama, Universal Music, Sony BMG Music Entertainment, Polydor, TIPS, Venus, T-Series
spouse	Chitra Singh
website	www.jagjitsingh.co.uk }}

Jagjit Singh (, , ) (born February 8, 1941) is a prominent Indian Ghazal singer, composer, music director, activist and entrepreneur. Popularly known as "The Ghazal King" he gained acclaim together with his wife, another renowned Indian Ghazal singer Chitra Singh, in the 1970s and 1980s, as the first ever successful duo act (husband-wife) in the history of recorded Indian music. Together, they are considered to be the pioneers of modern Ghazal singing and regarded as most successful recording artistes outside the realm of Indian film music. He has sung in Punjabi, Hindi, Urdu, Bengali, Gujarati, Sindhi and Nepali languages. He was awarded India's third highest civilian honour, the Padma Bhushan, in 2003.

Widely credited for the revival and popularity of Ghazal, an Indian classical art form, through his music in landmark films such as ''Prem Geet'' (1981), Arth and ''Saath Saath'' (1982), and TV serials Mirza Ghalib (1988) and Kahkashan (1991), Jagjit Singh is considered to be the most successful ghazal singer and composer of all time, in terms of both critical acclaim and commercial success. With a career spanning over five decades and a repertoire comprising 80 albums the range and breadth of his work has been regarded as genre-defining. He is the only composer and singer to have composed and recorded songs written by Prime Minister - Atal Behari Vajpayee, also a critically acclaimed poet - in two albums, ''Nayi Disha'' (1999) and ''Samvedna'' (2002). India's current Prime Minister Manmohan Singh and his wife Gursharan Kaur are known to be his avid admirers.

On May 10, 2007, in a milestone joint session held in the historic Central Hall of India's Parliament (Sansad Bhawan), Jagjit Singh rendered the last Moghul Emperor, Bahadur Shah Zafar's famous ghazal ''"Lagta nahin hai dil mera"'' to commemorate the 150th anniversary of India's First War of Independence (1857). President A P J Abdul Kalam, Prime Minister Manmohan Singh, Vice-President Bhairon Singh Shekhawat, Lok Sabha Speaker Somnath Chatterjee, Congress President Sonia Gandhi and dignitaries including former Prime Ministers, Members of Parliament, Foreign Ambassadors and High Commissioners were in attendance.

Jagjit Singh is the first Indian composer, and together with his wife Chitra Singh the first recording artist in the history of Indian music to use digital multi-track recording for their (India's first digitally recorded) album, ''Beyond Time'' (1987). He is regarded as one of India's most influential artistes. Together with sitar legend Ravi Shankar and other leading figures of Indian classical music and literature, Singh has voiced his concerns over politicisation of arts and culture in India and lack of support experienced by the practitioners of India's traditional art forms, particularly folk artists and musicians. He has lent active support to several philanthropic endeavors such as the library at St. Mary's School, Mumbai, Bombay Hospital, CRY, Save the Children and ALMA.

Early years and background

Jagjit Singh was born in Sri Ganganagar, Rajasthan to Amar Singh Dhiman, a government employee, a native of Dalla village in Punjab (India) and his mother, Bachan Kaur from Ottallan village, Samrala. He had four sisters and two brothers and he is known as Jeet by his family. He was raised as a Sikh by religion.

He went to Khalsa High School in Sri Ganganagar and then studied science after matriculation at Government College, Sri Ganganagar and went onto graduate in Arts at DAV College, Jalandhar. He is a post-graduate in history from Kurukshetra University in Haryana.

His association with music goes back to his childhood. He learnt music under Pandit Chaganlal Sharma for two years in Ganganagar, and later devoted six years to learning Khayal, Thumri and Dhrupad forms of Indian Classical Music from Ustad Jamaal Khan of the Sainia Gharana school.

Career

Early career

The Vice-Chancellor of Punjab University and Kurukshetra University, Late Professor Suraj Bhan encouraged his interest in music. He arrived in Mumbai in 1965 in search of better opportunities for being a musician and singer. His early struggle in the music industry, though not too harsh by his own account, still had its share of trials and tribulations. He lived as a paying guest and his earlier assignments were singing advertisement jingles or performing at weddings and parties.

