RMIM Archive Article "303".
From the RMIM Article Archive maintained by Satish Subramanian
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# RMIM Archives..
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# Subject: Mehdi Hassan's stylistic songs
# Author: Saeed Malik
# Source: The Nation Midweek (Pakistan)
# Contact: Khawaja Naveed Aslam (knaslam@paknet1.ptc.pk)
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Mehdi Hassan's stylistic songs
SAEED MALIK
I have known vocalist Mehdi Hassan for about 40 years. It was
courtesy Ibrahim Khan, son of Ustad Sardar Khan Delhiwale that I
first met this stylist crooner in 1959. Thereafter, I bumped into
him on different occasions at the premises of (old) Pakistan Arts
Council, where he used to practise his art. I cannot forget one
particular occasion when he was totally engrossed and had been
completely transported while rendering a kafi of Baba Bhulley
Shah.
Later, he visited me on a few occasions in my part-time business
office at Shah Alam, riding his powerful motorcycle. We used to
confabulate on music and the state of affairs in the local film
industry. Then, he shifted to Karachi and our contacts remained
suspended until such time when he returned to Lahore to lend his
voice for the recording of film songs. Since then, off and on,
our paths crossed in Lahore and abroad at various concert halls.
Being a student of music, I have keenly watched his progressive
grooming, especially his distinct style of ghazal-singing, during
the past 40 years. Unquestionably, he has contributed so much to
the refinement of melodic culture of Pakistan that his name will,
forever be enshrined in the annals of music of South Asia.
During the past six decades, the melodic evolution of ghazal in
the Sub-continent, especially Pakistan, has been so profound as
to put this neo-classical melodic genre in the ambit of an
esoteric art form. Like folk music, which caused the spawning of
classical genres, the meter-oriented ghazals sung much before
1947, metamorphosed into thumri-ang elaborations, paving the way
for melodists to compose and render ghazals in the neo-classical
style.
Before partition, Akhteribai Faizabadi, Mukhtar Begum, Afzal
Hussain Nageenawale and Barkat Ali Khan, to name a few vocalists,
took the art of ghazal-singing to a new height of popularity.
After August 1947, Ustad Barkat Ali Khan (till his death) Farida
Khanum, Iqbal Bano, Ijaz Hussain Hazarvi, Ghulam Ali and Mehdi
Hassan made wholesome contributions to the further refinement of
melodic ghazal, adding a new tangent to this music-literary
genre.
The art of ghazal-singing has now assumed the status of the most
popular mode of melodic expression in the vocal variety. The role
of films, radio, television and stage cannot be minimised which
took this genre to every nook and cranny of the Sub-continent,
notwithstanding the wide diversity in languages and dialects
spoken in its length and breadth. In spite of the fact that this
mode of melodic expression is fast racing towards classicism, lay
music buffs in millions have turned into its votaries. One
composer of film songs, who worked hard in popularising melodic
ghazal in the Sub-continent, and who can be singled out for his
colossal contributions, is the late Madan Mohan. His ghazal
compositions, sung by Lata Mangeshkar and Asha Bhosle, have
abundant appeal and radiate irresistible sonic charm.
But one vocalist who should be given much credit for the
furbishing of the melodic content of ghazal is Mehdi Hassan,
whose matchless voice and unique performing skill has taken it to
such glorious heights as were not touched by any other mode in
the past.
Since the invention of gramophone discs, the melodic rendition of
ghazal has covered a long distance after its modest beginning in
the late 20s, culminating in its current highly-sophisticated
form. Consequent upon the rapid progress in its melodic
refinement, the modern ghazal-singing style has earned for itself
deserved acclaim and recognition, despite intrinsic difficulties
and multiple complexities of its varieties and their esoteric
formulations which, for many, are not easy to learn.
Taking off from a position of an unimportant adjunct to light
classical music (thumri-oriented style of rendition) at the turn
of 20th century, it has now reached the apex of glory. The art of
ghazal-singing did not enjoy a high status in the hierarchy of
classical melodists in old days, because its metrical system was
thought to be suited only for poetical expressions, and not much
consideration was given to its melodic potential and the
consequential incantatory impact on the listeners. Not considered
suitable for musical elaboration, it remained dormant in the
melodic culture until the advent of gramophone discs and motion
pictures, when development of music took a sudden and sharp turn,
mainly through the efforts of sensitive original composers whose
creative ingenuity added much to this new form. Essentially a
verse of lyrical and melodious charm, Urdu ghazal also conveys
intensity of emotions and rhythmic grandeur. That it has enjoyed
immense popularity among music buffs of all hues and melodic
pursuits points to the fact that it is the end-product of a
synthesis of poetry and music; a blend of poetic and musical
sensitivity; and a co-mingling of sound and sense.
