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Master Ghulam Haider

GUZRA HUA ZAMANA: REMEMBERING OUR GLORIOUS PAST – EPISODE 37
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For the 37th episode of Guzra Hua Zamana on January 10-11, we have selected Ghulam Haider, a name that evokes a whole lot of respect and gratitude in other legends of HFM. Despite a short career, he has left an indelible mark in the film music scene of the sub-continent. Let’s enjoy and relish his creations on these two days.

On behalf of the SKS family, I would like to express our sincere thanks to Khantha Mahadevan for putting together this fantastic write-up that is not only written so lucidly, but is also one of the most comprehensive account of the maestro’s life and work one would come across anywhere.

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Master Ghulam Haider

MASTER GHULAM HAIDER

INTRODUCTION

The legacy of a composer is determined primarily by the quality of his compositions. The creative beauty and styles used to juxtapose melody, harmony, rhythms into preludes, interludes, vocal, choral and orchestral sections reveal the mastery of a composer. Additionally, a composer can leave behind a rich legacy by introducing new talent, by being an effective teacher, by nurturing fellow musicians, by being a responsible member of the fraternity and by being a role model for younger generation of composers. Most of the best music composers revered by the masses and connoisseurs have left an indelible imprint on utmost a few of the above criteria. Some have reigned supreme for a few decades and have left an immense treasure trove of songs, that, one does not even pause to measure their legacy using any other criteria outlined above. Some have had a short career but each of their musical compositions is so unique that those become their defining legacy. Some composers have won laurels only after their death when the beauty of their compositions has been absorbed.

Amidst the tortuous and fleeting pathways of stardom in the galaxy of Indian film music, there is only one music composer whose name evokes unbridled love, respect, admiration and gratitude. To date, he is regarded as the ultimate mentor, a supreme composer, a trailblazer, an excellent teacher, a superb voice trainer, adviser, a mega talent hunter, and above all, a most beloved human being who cared deeply for the welfare of his singers, musicians and colleagues. This Polaris of film world is none other than Master Ghulam Haider. His career in films spanned a mere eighteen years from 1935 until 1953. He gave music to approximately thirty six films but his legacy is far-reaching that he shall always remain the North Star of film music.

No matter which yardstick is used, Master Ghulam Haider’s legacy is everlasting. Simply put, his knowledge of music was extensive, his ability to recognize vocal talent was extraordinary, his potential to mentor, nurture and groom the juvenile talents he discovered remains unsurpassed, his prophetic statements have come true even beyond his wildest imaginations, his service to fellow composers and the industry remains unforgettable, his treasury of non-film songs is as exquisite as his compendium of film songs, the reverence he commanded from his singers and musicians is unmatched, his revolutionary style of music opened a cosmos of melody, rhythm and fusion that rules the film music world even today. Master Ghulam Haider (MGH) remains the Master of masters of film music.

MGH was a pioneer who was recognized and revered during his brief career and his persona continues to draw glowing tributes even in this seventh decade after his death. A beautifully crafted four-part video tribute, put together by Inaam Nadeem running to a total of 45 minutes (https://www.youtube.com/watch?v=eyOa_KNeyao ) is a recommended must watch to appreciate the enormous influence of MGH. Before elaborating on his short life of 44 years, it is appropriate to quote what famous people have said about their Master. Read the rest of this entry »

 
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Posted by on January 10, 2015 in Uncategorized

 

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poets who are not primarily lyricists

BAHADUR SHAH ZAFAR:
  1. Na kisi kii aankh ka noor hoon_Rafi_laal qila**
    ** कहा ये भी जाता है कि ये ग़ज़ल बहादुर शाह ज़फ़र की न होकर: Muztar Khairabadi, की  लिखी  हुई  है .Bahadur Shah Zafar


    Ghazal 1

    radiif: aar huuN

    naa kisii kii aaNkh kaa nuur huuN, naa kisii ke dil kaa qaraar huuN
    jo kisii ke kaam na aa sake, maiN vo ek musht-e-gubaar huuN

    main nahin huun naghma-e-jaaN feza, koii sun ke mujh ko karega kya
    main baRe birog ki huuN sada, maiN baRe dukhoN ki pukaar huun

    meraa rang ruup bigaR gayaa, meraa yaar mujh se bichaR gayaa
    jo chaman khizaaN se ujaR gayaa, main usi ki fasl-e-bahaar huun

    naa to maiN kisii kaa habiib huuN, naa to maiN kisii kaa raqiib huuN,
    jo bigaR gayaa vo nasiib huun, jo ujaR gayaa vo dayaar huun.