First Entry Into Movies

Jagjit Singh was first offered to sing in a Gujarati Film. "Dharati Na Chhoru" produced by Mr. Suresh Amin, famously known by Jagjit Singh as "Jholi Vaaley Baba" : known so, because he carried a Red Shoulder Bag wherever he went. Mr Suresh Amin was from Baroda-Gujarat and was associated with Scad Consultants Pvt Ltd. When, Mr Suresh Amin died in 1998 and Scad Consultants, Baroda, Organized a Live Concert by Jagjit singh in December 1998 - Jagjit Singh [Famously Called by friends as Maharaj] paid a special Tribute to Mr Suresh Amin and dedicated the Scad Consultants Concert to Mr Suresh Amin by Singing the song " Chitthi Na Koi Sandesh ", the perfect song to match his unawareness of Suresh Amin's Death.

Rise to fame

During 1970s, the art of ghazal singing was dominated by well-established names like Noor Jehan, Malika Pukhraj, Begum Akhtar, Talat Mahmood and Mehdi Hassan. However, he was able to make his mark and carve out a niche for himself. In 1976, his album ''The Unforgetables'' (On HMV LP Records) hit music stores. Essentially a ghazal album, its emphasis on melody and Jagjit's fresh voice was a departure from the prevalent style of ghazal rendition, which was heavily based on classical and semi-classical Indian music. Skeptics had their own reservations, purists scorned it but it was widely successful among listeners and the album set new sales records.

In 1967, Jagjit met Chitra, also a singer. After a two year courtship they got married (1969). They epitomize the first successful husband-wife singing team. Jagjit and Chitra Singh have made immense contributions to 'Ghazal' music and the Indian music industry in general.

Successful releases of the duo include ''Ecstasies'', ''A Sound Affair'' and ''Passions''. While these albums were breezy, ''Beyond Time'' released in the opening years of 1990s was an experimentation with sounds and conveyed a feeling that was beyond space and time.

Around this time the duo was struck by grief, when their only son, Vivek (21), met an untimely death in a road accident on 28 July 1990. Their subsequent album 'Someone Somewhere' was the last album with ghazals sung by both. The album is a tour of the soul, ethereal, conscientious and introspective. These ghazals have a moving quality to them since they embody a feeling of deep personal loss. After that Chitra Singh quit singing.

Jagjit Singh's later albums, including ''Hope'', ''In Search'', ''Insight'', ''Mirage'', ''Visions'', ''Kahkashan'' (meaning "Galaxy"), ''Love Is Blind'', ''Chirag'' (meaning "Lamp"/"Flame") also achieved success. ''Sajda'' (an Urdu word meaning "prostration"), which has ghazals sung by Jagjit and Lata Mangeshkar was another brilliant release and made its mark as a classic Ghazal album. The combined successes of his many albums made him the number one ghazal singer in India. The audience wanted more and Jagjit Singh obliged with his Punjabi albums. Ebullient, effervescent and bubbly, his Punjabi songs are pleasant as well as joyous. His enchanting ghazals use the choicest poetry by renowned poets including Mirza Ghalib, Firaq Gorakhpuri, Qateel Shifai, Shahid Kabir, Ameer Meenai, Kafeel Aazer, Sudarshan Faakir and Nida Fazli, and contemporary writers like Zaka Siddiqi, Nazir Bakri, Faiz Ratlami and Rajesh Reddy.

Jagjit also sang (as playback singer) for various songs in Bollywood films including ''Arth'', ''Saath Saath'', and ''Premgeet'' (all from 1980s). These scores remain popular even today. In fact, all the songs of film ''Premgeet'' were composed by Jagjit. His compositions for the TV serial ''Mirza Ghalib'' (based on the life of the poet Mirza Ghalib), remain extremely popular among ghazal aficionados. The exclusive element of Ghalib's poetry was sensitively and wonderfully brought out in the soulful compositions of Ghalib's ghazals by Jagjit Singh. The album could veritably be called a magnum opus.

