Begum Akhtar | Bhairavi | वो दिल में हैं मगर दिल की परेशानी नहीं जाती vo dil me haeN magar | 1957

वो दिल में हैं मगर दिल की परेशानी नहीं जाती मोहब्बत हद से बढ़ती है तो पहचानी नहीं जाती ख़लिश के साथ दिल जाता है दिल का दर्द जाता है ख़लिश जाती तो है दिल से ??? नहीं जाती कभी ऐसा भी होता है तेरी बज़्म-ऐ-तमाशा में के आँखें बंद हो जाती हैं हैरानी नहीं जाती मोहब्बत में कभी ऐसा भी वक़्त आता है इंसान पर के पहचानी हुई सूरत भी पहचानी नहीं जाती 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: // 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... “Wo dil mein hain magar dil ki pareeshani nahin jati..” in Mishra Bhairavi set to the Keherwa taal shares some common elements with the six other ghazals included in this collection. Each of the ghazals is loosely based on a raag, but the singer prevaricates towards other raags with the ease that only an artiste well versed and trained in the raagdari system can accomplish. All the ghazal compositions follow a sthayi-antara pattern, with the first and second lines of the opening couplet usually sharing identical melodies and forming the sthayi. The first line of each of the subsequent couplets forms the antara, and is often rendered floating over the rhythm, while the second line of the couplets repeats the melody in the sthayi. The use of laggi is frequently employed in between couplets, and towards the end of each ghazal presentation. //    • Begum Akhtar      • Bhairavi      • Begum Akhtar| 1957 Bombay Home Concert