My Music.:.Ghazals.:.Begum Akhtar

          Born on October 7, 1910 in Faizabad, Uttar Pradesh, the Begum's first lessons in music were imbibed from Ustad Imdad Khan, a famous sarangi player of his times. The Ustad had accompanied the likes of Gauhar Jaan and Malka Jaan. She then went on to learn from Ustad Sakhawat Hussain Khan, a sarod player. Through his recommendation, she was accepted as a pupil by Ustad Ata Hussain Khan of the Patiala Gharana, under whom she received a solid grooming in khayal gayaki. By the time she was 30, Begum Akhtar had recorded her first thumri album. She even sang in maestro Satyajit Ray's film Jalsaghar.

         Besides being gifted by an awe-inspiring voice, Begum Akhtar was an awe-inspiring beauty. She gave ghazal singing an identity and style which has remained unmatched even some 26 years after her death. Besides ghazals, she even sang other light classical musical forms like dadras, thumris and kajris. Her 'nanadiya kahe mare bol, or zara dheera se bolo koyi sun lega', are as matchless today as they were then. But it was ghazals which were really her forte. Begum Akhtar's rendition of ghazals like 'Aye mohabbat tere anjaam pe rona aya, Kabhie ham main tum main karar tha,' or Ghalib's kalam like 'Yeh na thi hamari kismat,' are unparalled in the world of ghazal gayaki. Despite the seemingly utter simplicity of her rendition, there was great art behind the recitals.

        Her genius lay in her ability to transcend her technical flaws, she did have a limited vocal range. But that is not what one remembers when one hears a Begum Akhtar recital. What stays with one is the 'mizaaj' in her voice. She managed to convey an entire world of associations with just one 'aakar'. But over and above everything, it was the quality of her voice which shines through and warms like the mellow September sun still. It is a voice which reminds one of John Keats' Ode To Autumn. Sparkling, mature and intoxicating in turns like old wine.

         There have been many ghazal singers after and before Begum Akhtar, but none could touch her magic. The classical touch that she gave to ghazals has been carried forward by the likes of Mehdi Hassan and Ghulam Ali. But the shama carried forward by them and her disciples may keep her memory alive but can never hope to match the warmth of her tones.

        Her unforgettable husky tones linger still in memory and have become synonymous with ghazal gayaki. The Begum's legacy, her inimitable style and delivery, lives on even today through disciples like Rita Ganguly and Shanti Hiranand.