Compared to his earlier ghazals (sung during 70s and 80s) his later ghazals have acquired a more soulful and poignant demeanour, as in albums such as ''Marasim'', ''Face To Face'', ''Aaeena'', ''Cry For Cry''. But all through this, romance never took a backseat! The journey to the soul is punctuated by romantic pauses like ''Dil Kahin Hosh Kahin''. A testimony to his popularity is his ghazals in recent Bollywood flicks like ''Dushman'', ''Sarfarosh'', ''Tum Bin'' and ''Tarkeeb''.

Most of the earlier albums of Jagjit Singh had English titles. Later, these had Urdu names like ''Sahar'' (meaning "Dawn"/"Morning"), ''Muntazir'' (meaning "In waiting"), ''Marasim'' (meaning "Relation"/"Relationship"/"Affinity" ), and "Soz" (meaning Pathos). The switchover may not be deliberate but marks a milestone in his singing. These new albums show a far better selection of lyrics and his singing has scaled new peaks.

Besides ghazals, Jagjit Singh has also sung Bhajans and Gurbani (Hindu and Sikh devotional hymns respectively). Albums such as ''Maa'', ''Hare Krishna'', ''Hey Ram...Hey Ram'', ''Ichhabal'' and also ''Man Jeetai Jagjeet'' in Punjabi, put him in the league of Bhajan singers such as Mukesh, Hari Om Sharan, Yesudas, Anup Jalota and Purushottam Das Jalota. The soothing effect that Jagjit's voice has on frayed nerves has prompted psychiatrists in metros (as large cities in India are called) to prescribe them as stress relievers.

Influence

Jagjit Singh is accredited with bringing the ghazal genre, which was previously restricted to the elite classes, to the masses. His music direction can be seen to be pioneering in changing the sound layout by adding more Western instruments while mostly retaining the traditional orchestra (which includes a tablaa, dholak, bongos, sitar, sarod, santoor, flute, and harmonium, and a couple of string instruments]. Jagjit Singh is also nicknamed Ghazaljeet Singh.

Jagjit Singh is accredited with finding a famous singer of modern times Kumar sanu. Sanu himself confessed that Jagjit singh offered him the first chance to sing.

Jagjit Singh voiced his opinion against artists from Pakistan being allowed to sing in India, when Pakistan refuses to reciprocate the gesture.

In addition to cultivating his own successful career, Jagjit Singh has been involved in guiding many new, talented singers such as Abhijeet, Talat Aziz, Ghanshyam Vaswani, Ashok Khosla, Siza Roy, Vikram Singh, and Vinod Sehgal. He also lends active support to several philanthropic endeavors such as the Library at St. Mary's (Mumbai), Bombay Hospital, CRY, and ALMA (an organization that adopts under-privileged students for further education and development). He assisted Peta India in asking the Minister of Railways to enforce speed restrictions to prevent further elephant deaths from collisions with speeding trains.

Personal life

Jagjit Singh married the popular singer Chitra Singh in 1969. They live in Vivek Singh Lane (a road dedicated to their son) on Breach Candy in Mumbai. Their only son, Vivek, died in a road accident in the early 1990s.

In January 1998, Jagjit Singh had his heart attack, which led him to quit smoking. In October 2007, he was hospitalized following blood circulation problems.

Music career

Ghazals

There are many successful ghazals composed by Jagjit Singh. Some of them are listed below:-

Yaarian Rab Kar Ke (Sang for Shiv K. Batalvi)

