..these are probably some unplanned titles given to books and cassettes..
Such tags probably speaks more of a glorious past and a bucolic voice but less about a melancholy of a lifetime that evades barriers of time to set its mark into the transcendental phenomenon of world music..
To sing Ghazal is probably the most easiest task in 21st century as one can collect some shayri and put some musical flavors into it. Musicians knows the trick to garnish anything with interludes, support sounds etc.
The changing scenario has, somehow, derided connoisseurs more with actions of music, but not its acts! Music in India, many of them being called of Sufi nature now, portrays every little feeling but somehow misses the participation of the audience.
The true significance of the Shayri as indicated in it natal significances is to let the audience participate into it which, in some way, can induce the poet (or the shayr) to implore into more introspection. This results into the enrichment of the verses and quality of the poetry (or the nazm) is put into confidante of the connoisseurs.
But, Ghazal goes a few step ahead of the shayri. Ghazal elucidates the meaning of the poetry or the nazm by putting into the practice the stereotypes of the Hindustani Music. Just as the poetry has got its own sciences of rectifying error and making it beautiful, the grammar of Hindustani Music is also endowed with such laws or precisions of adornments. Specific modals (called Ragas) has been particularly designed to bring out the ecstasy of time or a season, be it in the hours of the day or anytime of the year. Added to it, for more than five centuries put together, the KHAYAL MAESTROS since the time of Amir Khusru has invented various techniques (or chals) to brush-paint even the quintessential patches of the lyrics or shabd.
The name, as being given to the NAYEEKA of the post, indicates not only the acceptance of the eternal essence of the holistic philosophy of Hindustani Music, but also that it has been carefully picked and put into the principles of action!
This one charisma, differentiates every other singers of her time who took Sufi Music and light classical to perform in front of a private audience or mehfil.
The nayeeka, is thus, none other than Akhtari Bai Faizabadi, known to the world as Begum Akhtar.
Kis se pooche hum ne kahaan woh chehra-e-roshan dekha hain Mehfil mehfil dhoond chukey hain, gulshan gulshan dekha hain..
An auspicious bandish in Tilak Kamod written by Taqreen Quereshi, follow the notes of "chehra-e.." and the toning of "mehfil, mehfil..". The indication of the arrangements of specific notes in the Raga Tilak Kamod has an order but when the array is broken, the notes takes sub-notes to weave the chain of notes. Therefore, the true essence of Tilak Kamod is to bring out the relatedness of the virtuosity, and not its face value.
Now, look at the verses! The poet talks not only about the "chehra" but the aura of the particular entity. He continues to urge for the substitute of the same philosophical unanimity in and around every corner of his world but couldn't find one to compare!
This is how the tonal dictation gets into sync with the literal output and gives birth to ghazals that are pure, rare and remains indispensable for further ages of multitude of musical morons!
For rest of the pleasure, got to listen to it: http://www.youtube.com/watch?v=kDCGaQvJiPs
Consider another number by Daagh Dehlvi: uzr aan'e mein bhi hain
(http://www.youtube.com/watch?v=WJMW0_6Z50M&feature=player_embedded)
uzr aan'e mein bhi hain paas bulate bhi nahin
baees e tarqu'e mulaqat batate bhi nahin!
Khuub pardaa hai ke chilaman se lage baiThe hai.n
saaf chhupate bhii nahii.n saamane aate bhii nahii.n
ho chukaa qataa ta’lluq to jafaaye.n kyo.n ho.n
jinako matlab nahii.n rahataa wo sataate bhii nahii.n
ziist se ta.ng ho ae ‘DaaG’ to jiite kyo.n ho
jaan pyaarii bhii nahii.n jaan se jaate bhii nahii.n
Notice Raga Mishra Kaafi's meer (notational alignment) of Dhaivat and Gandhar in "khub pardah", "zeest se tang ho" etc. and you can also start participating to Delhvi's feelings of scornful melancholy, of getting no reply for the love you have offered once!