    pae faatihaa koi aae kyuuN, koi chaar phuul chaRhaae kyuuN?
    koi aake shamaa jalaae kyuuN, maiN vo bekasi kaa mazaar huuN

    Rough English Translation

    not the light of any one’s eyes,
    nor the solace for any one’s heart
    of no use to anyone,
    I am that one fistful of dust

    I am not the song infusing life,
    why would anyone want to hear me
    I am the sound of separation,
    I am the wail of much distress

    my complexion and beauty is ravaged,
    my beloved is parted from me
    the garden that got ruined in autumn,
    I am the crop of its spring

    I am neither anyone’s friend,
    nor am I anyone’s rival
    the one that is ruined, I am that fate
    the one that is destroyed, that land

    why should anyone come to sing a requiem
    why should anyone come to offer four flowers
    why should anyone come to light a candle
    I am the tomb of that destitution


    Ghazal 2

    radiif: aar meiN

    Lagtaa nahii hai dil meraa ujRe dayaar meiN
    kiss kii banii hai aalame-naapaaidaar meiN

    umr-e-daraaz maaNg ke laaye the chaar din
    do aarzuu meiN kaT gaye do intezaar meiN

    kah do in hasratoN se kahiiN aur jaa baeiN
    itnii jagah kahaaN hai dil-e-daaghdaar meiN

    kitnaa hai badnaseeb zafar dafan ke liye
    do gaz zamiin bhii naa milii kue-yaar meiN

    Rough English Translation

    cannot find peace, this heart of mine,
    in this wrecked land
    who has succeeded in this
    transitory world

    having asked for a long life
    I brought back four days
    two passed away in yearning
    and two in waiting

    tell these desires
    to go and settle down elsewhere
    where is so much space
    in the scarred heart

    how ill-fated is that
    Zafar, for his burial
    could not even find
    two yards of land in the street of the beloved


    Post Script: It turns out that these two ghazals, though attributed to Zafar, with the added embellishment that he wrote them after his imprisonment in exile, may not have been written by him at all, and the fact while largely known to people in the Urdu literary circles has largely been obscured by the mythology surrounding Zafar’s poetic corpus, much has been done to Khusro and Kabir.

    These hurried literal translations were spurred on because of a Russian student of Urdu poetry, Philip Nikolayev, who had translated these two ghazals and posted them on a listserv called SASIALIT  in the late 90s. Much was made of the fact that these were written by the last Mughal to rule India who had been imprisoned and then exiled to Burma. How tragic that he ended up ruing his fate, missing the land he was born in, knowing that he wouldn’t be buried there…these and such other romantic sighs were sighed. The imagery of the ghazal was used to conclude that they must have been written after his arrest and exile. An Urdu scholar, Frances Pritchett, had then pointed out that given that Zafar’s state of health was known to be rather weak, and in the absence of any authorised Diivaan, there was no way that the provenance of the date of composition could be checked. Besides, even if he wrote them, how were they smuggled out? What did he write them on? Remember he was forbidden paper and ink? And so on and on, she argued persuasively. Enough to convince us as to when he actually may have written them, but there seemed not much of a doubt that he did actually write them. Afterall, all the compilations in Devnagri and Urdu always included these, as these two are perhaps the most famous of his ghazals, immortalised by Mohammed Rafi in the film Lal Qila. And thanks to Fran Pritchett’s persuasive and logical argument, the alternative was actually even more romantic: what a coincidence that Zafar’s ghazals turned out to be prescient, or at least prophetic!

    Post Script 2: Now I am truly heart-broken! This time we had yet another translator on yet another list who’s the culprit – and it is none other than the well-known literary figure Harish Trivedi who posted his translations on Urdu List and, as if inevitably, as it happens each time these ghazals get invoked, mentioned that Zafar wrote these during his exile in Rangoon. Fran (Frances Pritchett)  once again pointed out that there was no record of Zafar having written any poetry after his exile, and in fact for some years prior to 1857.

    And now, the romance is dead! It turns out that Zafar in fact never wrote either of these two. One of the Urdu scholars in Paksitan finally provided the answer (appended below is his email, quoted with his permission).