Umr Jalwon mein basar ho

Der lagi aane mein tumko

Apni aankho ke samundar mein utar jaane de

Koi paas aayaa sawere-sawere

Apne hothon par sajaana chaahta hoon

Meri zindagi kisi aur ki, mere naam ka koi aur hai

Apne haathon kee lakeeron mein

Sadma to hai mujhe bhi ke tujhse juda hoon main

Aadmi aadmi ko kya degaa

Haath chhooten bhi to

Garaj baras pyaasi dharthi par phir paani de maula

Apni marzi se kahan apne safar ke hum hain

Ik barahman ne kaha hai

Main na hindu na musalmaan mujhe jeene do

Kaise kaise haadse sehte rahe

Wo jo hum mein tumme qaraar tha

Patta-patta boota-boota haal hamaara jaane hai

Chak jigar ke see lete hain

Main bhool jaaoon tumhe, ab yahi munaasib hai

Jaate jaate wo mujhe achchhi nishaani de gaya

Shaam se aankh mein namin si hai

Tere baare mein jab socha nahin thaa

Tere aane ki jab khabar mehke

Tamanna fir machal jaaye agar tum milne aa jaao

Ab main ration ki kataron mein nazar aata hoon

Tujhse milne ki saza denge tere shehar ke log

Patthar ke khuda, patthar ke sanam

Huzoor aapka bhi ahtraam karta chaloon

Din aa gaye sabaab ke aanchal sambhaaliye

Gulshan ki faqat phoolon se nahin kaaton se bhi zeenat hoti hai

Baat saaqi ki na taali jaayegi

Roshan jamal-e-yaar se hai anjuman tamaam

Tera chehra kitna suhaana lagta hai

Tum nahin, gham nahin sharaab nahin

Sarakti jaaye hain rukh se naqaab aahistaa-aahista

Ae khuda ret ke sehra ko samandar kar de

Yeh daulat bhi le lo, yeh shohrat bhi le lo

Hoshwalo ko khabar

Honthon se chhoo lo tum

Koi yeh kaise bataye

Tere khat

Bahut khoobsurat hai

Kiska Chehera

Kal chodvi ki raat thi

Baat niklegi to

Der laagi ane mein tumko

Main nashe mein hoon

Pyar mujhse jo kiya tumne

Tera chehera hai aaeene jaisa

Chitthi na koi sandesh

Tum itna jo muskura rahe ho

Jab se kareeb ho kay chale zindagi se hum

Koi fariyaad

Kahin duur jab din

Kehta hai baabul

Jhuki jhuki si nazar

Tumko dekha to yeh khayal

Sehma sehma

Yaad kiya dil ne kaha ho tum

Aap ko dekh kar

Jab saamne tum

Hazaron khwaishe aisi

Ya to mit jaaeeye ya mita deejiye

Tere aane ki jab khabar mehke

woh khat ke purje jala raha tha

tum ye kaise khafa ho gaye

hum to hai perdes mein desh mein

Jeevan Maran Chhe Ek (in Gujarati)

Woh kaaghaz ki kashti

Badi Najuk he ye manzil mohabbat ka safar he

Awards

In 2003, he was awarded the Padma Bhushan, one of India's highest civilian honours, by the Government of India

In 2006, he was presented the Teacher's Achievement Awards

Discography

Song for films

Film Name !! Year !! Details
Dear Friend Hitler	2011	"''Har or tabahi ka manzar''"
Pyar Kare Dis : Feel The Power of Love	2007
Umar	2006
Kasak	2005
Dhoop''	2003
Joggers' Park	2003
Aapko Pehle Bhi Kahin Dekha Hai	2003
Leela	2002
Vadh	2002
Deham	2001
Tum Bin	2001
Tarkieb	2000
Shaheed Udham Singh	2000
Bhopal Express	1999
Sarfarosh	1999
Dushman	1998
Khudai	1994
Mammo	1994
Khal Nayak	1993
Nargis	1992
Billoo Badshah	1989
Aakhri Kahani	1989
Doosra Kanoon	1989
Kaanoon Ki Awaaz	1989
Mirza Ghalib	1988
Rahi	1987
Aashiana	1986
Long Da Lishkara	1986
Phir Aayee Barsat	1985
Ravan	1984
Bahuroopi	1966
Bhavna	1984
Kalka	1983
Tum Laut Aao	1983
Zulf Ke Saye Saye	1983
Arth (film)	Arth	1982
Saath Saath	1982
Sitam	1982
Prem Geet	1981
Ek Baar Kaho	1980
Griha Pravesh	1979
Avishkaar	1973
Heena	1999
Neem Ka Ped	1994
Hello Zindagi	19**

