In 1957, when this recording was captured on tape during a live concert, #Begum_Akhtar (1914-1974), highly acclaimed and sought after as the reigning queen of ghazal, and also considered a leading exponent of thumriand dadra. Performing for an adoring audience, as is evident from the abundantly audible appreciation, the great singer offers a rich repertoire of bol-banao thumri, dadra, hori, chaiti and several ghazals by master poets in the course of the evening. The recording of this mehfil which continued for more than three hours, is replete with many invaluable gems from Begum Akhtar’s repertoire, her girlish giggle, her waahfor her accompanying musicians, the smile in her voice as she receives fulsome praise, and of course, the rousing appreciation she receives from her fascinated listeners throughout the concert.
Although Begum Akhtar was an outstanding exponent of the thumri-dadra and ghazal forms, she is best remembered for her unique rendering of ghazals in a musical style that relied heavily on her training in Hindustani classical music from ustads including Abdul Wahid Khan of the Kirana gharana, and Ata Mohammad Khan of the Patiala gharana. Contemporary ghazal gayaki has no doubt distanced itself from classical music and leans more towards melodies based on chordal structures and movements. But in the past the rendering of Urdu poetry either relied on the tarannum style, or on raag-based melodies.
In this mehfil #Begum_Akhtar presented as many as three ghazals written by Shakeel Badayuni. Her rendering of Shakeel’s “#Aankhon Se Door Subah Ke Taare Chale Gaye, Neend Aa Gayi To Gham Ke Nazare Chale Gaye” in a Mishra Garabased melody set to the six matra Dadra taal, receives a tremendous response from the audience. The 17 minute long rendition provides several pointers for aspiring ghazal singers. Maintaining the dignified restraint typical of both Urdu poetry and her style of presentation, Begum Akhtar never lets the element of elaboration come in the way of the prosodic scheme of the poetry. Each misraa is presented only as many times and with just enough subtle variations as to make the listener wait in eager anticipation for the next misraa. Occasionally, fleeting insertions of phrases from other #raags like #Kafi, #Patdeep, and #Khamaj are ushered in tantalisingly and aesthetically for brief moments. Before revealing the misraa-o-oolaa and the misraa-o- saanii Begum Akhtar sings quicksilver phrases in aakaar that create a lovely aamad for each misraa. Tabla and sarangi accompaniment for this ghazal is exemplary, brilliant, brief and restrained. The swaying gait of the theka enhances the beher of the poetry creating a superb backdrop on which the singer places each misraa. Unfortunately, no information is available regarding the accompanists for this mehfil.
(This private concert hosted by businessman and patron Khatau Vallabhdas at his residence in Walkeshwar, Mumbai, in the year 1957.)
Information source- Decoding Begum Akhtar by Shubha Mudgal Jee.
Негізгі бет Aankho Se Door Subah Ke (Live) Begum Akhtar Sahiba
Пікірлер: 16