    From: Irfan Khan
    Reply-To: urdulist
    To: urdulist
    Date: Aug 30, 2005 9:34 PM
    Subject: Re: URDULIST: site on zafar

    dear list,

    as chance would have it i recently read a brief khaka of dr zaheer ahmed
    siddiqui (formerly of delhi university) in dr aslam farrukhi’s book
    “laal sabz kabootroon ki chahtri”, a collection of shakhsi khakay
    (karachi: scheherzade, august 2005). here is a quote from dr siddiqui’s
    khaka:

    “aik bohat mashhoor shair bahadur shah zafar kay naam say mansoob hai:

    umr-e daraz mang kay lai thi char din
    do arzo main kat gaey do intezar main

    zaheer bhai nay tahqeeq say sabit kiya kay yeh shair bahadur shah zafar
    ka nahin seemab akbarabadi ka hai. un ki tahqeeq say yeh ghalatfahmi
    door hoi.”

    i spoke to dr aslam farrukhi the other day to find out more about the
    above shair. he pointed out that seemab’s shair has “lai thi” (which
    gives a *little* different meaning) instead of “laey thay”. in his
    opinion kalam that is generally attributed to zafar — and is not found
    in his four diwans — should not be attributed to him just because the
    maqta’ has zafar’s takhkhalus, or the shair is in zafar’s style. dr
    farrukhi also told me that “na kisi ki ankh ka noor hoon na kisi kay dil
    ka qarar hoon” is by muztar khairabadi (janisar akhtar’s father).

    afterwards, i was able to locate both verses in mohammad shamsul haq’s
    “urdu kay zarbilmisl asha’ar” (karachi: idara-e yadgar-e ghalib, 2003),
    in which credit is given to seemab and muztar respectively with detailed
    notes and references. in both entries, it has been noted that the
    attribution to zafar is incorrect.

    now a little about zafar’s diwans (from various sources): his first
    diwan (believed to be completed in 1808) was published in 1845/1846. as
    there were a number of typos in this edition, zafar requested zouq to
    oversee the printing of its second edition (1849). the second diwan also
    appeared in 1849. his third and fourth diwans were probably published in
    1856. all four diwans were printed at the matba’a sultani, delhi. his
    kulliyat (i.e. all four diwans) was first published in 1862, and then in
    1870/1887.

    the little that we know about his “stay” in rangoon suggests that it
    wasn’t possible for him to write as “pen ink and paper [were], of
    course, strictly prohibited” (jail governor quoted in “biyaz-e zafar”,
    complied by saleemudin qureshi. lahore: sang-e meel publications, 1994).
    while he could have composed ghazals and remembered it by heart, “the
    public [was], of course, not allowed to hold intercourse with the
    prisoners” (ibid). it would not be unfair to deduce that zafar had
    little or no communication with the outside world.

    Now I am truly intrigued. It would be a fascinating project to find out when and how these couplets first got attributed to Zafar. Irfan’s research on this is definitely a story worth sharing with a wider audience. Also, what intrigues me even more is that when this controversy had first been broached on SASIALIT many years back, with  Philip Nikolayev’s translations of these two very ghazals, we were all content to not pursue it beyond Fran’s comments that there was no evidence of Zafar having written any poetry in Rangoon.

    I would definitely would also be interested to learn what the status of the other couplets from these ghazals attributed to Zafar
    is: Are they also by the poets identified by Irfan? Also, were there any ghazals in that zamiin and radiif in Zafar’s Diivaan?

    The attribution to muztar khairabadi (janisar akhtar’s father).also leaves many questions unanswered. Seems reasonable to assume that Janisar Akhtar and through him Javed Akhtar etc and others would be familiar with his poetry? Surely it would be known widely in Urdu circles of one time at least? Perhaps those who knew just gave up on trying to sort out this misatribution, given the wide popularity, particularly since the release of Lal Quilla when Rafi immortalised these two ghazals, and others in India and Pakistan of course have widely known and popular renditions that leave everyone maudlin at the fate of this tragic poet-king?

    While Irfan has promised to dig up more, on my above queries, he so far has this to say:

    “in his book, mohammad shamsul haq has a two-page quote from an article
    (“shah zafar nahin, muztar khairabadi”) that appeared in nigar (january
    1963) re “na kisi ki ankh ka noor hoon na kisi kay dil ka qarar hoon”.
    it gives good reasons for this misattribution, including the reference
    to “lal quilla” film. will try to scan the pages to share with the
    urdulist walas. according to haq, seemab’s verse appeared in nigar’s
    special issue on autobiographies (january-february 1941). have been told
    that seemab himself selected “umr-e daraz mang kay lai thi char din” for
    the special issue as one of his representative/favourite verses. am also
    trying to locate dr zaheer ahmed siddiqui’s paper on the verse(s)
    attributed to zafar. so far, no success.”

    source :

 
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Posted by on November 7, 2012 in info and facts, Uncategorized

 

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