In ghazal, the poet creatively and sensitively uses the language
to convey the subtleties of his thoughts and emotions.
Originally, it encompassed stray thoughts of a lover, pangs of
separation and longing for a reunion of lover and the beloved, or
expression of sensations of pain (melancholia) and pleasure
(sparkling joy). Later, poets introduced fresh motifs and symbols
and furbished the diction of their ghazals with their individual
literary and poetic skill. A few among them sprinkled philosophic
ideas into their verses, while others added revolutionary fire
into their poetry, or tinged their creative expressions with
highly communicative emotional lyricism.
Employing all these emotional and linguistic resources, an
intelligent vocalist adds to ghazal yet another tangent; that is,
the melodic interpretation of what the poet originally meant to
convey through his poetic expressions. The melodic
interpretations vary from one singer to another. The more control
a vocalist has over his vocals and melodic expressiveness, the
better and enduring is the effectiveness of his renditions.
It requires hard training under the supervision of a competent
mentor to acquire the skill to render a ghazal (which
lexicographically defined means a conversation with a woman) in
its prevalent neo-classical style. Therefore, it is the forte of
only a few vocalists, Mehdi Hassan being the most prominent among
them. Because of the sophistries of this melodic mode, very few
vocalist feel competent to sing ghazals. Female ghazal singers in
Pakistan have now become a rare breed. The ageing Iqbal Bano and
Farida Khanum are the only female singers in the country who can
practise this difficult art.
In ghazal-singing, delivery of words are of utmost importance,
while music frames and embellishes the poetry. Understandably,
therefore, impactful ghazal-singing is possible only with correct
pronunciation and a clear perception of the meaning of the poetic
content which should be backed up by a judicious inter-mingling
of melodic inputs and poetic expressions. Vocalist Mehdi Hassan,
like Farida Khanum and Iqbal Bano, sings the words of a ghazal
clearly and distinctly, without putting unnecessary stress on
them, vocalising these as they are commonly spoken. His insight
in the meaning of the ghazal and the perception of the poet makes
his rendition penetrating, thereby creating an incantatory impact
on his countless fans. Mehdi Hassan is one of those competent
ghazal singers of Pakistan who can be counted on the fingers of
just one hand. He has regaled his listeners for well over 40
years. During this period, he recorded hundreds of songs for the
films and an increasing number for radio and television. His
major contribution, however, has been to the refurbishing of
ghazal-vocalisation in which he has evolved a style which became
the envy of his contemporaries on both sides of the Wagah border.
A large number of young melodic aspirants in Pakistan and India
try to emulate his style of ghazal-singing with pride, and a
great deal of respect for Mehdi Hassan.
A pride of our melodic culture, Mehdi Hassan's talent is
acknowledged the world over. He is one of those few melodists who
have introduced and popularised Pakistani melodic culture in the
countries of the Middle East and Europe, not excluding the United
States of America where he goes annually to spend sometime with
the members of his family who have settled there. With his
individualistic style, which represents the inherent strength and
potential of our melodic culture, he has put up an impregnable
wall of defence against Western cultural onslaught. Votaries of
his style of ghazal-singing are not worried much about the future
of our music. As long as vocalists of the calibre of Mehdi Hassan
are around, the future of Pakistani music is in safe hands, they
contend.
Mehdi Hassan is a scion of a well-known family of professional
musicians from Rajasthan (India), a majority of whose member
migrated into Pakistan soon after the partition of the Sub-
continent in 1947. With regular training under the supervision of
the elders in the family, and having the ability to benefit from
the melodic wisdom of others, he has succeeded in chiselling his
melodic personality, which is now recognised all over the music
world, especially in Pakistan and India. He has reigned supreme
in the world of showbiz for about four decades. For the past few
years, the debilitating impact of an advancing age and an
imbecile physique are having telling effects on his vocals.
Discerning listeners can easily detect the areas of his
vocalisation which are being adversely affected by old age and
poor health. If he is still able to cast an hypnotic spell on his
listeners, it is due to his long experience, creative ingenuity
and performing skill which compel the listeners to pay rapt and
respectful attention to his melodies. A large number of his
shagirds (pupils) are currently practising the art of ghazal-
singing in Pakistan but none, including his son Asif, has yet
acquired enough expertise to claim succession to this great
melodist after his retirement.
From the RMIM Article Archive maintained by Satish Subramanian