Best Ghazal Ever | Aye Mohabbat Tere Anjam Pe Rona Aya- Sithara With English explanation

Описание: The ghazal ‘ae mohabbat tere anjaam pe ronaa aayaa’ and Begum Akhtar are inseparable. If ‘deewaana banaana hai to deewaana banaa de’ (1925) heralded the arrival of Begum Akhtar as a ghazal singer, ‘ae mohabbat tere anjaam pe ronaa aayaa’ (early 1950s) consolidated her position in ghazal singing paving the way for her to be bestowed upon the title of ‘mallika-e-ghazal’ later. I came to know about Begum Akhtar in my younger days only because of this ghazal which was regularly played on the radio. The simple words in this ghazal with the captivating style of Begum Akhtar’s rendition attracted not only the connoisseurs of ghazals but also the commoners. No wonder, the sales of gramophone records of this ghazal attained the stature of a platinum disc.

It is said that this ghazal was so much in demand in all her concerts that Begum Akhtar had to sing this ghazal multiple times on the persistent requests from the audience. In one of her public concerts, she sang this ghazal five times, each time giving a different treatment in her renditions, making the audience spellbound. With this ghazal, Shakeel Badayuni became a celebrity probably facilitating him to consolidate his position in the Hindi film industry as a lyricist. If this ghazal was to remain within the four walls of mushairas, Shakeel Badayuni would have to be contended with only ‘waah waah’ from the audience and the underlying anguish embedded in the ghazal would have been lost. It is to the credit of Begum Akhtar who translated this simple ghazal through her rendition in raga bhairavi to convey the right amount of pathos to the audience many of whom would have identified themselves in similar situation. The way she sang the words ‘ronaa aayaa’ in the audio clip really made my eyes moist. I would not be surprised if in her live concerts, many audience might have shed tears when she would have rendered the same words’ ronaa aaya’ in different ways.

Personally, I regard this ghazal cutting a platinum disc a more creditable effort by Begum Akhtar than her first one, viz. ‘deewaana banaana hai to deewaana banaa de’ (1925) . She sang this ghazal at a time when Urdu language was on a declining trajectory. With fewer and fewer people having adequate knowledge of Urdu language in the post-independent period, the admirers of ghazals had been slowly dwindling. The commoners had already switched over their allegiance to Hindi film songs which were becoming popular. It is to the credit of Shakeel Badayuni that he wrote this ghazal in simple words keeping with the changing times. And it is much more to the credit of Begum Akhtar who sang and composed this ghazal so effectively that those who did not fully understand the meaning of the lyrics got the meaning through her rendition.

Listening to this ghazal is like reliving an old era of ghazal gayaki when sound of lyrics dominated the sound of music. ( Courtesy) Sadanand Kamath

























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