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Only Songs and Ghazals

Soulful Kundan Lal Saigal.

Kundan Lal Saigal, often abbreviated as K. L. Saigal (11 April 1904 – 18 January 1947), was an Indian singer and actor who is considered the first superstar of the Hindi film industry, which was centred in Kolkata during Saigal's time, but is currently centred in Mumbai. Saigal's unique voice quality which was a mixture of baritone and soft tenor was the benchmark for most of the singers who followed him. In fact it remains the gold standard even today shining through very early and practically primitive recording technology.

Only Songs and Ghazals

Soulful Kundan Lal Saigal.

Kundan Lal Saigal, often abbreviated as K. L. Saigal (11 April 1904 – 18 January 1947), was an Indian singer and actor who is considered the first superstar of the Hindi film industry, which was centred in Kolkata during Saigal's time, but is currently centred in Mumbai. Saigal's unique voice quality which was a mixture of baritone and soft tenor was the benchmark for most of the singers who followed him. In fact it remains the gold standard even today shining through very early and practically primitive recording technology.

ft Namwar Singh, Rajendra Yadav, Rachna Yadav, Pratibha Agrawal etc

Mannu Bhandari (3 April 1931 – 15 November 2021) was an Indian author, whose work dates up to late 1950s - early 1960s. She was most known for her two Hindi novels, Banti and Mahabhoj. She was often credited as one of the pioneers of the Nayi Kahaani Movement, a Hindi literary movement initiated by authors including Nirmal Verma, Rajendra Yadav, Bhisham Sahni, Kamleshwar, etc. Starting in the 1950s, a newly independent India was going through societal transformations like urbanization and industrialization. This demanded new debates, new opinions and new points of view, provided by those who were part of the Nayi Kahaani movement, including Bhandari. Narratives and stories mostly dealt with the relationship between sexes, gender inequality and equality as a new class of working and educated women had emerged then.

Bhandari was one of those post-Independence writers who portrayed women under a new light, as independent and intellectual individuals. Through the subject matter of her narratives, Bhandari highlighted the struggles and difficulties women constantly encountered. Sexual, emotional, mental and economic exploitation had placed women in an extremely weak position in Indian society. Her female characters in her stories are portrayed as strong, independent individuals, breaking old habits and emerging and creating an image of 'a new woman'.

Text source Wikipedia

Image courtesy Google

This is a complete recording of a Clubhouse event organised by the club Study Circle पाठशाला on 14th of November 2021 The event started at 7 PM with an introduction by the Club Founder and Moderator Ravindra Patwal.

Presented/Curated by Irfan 

Image Courtesy: Study Circle पाठशाला CH Cover Art

Ghalib's Ghazal sung by M.S.Subbulakshmi

*

ishrat-e-qatra hai dariyā meñ fanā ho jaanā

dard kā had se guzarnā hai davā ho jaanā

to be consumed by oceans is the droplet's ecstasy

when pain exceeds all bounds becomes, itself the remedy

tujh se qismat meñ mirī sūrat-e-qufl-e-abjad

thā likhā baat ke bante hī judā ho jaanā

lock's shackle and body's akin, to meeting in our fate

as soon as everything aligns, we're bound to separate

dil huā kasmakash-e-chāra-e-zehmat meñ tamām

miT gayā ghisne meñ is uqde kā vā ho jaanā

the struggle to resolve its woes, my weakened heart unmade

in trying to undo the knot, it got completely frayed

ab jafā se bhī haiñ mahrūm ham allāh allāh

is qadar dushman-e-arbāb-e-vafā ho jaanā

now even from torture deprived, Lord mercy on me pray

her to become so hostile to her followers this way?

zo.af se girya mubaddal ba-dam-e-sard huā

bāvar aayā hameñ paanī kā havā ho jaanā

infirmity replaced my tears, with sighs full of despair

Twas only then that I believed, water can turn to air

dil se miTnā tirī añgusht-e-hinā.ī kā ḳhayāl

ho gayā gosht se nāḳhun kā judā ho jaanā

thoughts of your hennaed fingers to uproot from this mine heart

has now become a torture like, nails from one's flesh to part

hai mujhe abr-e-bahārī kā baras kar khulnā

rote rote ġham-e-furqat meñ fanā ho jaanā

if fragrance of the flower's not, desirous of your lane

why in the path of bounding breeze, like dust does it remain

gar nahīñ nik.hat-e-gul ko tire kūche kī havas

kyuuñ hai gard-e-rah-e-jaulān-e-sabā ho jaanā

as after springtime's shower is, the clearing of the sky

so, after parting's copious tears, it is for me to die

baḳhshe hai jalva-e-gul zauq-e-tamāshā 'ġhālib'

chashm ko chāhiye har rañg meñ vā ho jaanā

tā ki tujh par khule ejāz-e-havā-e-saiqal

dekh barsāt meñ sabz aa.ine kā ho jaanā

Audio Courtesy Pavan Jha

Text and Translation Courtesy rekhta(dot)org

Image courtesy Google

Recorded on 6 Jan 2013, Laxmi Studio, Noida

Image: Irfan's personal archive

01 Ab Ke Sawan Ghar Aaja

02 More Balam Pardesiya

03 Lagi Beriya Piya Ke Avan Ki

04 Kaise Katen Din Ratiyan

05 Nanadiya Kahe Mare Bole

06 Nihure Nihure Baharen

07 Hamar Kahin Mano Rajaji

08 Hamri Atariya Pe Aao

Image Courtesy Sangeet Natak Akademi

Jewish refugee who composed the All India Radio caller tune. Know more about Walter Kaufman.

Image: Irfan

Ustad Faiyaz Khan (8 February 1886 – 5 November 1950) was an Indian classical vocalist, an exponent of the Agra Gharana of Hindustani classical music. According to SwarGanga Music Foundation website, "By the time he died at Baroda, he had earned the reputation of being one of the greatest and most influential vocalists of the century." (Source Wikipedia)

Amir Khusro Ghaus Mohammad Nasir Niazi Agha Khan Trust for Culture

Courtesy Agha Khan Trust for Culture