Ghazal albums

The Unforgettables (1976)

Birha Da Sultan(Shiv Kumar Batalvi) Jagjit & Chitra (1978

Live in Pakistan (1979)

A Milestone (1980)

Main aur Meri Tanhaayee (1981)

The Latest (1982)

Ae mere Dil (1983)

Live at Royal Albert Hall ª(1983)

Ecstasies (1984)

A Sound Affair (1985)

Echoes (1985–86)

Beyond Time (1987)

Mirza Ghalib (Two Volumes) (1988), TV Serial Directed by Gulzar

Passion / Black Magic (1988)

Ghazals from Films (1989)

Emotions

Man Jite Jagjit (1990)

Memorable Ghazals of Jagjit and Chitra (1990)

Someone Somewhere (1990)

H O P E (1991)

Sajda (Two Volumes with Lata Ji) (1991)

Kahkashan (Two Volumes) (1991–92), TV Serial Directed by Jalal Agaa

Visions (Two Volumes) (1992)

In Search (1992)

Rare Gems (1992)

Face to face (1993)

Your Choice (1993)

Chiraag (1993)

Desires (1994)

Insight (1994)

Cry for Cry (1995)

Mirage

Unique (1996)

Come Alive in a Concert (1998 (CD))

Live at the Wembley

Love is Blind (1998)

Silsilay (1998) (Lyrics by Javed Akhtar)

Marasim (1999) (Lyrics by Gulzar)

jaam utha(1999)

Saher (2000)

Samvedna 2002 (Atal Behari Vajpayee's poetry))

Soz (2002) (Lyrics by Javed Akhtar)

Forget Me Not (2002)

Muntazir (2004)

Jeevan Kya Hai (2005)

Tum To Nahin Ho (Lyrics by Bashir Badr) (2005)

Life Story (2006)

Best of Jagjit & Chitra Singh (includes Mere Darwaaze Se Ab Chand Ko Ruksat Kar do by Ali Sardar Jaffrey)

Koi Baat Chale (Lyrics by Gulzar)

Jazbaat(2008)

Inteha (2009)(Promoted on Banoo Main Teri Dulhann)

Aeena (2009)

Vakratunda Mahakaya (2009)

His Nepali Ghazal 'Kun Maya Sadar Bho, Mero maya badar bho...' [which love has been granted, my love has been disproved]is a big hit... some other songs in the same album is romantic song which is 'not his type'sung with Sadhana Sargam. though his nepali pronunciation in romantic songs are not perfect still worth listening.

Vakratunda Mahakaya

The album Vakratunda Mahakaya was released on December 4, 2009 and was published by Times Music, a subsidiary of The Times Group. The album contained 3 tracks, each about 30min in length.

Tracks

Vakratunda Mahakaya

Om Gam Ganapatayenamah

Jai Ganesh Deva - Aarti

All three tracks are composed of multiple layers of Jagjit's voice with a subtle Tabla rhythm in the background to produce a powerful, transcendental tone to the music.

Trivia

The album 'Beyond Time' is the first digitally recorded album of India.It was recorded in the studio 'Western outdoor' by sound recordists duo 'Daman Sood and Avinash Oak.

References

External links

Jagjit Singh's Official website

IMDB entry

Twitter

Article on the Genius of Jagjit Singh in Asian Lite Magazine by Sreeram Chaulia

Review of Jagjit Singh's Biography, ''Beyond Time'', in Asia Times by Sreeram Chaulia

Jagjit Singh Lyrics and Translations

Bazm-E-Jagjit

Jagjit Singh Albums and Lyrics

Ghazal singer Jagjit Singh in Dulhann

Dollar Mehta does a PhD on Jagjit-Singh

Category:1941 births Category:Living people Category:Indian composers Category:Indian ghazal singers Category:Indian Sikhs Category:Recipients of the Padma Bhushan Category:People from Sri Ganganagar district

gu:જગજીત સિંઘ hi:जगजीत सिंह kn:ಜಗಜಿತ್ ಸಿಂಗ್ pa:ਜਗਜੀਤ ਸਿੰਘ ps:جګجيت سنګهـ pt:Jagjit Singh te:జగ్జీత్ సింగ్ ur:جگجیت سنگھ

