Firdausi Begum: Sweetness and light

By Anis Shakur

Kahan ho tum ko dhoond rahi hain,ye baharain ye sama

Firdausi Begum, highly distinguished singer of the yesteryears, was born in Kooch Bihar, Bengal, India, in 1941.

The daughter of eminent composer, Abbas Uddin, Firdausi grew up in the musical atmosphere.

Her music teachers began teaching her music as soon as she could talk.

She received extensive music lessons from Ustaad Munir Husain Khan, Ustaad Mohammad Husain Khan and Ustaad Mastaan Gama.

Moreover, Ustaad Qadir Zamiri, nephew of Ustaad Zamir Uddin Khan, trained Firdausi in the art of ghazal singing and thumri.

She incorporated the basics of music rapidly and with great flair.

It seems that God wanted her to be a singer and that is a lot to live up to. She could feel the music glow within her.

Firdausi spent her earlier days with her family in Calcutta, India. After partition, she migrated with her parents to Dacca, Bangladesh.

She also entertained music lovers with her songs, in private musical gatherings.

In July 1955, the first song from Dacca radio station was broadcast in fourteen-year-old Firdausi’s voice.

She earned encomiums from numerous dignitaries present on that occasion.

Prominent amongst them was reputed Bengali Poet, Qazi Nazrul Islam, who was all praise for Firdausi’s performance.

The crowd erupted in cheers. The listeners rose to their feet to have a glimpse of her.

Firdausi, who was determined to fulfill her music teachers dream, exulted amid loud applause.

Firdausi debut from the super hit film ‘Chanda’ in 1962. She recorded two songs for the film.

As a matter of fact, the film ‘Chanda’ was also the first Urdu movie made in Bangladesh.

Below is the first Urdu film song recorded in Firdausi’s voice. It was a heartfelt little melody:

‘Akhian tori rah takain’ (The film ‘Chanda’, 1962, composer: Robin Ghosh, director: Captain Ehtesham)

Her voice was so pure that the strains of tragedy still echoes in ones ears, as one listens to the second song of the film ‘Chanda’ in Firdausi’s voice:

‘Maut kay rahay low sada.’

Hope and belief in her, was the secret of her success.

The next year, 1963, another super hit film, ‘Talaash’, was released in Bangladesh. Great films have an enduring quality. The film ‘Talaash’ was one of them.

Firdausi sang the following romantic number. In reality, that rendition became the most radio-requested song in those days:

‘Kuchh apni kaheye, kuchh meri suniye, ye raat ye tanhaye, yoon chup to na raheye.’

Firdausi lent her voice to ‘intelligent’ films, which attracted a sizable public. There is still a huge audience for that.

Below follows a masterpiece, which was a giant leap of success in Firdausi’s musical career. This is one lyrical number her adorers can live with. It was an eloquent art of composition, as well:

‘Dil dharaknay ka sabab yaad Aaya, wo teri yaad thee, ab yaad Aaya.’

The haunting words and simple melody lingered in our hearts, just as they have lingered in the hearts of people throughout the country.

Firdausi, whose dedication to music was absolute, sang the following romantic score with verve and vivacity:

‘Mausum rangeela, nasheeli hawa’ (The film ‘Talaash’)

After the mega hit ‘Kaheye, suniye’, Firdausi’s voice became absolutely essential for almost every Urdu film, which was made in Bangladesh during those days.

Further, she also received the Presidential Award for best singer for the Bengali film ‘Aasia’.

Additionally, Firdausi also rendered her voice for the following films: ‘Saat rang’, ‘Kajal’, ‘Preet na janay reet’.

In the mid 1960s, Firdausi visited Karachi to record a song for the film ‘Sehra’. Among others, she also met Nazeer Baig, popularly known as Nadeem. She was so moved by his singing voice that she recommended him to director Captain Ehtesham. The rest is history.

Memories of our childhood floods back, as we listen to the familiar romantic number from the film ‘Milan’:

‘Koi dil mein Aa kay muskura gaya’ (The film ‘Milan’, director: Rehman, singer: Firdausi Begum, composer: Khan Ata Ullah Rehman).

