The ghazal and its timeless enchantment unraveled by Ghazal Maestro Talat Aziz
Talat Aziz, is synonymous with all things beautiful, all thoughts wonderful, having enriched our lives with his mellifluous Ghazal performances and compositions par excellence for over 4 decades. In a conversation with Rumpa Banerjee he offers rare insights into his musical journey and his love for the Ghazal.
You’ve had a long career as a composer/singer with a special leaning toward the ghazal art form. Could you tell us about your interest in the ghazal as a literary and a musical art form?
I was born and brought up in a musical family in Hyderabad. Those were the times when there was hardly any rush. There was all the time in the world and an underlying tranquility that promoted harmony. Saturdays were extra special because of the music mehfils at our home. I grew up steeped in music, especially in the Ghazal form and having a decent voice played my part in the home Mehfils. I believe, this was the reason I took a leaning toward the Ghazal from an early age.
Can you explain the nuances of the Ghazal in its simplified literary form?
Ghazal is a compilation of Shers which is a form of poetry suffused with 2 lines called the Misra. It is rhythmic in the sense that it carries a Beher or Meter in its written form. Two Misras (Lines) make a Sher which is a thought complete in itself. The Sher comprises the Radeef and Kafiya. Let us take this Ghazal by Dr. Bashir Badra, that I rendered and composed,
“Dulhan Bani Hai Raat Bade Ehtemam Se,
Aansoo Saja Rahi Hai Sitaron Ke Naam Se”
The other Sher of the Ghazal goes
“Sab Log Apne Apne Gharon Ko Chale Gaye
Neend Aa Gai Hain Aajj Chiragon Ko Shyam se,
As you’d see, this couplet though belonging to the same Ghazal has no connection with the first. It is a wholly independent thought with its own meaning and philosophy.
The end part of the Sher, in this case “Shyam Se” “Naam Se” is the Radeef while the Kafiya is the earlier part that rhymes. In this case “Sitaron” and “Chiragho”. Both the Radeef and the Kafiya are binding elements of the ghazal. The moment a third line enters the form changes to a Nazm which is a far cry from the Ghazal in its construction and carries a single thought through its structure.
Take us through your style of composing music. Do you base your compositions on Ragas?
Unlike Rabindra Sangeet, which has to be rendered in exactly the same form it was originally created, the Ghazal can be altered and maybe different in every rendering while maintaining the original musical composition. It is what makes the composition come alive to a live audience.
While composing, I go by the thoughts and feelings of the poet while he penned the ghazal. The inspiration behind the writing becomes the canvas on which the musical composition is created, which may happen to be based on a Raag, but that is purely by coincidence and not by rigidly following any Raag pattern. Every good-written couplet has a set tempo and a mood that I follow by instinct while composing the melody. Composing a ghazal is like meditating and seeing an image that you further sculpt and fine-tune.
Do you think reaching out to the masses through the Ghazal requires a bit of toning down of the Persian influence? Something like one of your favourite poets Nida Fazli Saab managed with aplomb?
Nida Fazli has done great work in the area so has Dr Bashir Badra. The fact is the language spoken in the times of Ghalib is not much different from what is spoken today except for a few alterations. The core thinking and the language continues to be carried on irrespective of the times we are living in. This Sher by Dr Bashir Badra is the quintessential example of a profound thought in the modern language format
“Ujale Aapni Yadoon Ke Hamare Sath Rahane Do,
Na Jaane Kis Gali Mein Zindagi Ki Shyam Ho Jaaye.
The Ghazal is an art form whereby the poet expresses their feelings which could be happy, sad, romantic, rebellious or a gamut of other categories. Every Shayar from Mirza Ghalib to Ahmad Faraz to Nida Fazli has his or her own niche or style in line with their thinking.
The Ghazal combines two beautiful art forms; Poetry and Indian music; which forms the base of the Ghazal presentation. The combination of these two art forms makes it unique and gifting it its ethereal appeal.
Tell us about your music tutelage with Ustad Mehdi Hassan?
Mehdi Sahab is my Guru and I’ve been fortunate to have received the best of his musical knowledge. I’ve had the honor of performing with him on stage and enjoyed every minute. It was unfortunate that he could not sing after the paralytic stroke.
The Ghazal demands total submission to the art form apart from the literary element like Mehdi Hassan always insisted. The Ghazal is a very different and unique art form. Without immersing yourself in the format it is practically impossible to imbibe the art form was his sagely advice.
What according to you are the major differences between the film and the non-film ghazals? Please elaborate.
Not much of a difference. I think it is just that the film Ghazal is supported by the visual and is penned for a situation in the film while a non-film ghazal need not be tailored to any situation but a harvest of the Shayars imagination and feelings about anything that inspires him. Essentially both are the same it is just that the recorded version and the live performance differ because while presenting the song on stage one can elaborate more and expand the basic composition. The rest of the intricacies remain the same.
It seems a long time since your work with Khaiyyam Sahab in Bazaar and Umrao Jaan wowed music listeners. What do you attribute to the near disappearance of ghazal music from films?
Blame it on the change of format and structure of the current films. Soundtracks are made but there are hardly any songs enacted on screen. I guess it is an offshoot of the times we are living in.
Where do you think a Ghazal artist of today should seek inspiration from in the present-day fast-paced world that clearly lacks the Thehrav of yesteryears — a much essential element of the thinking process for Ghazal writing and performing?
Passion, Practice and Persistence are the ingredients that may take you to perfection or excellence in Ghazal as I always remind my students. There is no need to really change or take up a new lifestyle, but love for the language and cultivating the right taste by listening to the maestros and taking the right training from a guru of the form are irreplaceable. Mere listening to the legends can be a good initiation, but for those serious about learning the Ghazal, musical training is the only way.
The ‘Nazuk Khyali’ to pen the classic verse was so much a feature of the work of Ghazal maestros. Do you see it cherished amidst our modern lifestyle?
There are many good poets even today, who, like the great poets of yesteryears can translate their life experiences into beautiful and meaningful couplets. It is good to know that everything takes time. There is no quick fix to becoming a sensitive poet. Artists spend their entire lives in mastering any art form. I continue to learn even today. Readiness to learn is a prerequisite quality for any artist.
Where do you see the Ghazal Caravan proceeding from here?
Till such time that the human heart is affected by feelings, ghazal will be a part of our lives and culture. The day a human ceases to be human and turns into a robot, we will see the demise of the ghazal.