Coordinates	55°45′06″N37°37′04″N
Name	Beghum Akhtar
Background	solo_singer
Birth name	Akhtaribai Faizabadi
Birth date	October 07, 1914
Death date	October 30, 1974
Origin	Faizabad, Uttar Pradesh, India
Genre	Ghazal, Thumri, Dadra
Occupation	Musician
Years active	1929–1974
Spouse	Ishtiaq Ahmed Abbasi
Website	}}

Akhtari Bai Faizabadi or Begum Akhtar (October 7, 1914–1974) was an Indian vocalist of Ghazal, Dadra and Thumri.

Her first public performance was at the age of fifteen. She also acted in several Bollywood films, including Mumtaz Beghum (1934), Jawaani Ka Nasha(1935), King for a Day (1933, director : Raaj Hans). She received the Sangeet Natak Akademi Award for vocal music, and was awarded Padma Shri and Padma Bhushan (posthumously) by Govt. of India Today her name is almost synonymous with the concept of ghazal gayaki, and her imitable style of singing which immortalized her, and gave her the title of Mallika-e-Ghazal (Queen of Ghazals).

Early life

Begum Akhtar was born in Bada Darwaza, Town Bhadarsa, Bharatkund, Faizabad District, Uttar Pradesh. Her father Asghar Hussain, a young lawyer who fell in love with her mother Mushtari and made her his second wife, subsequently disowned her and his twin daughters Zohra and Bibbi (Akhtar).

Career

Akhtar was barely seven when she was captivated by the music of Chandra Bai, an artist attached to a touring theatre group. However at her uncle's insistence she was sent to train under Ustad Imdad Khan, the great sarangi exponent from Patna, and later under Ata Mohammed Khan of Patiala. Later, she travelled to Calcutta with her mother and learnt music from classical stalwarts like Mohammad Khan, Abdul Waheed Khan of Lahore, and finally she became the disciple of Ustad Jhande Khan.

Her first public performance was at the age of fifteen. The famous poetess, Sarojini Naidu, appreciated her singing during a concert which was organised in the aid of victims of a Bihar earthquake of 1934. This encouraged her to continue singing ghazals with more enthusiasm. She cut her first disc for the Megaphone Record Company, at that time. A number of gramophone records were released carrying her ghazals, dadras, thumris, etc.

Begum Akhtar's good looks and sensitive voice made her an ideal candidate for a film career in her early years. When she heard great musicians like Gauhar Jan and Malak Jan, however, she decided to forsake the glamour of the film world for a career in Indian classical music. Her supreme artistry in light classical music had its moorings in the tradition of pure classicism. She chose her repertoire in primarily classical modes: a variety of raags, ranging from simple to complex. After the advent of talkie era in India, Beghum Akhtar acted in a few Hindi movies in thirties. East India Film Company of Calcutta approached her to act in "King for a Day" (alias ''Ek Din Ka Badshah'') and ''Nal Damayanti'' in 1933.

Like others of that era, she sang her songs herself in all her films. She continued acting in the following years. Subsequently Beghum Akhtar moved back to Lucknow where she was approached by the famous producer-director Mehboob Khan, as a result of which she acted in "Roti" which was released in 1942 and whose music was composed by maestro Anil Biswas. "Roti" contained six of her ghazals but unfortunately due to some trouble between producer and director, Mehboob Khan subsequently deleted 3-4 ghazals from the film. All the ghazals are available on Megaphone gramophone records. Beghum Akhtar, meanwhile, left Bombay and returned to Lucknow.

In 1945, Akhtaribai married a barrister, Ishtiaq Ahmed Abbasi, and became known as Begum Akhtar. However, after marriage, due to her husband's restrictions, she could not sing for almost five years and subsequently, she fell ill, that is when her return to music was prescribed as a befitting remedy, and in 1949 she returned to the recording studios. She sang three ghazals and a dadra at Lucknow Radio Station. She wept afterwards and returned to singing in concerts, a practice that lasted until her death.

