Begum Akhtar | Jigar Moradabadi | वो अदा-ए-दिलबरी हो कि नवा-ए-आशिक़ाना woh ada-e-dilbarii ho | 1957

Описание: वो अदा-ए-दिलबरी हो कि नवा-ए-आशिक़ाना
जो दिलों को फ़त्ह कर ले वही फ़ातेह-ए-ज़माना

ये तिरा जमाल-ए-कामिल ये शबाब का ज़माना
दिल-ए-दुश्मनाँ सलामत दिल-ए-दोस्ताँ निशाना

कभी हुस्न की तबीअत न बदल सका ज़माना
वही नाज़-ए-बे-नियाज़ी वही शान-ए-ख़ुसरवाना

मैं हूँ उस मक़ाम पर अब कि फ़िराक़ ओ वस्ल कैसे
मिरा इश्क़ भी कहानी तिरा हुस्न भी फ़साना

मिरी ज़िंदगी तो गुज़री तिरे हिज्र के सहारे
मिरी मौत को भी प्यारे कोई चाहिए बहाना

तिरे इश्क़ की करामत ये अगर नहीं तो क्या है
कभी बे-अदब न गुज़रा मिरे पास से ज़माना

तिरी दूरी ओ हुज़ूरी का ये है अजीब आलम
अभी ज़िंदगी हक़ीक़त अभी ज़िंदगी फ़साना

मिरे हम-सफ़ीर बुलबुल मिरा तेरा साथ ही क्या
मैं ज़मीर-ए-दश्त-ओ-दरिया तू असीर-ए-आशियाना

मैं वो साफ़ ही न कह दूँ जो है फ़र्क़ मुझ में तुझ में
तिरा दर्द दर्द-ए-तन्हा मिरा ग़म ग़म-ए-ज़माना

तिरे दिल के टूटने पर है किसी को नाज़ क्या क्या
तुझे ऐ 'जिगर' मुबारक ये शिकस्त-ए-फ़ातेहाना

Akhtari Bai Faizabadi (October 7, 1914 – October 30, 1974), also known as Begum Akhtar.

This recording, made available by the National Center for the Performing Arts in the public domain, is one of the 18 compositions recorded during a private concert hosted by businessman and patron Khatau Vallabhdas at his residence in Walkeshwar, Mumbai, in the year 1957.

No copyright infringement is intended and this is not meant for any commercial purpose whatsoever. It is shared only for the purpose of widening the availability of this amazing document so that the magic of this art form can be experienced and studied widely.

The composition is best heard with the context provided by Shubha Mudgal in the writeup for the NCPA:

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In 1957, when this recording was captured on tape during a live concert, Begum Akhtar (1914-1974) would have been thirty-eight [43, actually – SD] years old, highly acclaimed and sought after as the reigning queen of ghazal, and also considered a leading exponent of thumri and dadra...

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 undoubtedly 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. The inclusion of the notation of a ghazal (jo ke naam haq na liya bhala, vo jiya to kya, na jiya to kya) in raag Des and taal Pashto by Vishnu Narayan Bhatkhande in his mammoth compendium of Hindustani classical compositions titled Kramik Pustak Malikaa (first published in the early part of the twentieth century) suggests that ghazals formed part of raagdari sangeet repertoire. Begum Akhtar’s rendering of ghazal too rested on a foundation that was steeped in raagdari music on the one hand, and a deeply intrinsic understanding of Urdu shayari. In the seven ghazals that form part of this collection, her classic raag-based style of ghazal gayaki is amply evident, as is her consummate intimacy with the literary form of ghazal...

The two ghazals by Jigar Moradabadi (1890 -1961) included in this collection are “woh ada-e-dilbari ho, ke nawa-e-ashiqana, jo dilon ko fateh kar le, wohi fateh-e-zamana” and “ Is ishq ke hathon se hargiz na mafar dekha, utani hi badi hasrat jitana hi udhar dekha”.

The former is loosely based on the melodic foundation of the Kanhada family of raags and set to the Keherwa taal. Skilfully enhancing Jigar sahab’s words with the added dimension of music, Begum Akhtar judiciously selects specific words for elaboration. For example, in the couplet “ teri doori-o-huzoori se hai kuch ajeeb aalam, abhi zindagi haqeeqat, abhi zindagi fasaana” she elaborates on the word “doori”, in a manner that leaves the listener experiencing distance and space, as well as the sense of being far away and yet so near, stated in the couplet.

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