“Mehfil mein baar baar kisi par nazar gayee,
Humne bachiyi laakh magar phir udhar gayee”
(At a concert, my eyes gazed again and again on her,
I tried to look away, but they still riveted back to her!)
This famous couplet sung by Ghazal maestro Ghulam Ali, brings back the memories of youth in the subcontinent, when love was in the air and ghazal concerts were a routine affair. Ghazals have their own fan following and iss appreciated by both the male and female members of the society. Infact, such concerts were also an occasion to meet each other in the highly reserved society where mingling in open was frowned upon.
The word ‘Ghazal’ has its origin in Persia and is a poetic form consisting of rhyming couplets and a refrain. It consists of minimum five couplets and typically no more than fifteen. However, each couplet is autonomous in its own right, with only the emotion as a common theme in all the couplets of a ghazal. The length of each line of couplet is also the same. The second line of a couplet (or ‘sher’ as it is known) ends with a repetition of few words known as ‘radif’ which is preceded by a rhyme known as ‘qaafiyaa’. The poet generally places his or her name in the final verse (or Maqta) and the ‘takhallus’(pen name) often subscribes the credit of the ghazal to him or her.
Traditionally invoking melancholy, love, longing, and metaphysical questions, ghazals are often sung by Iranian, Indian, and Pakistani 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. 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. 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.
On April 10th, Aucklanders will be lucky to enjoy the first ever concert of Ghazal in New Zealand. The credit for this must go to Nisar Mirza, who has worked tirelessly for the last six months to get this project off ground. He has single handedly pushed for this dream project and has brought imminent singers in Auckland together with the help of Sargam School of Music.
The reference of Ghazal brings to fore prominent singers like Begum Akhtar, Ghulam Ali, Mehdi Hassan, Jagjit & Chitra Singh, Talat Aziz, Farida Khanum, Pankaj Udhas, Nina & Rajendra Mehta among others who have given us innumerable hits. Poets like Wali, Aatish, Mirza Ghalib, Jigar Moradabadi, Firaq Gorakhpuri, Majrooh Sultanpuri, Faiz Ahmed Faiz, Jan Nisar Akhtar, Shakeb Jalali, Qamar Jalalabadi, Qateel Shifai, Nasir Kazmi, Ahmed Faraz, Makhdoom Mohiuddin, Sahir Ludhianvi, Nida Fazli and Gulzar have given us some wonderful ghazals. Add to the mix, musicians like Khayyam, Naushad who have composed some wonderful ghazals for films. It was this legacy that Mirzaji wanted to carry forward in New Zealand and the task was difficult.
Ghazals are traditionally based on classical Hindustani music and you need singers with soft voice and versatility to pick up the fine nuances of the couplets and relay the emotion effectively to the audiences. Even today when you listen to ghazals like “ Sunte hain ke mil jaati hai har cheez dua se” you get goosebumps. Who can forget the evergreen “aaj jane ki jid na karo” or “bahut pahelese un kadmo ki aahat jaan lete hai”. The ghazals have become a part of the folkore and liking across the globe. The tough task of rendering these masterpieces will fall in hands of noted singers Shobha Pathak, Arun Khotkar and Sandhya Rao.
Mehdi Hassan’s ghazals sound very soft and easy to the ears but are one of the most complicated to sing as they stick to true classical form which include hits like “Ranjish hi sahi” or “tumne yeh phool joh julfe pe saja rakkha hai” or “ shola hun”. It will be challenging for Nisarji and his team to sing these ghazals. But he has also some aces up his sleeves in the form of Prof S D Madhur, who can render these emotions with ease and will also have the support of Kanika Diesh and Viraj Maki. How can the program of ghazal be complete without the mention of Roshan, a popular singer on these shores. Harish Khatnour will be at his best while rendering the complex compostions of Jagjit and Ghulam Ali.
Evergreen ghazals like “Who Kagaz ki Kashti”, “Sarakti jaye”, “ Apni Marji se”, “Diwaron se milar rona”, “Ab dhalte hue sagar nahi dekhe jaate” or “jab aanchal raat ka leheraye” are a challenge to any musicians. However, rest assured that Sargam School led by Basant Madhur and Deepak Madhur on Tabla and Hemant Thaker on Keyboard are upto the task and they will be assisted by Shivam on Base Guitar and Surbhi Sharma on Violin.
The program promises to be an evening to remember and will keep the audiences rooted the seats.
So mark the date in your calendar – 10th April 2010. Venue: Dorothy Winston Centre, Howe Street, Auckland. Time: 7.00 pm and book your tickets in advance.
As the famous ghazal goes
“ek na ek shama andheri mein jalaye rakhna, subah hone ko hai mahol baneya rakhna”
(keep at least one light burning in the darkness,
It’s about to dawn, keep the ambience in brightness)
Tickets: $15 & $20.00
Available at : Yogiji’s foodmart or contact
Nisar Mirza: 027 2777623
Basant Madhur: 021 0357954/ 09 626 2646