Her voice matured with time, adding richness and depth. She sang ghazals and other light classical pieces, singing them in her inimitable style. She has nearly four hundred songs to her credit. She was a regular performer on All India Radio. She usually composed her own ghazals and most of her compositions were raag based.

Death

During her last concert in Ahmedabad she raised the pitch of her voice as she felt that her singing had not been as good as she had wanted it to be and she felt unwell. The additional demand and stress that she put herself under resulted in her falling ill and was rushed to the hospital.

She died on October 30, 1974 in the arms of Nilam Gamadia, her friend, who invited her to Ahmedabad, which has become her final performance.

Discography

Bollywood career

Naseeb Ka Chakkar | -

# Kalyug Hai Jabse Aaya Maya Ne...

Roti | Anna Sahab Mainkar

# Wo Hans Rahe Hain Aah Kiye Jaa... # Ulajh Gaye Nayanwa Chhute Nahin... # Char Dino Ki Jawani Matwale... # Ai Prem Teri Balihari Ho... # Phir Fasle Bahaar Aayi Hai... # Rehne Laga Hai Dil Me Andhera...

Panna Dai | Gyan Dutt

# Hamen Yaad Teri Sataane Lagi... # Main Raja Ko Apne Rijha Ke Rahungi...

Dana Pani | Mohan Junior

# Ishq Mujhe Aur Kuchh To Yaad Nahi...

Ehsaan

#(1954 - hame.n dil me.n basaa bhi lo).

Filmography

Mumtaz Beghum(1934)

Jawaani Ka Nasha(1935)

King for a Day (1933, director : Raaj Hans)

Ameena (1934, director : -)

Roop Kumari (1934, director : Madan)

Naseeb Ka Chakkar (1936, director : Pesi Karani)

AnaarBala (1940, director : A M Khan)

Roti (1942, director : Maadhav Kaale)

Jalsaghar (1958; director: Satyajit Ray)

Awards and recognition

1968: Padma Shri

1972: Sangeet Natak Akademi Award

1975: Padma Bhushan (posthumously)

Further reading

''In Memory of Begum Akhtar'', by Shahid Ali Agha. U.S. Inter Culture Associates, 1979.

''Great Masters of Hindustani Music'', by Susheela Misra. Published by Hem Publishers, 1981. ''Chapter 26''.

''Begum Akhtar: The Queen of Ghazal'', by Sutapa Mukherjee. Rupa & Co, 2005, ISBN 81-7167-985-4.

''Begum Akhtar: The Story of My Ammi'', by Shanti Hiranand. Published by Viva Books, 2005. ISBN 81-309-0172-2.

''Ae Mohabbat… Reminiscing Begum Akhtar'', by Jyoti Sabharwal & Rita Ganguly, 2008, ISBN 978-81-904559-3-0.

''Begum Akhtar: Love’s Own Voice'', by S. Kalidas . 2009.

See also

Ghazal

References

'* Zikr us Parivash Ka': Begum Akhtar in Lucknow, by Saleem Kidwai in Shaam e Awadh: Writings on Awadh, edited: Veena Oldenberg, Penguin Book, 2007, New Delhi.

External links

Biography of Beghum Akhtar

An Article of Beghum Akhtar

Beghum Akhtar -interesting insights

Short biography

Begum Akhtar Resource website

Begum Akhtar's Thumri and Ghazals in Bengali by Parag Ray (Vocalist based in Canada/India)

;Video links

''Begum Akhtar'' videos

''Parag Ray - A Revival of Bangla Thumris(Album is Based on Begum Akhtar's Songs translated in Bengali)

Category:1914 births Category:1974 deaths Category:Ghazal singers Category:Hindi film actors Category:Hindustani singers Category:Indian female singers Category:Indian film singers Category:Indian ghazal singers Category:Indian Muslims Category:People from Lucknow Category:People from Faizabad Category:Recipients of the Padma Bhushan Category:Recipients of the Padma Shri Category:Recipients of the Sangeet Natak Akademi Award Category:Thumri

hi:बेगम अख्तर ml:അഖ്‌തർ ബീഗം