Firdausi, who had a natural instinct for music, enchanted the movie-goers with the words and melody of the following song:

‘Hai ye Aalam tujhay bhulanay say’ (The film ‘Nawab Siraj-Ud-Daula’).

The following song was recorded 37 years ago. It continues to exude an overwhelming melancholy to this day, because Firdausi’s harmonious voice delineated tragic story:

‘Kahan ho tum ko dhoond rahi hain, ye baharain, ye sama’ (The film ‘Chakori’, 1966, composer: Robin Ghosh, singer: Firdausi Begum, pictured on Shabana).

Her voice, itself an instrument, Firdausi’s songs are all sweetness and light. She lent her voice to the following slow lyrical number in her particular brand of sentimentality:

‘Wo meray saamnay tasweer banay baithay hain, meray her khwab ki tabeer banay baithay hain’ (The film ‘Chakori.’)

What is unique about the following song is that the sweetness is so profound:

‘Khanak jaye ray chandi ka mera jhumka’ (The film ‘Chakori’)

Well-wishers can’t say enough good things about the singer, who gave so much of herself to music.

Forty eight years ago, Firdausi first rendered her musical voice to radio and later to the films—its words and tunes are still so familiar and beloved that they seem meshed with our very existence—promises to be around quite a while longer.

Tum Bhulay Na Gaye!

KAMAL DASGUPTA

(Photographed by author at Dhaka)

(Yaad dilwate hain youn mera afsana mujhe)

(BY ABDUL RASHEED QURESHI)

    Kamal Dasgupta a legend in Music Composition and Direction of the last century was born in a family belonging to Kalia Distt Jessore Bangladesh on 28^Th July 1912*. I first met him at Dhaka in the late sixties. When I knocked at his flat situated on first floor, he himself opened the door and welcomed me – "I am Kamal Dasgupta". He was a graceful but simply dressed person. His wife Firoza Begum had gone to Barisal. We discussed his masterpiece compositions and legendary singers of that period. I met Firoza Begum at Rawalpindi when she was rehearsing at Radio Station with local musicians and Mr. Kamal Dasgupta with a Chadder on his shoulder was standing as an observer. The ignorance of the local music team about the great music director was apparent. He was the creator of Chupke Chupke Bol Mena, Aye chand chhup na jana, Tasweer teri dil mera, Yeh chand nahi teri arsi hai, Tum bhulay na gaye. He brought up many talents like Kumari Juthika Roy, Jag Mohan, Talat Mehmood, Hemant Kumar… Jag Mohan was later on awarded title of "Sur Sagar".

        Re-collecting about Kumari Juthika Roy, Mr. Kamal Dasgupta said “she came for audition a number of times and failed but when she sang "Ami Bhorer Juthika" every one present was spellbound - although she had left but being enchanted with her singing the song was embedded in our senses”. He praised her with high tribute. A number of duets were sung by them including Bhajans and Naats. Some orthodox become annoyed with her when she sang Naats – they respected her as a living Meera Bai.”Akhon main Muthara Hai” sung by Juthika and “Ankhon main Madiana hai” – duet by Kamal and Juthika are the examples.

(Kumari Juthika Roy)

When asked about the compositions of Sm. Kamla Jharia’s Ghazals, Mr. Kamal Dasgupta disclosed that she mostly sang under the direction of Professor Zamiruddin Khan. He mentioned Prof. Zamir as his Ustad / Guru. This relationship was  a very pleasant disclosure for me. Kamla Jharia, Indobala and Angurbal rendered ghazals in unique and distinct style with perfect pronunciation. Professor Zamiruddin Khan was one of the greatest music directors of the Gramophone Co. Dum Dum before Mr. Kamal Dasgupta. Mr. Kamal Das Gupta recalled Khemchander Parkash, "Woh hum sab say bazi legeya". This may be true but it shows humbleness of Kamal Dasgupta – named as "Kitto" by Anil Biswas.

He was a non-assertive person but when asked about his distinct performance as a composer he mentioned about a special five-unit (shorthand) music notation devised by him. On my request to name some members of his orchestra, who contributed to the glorious music, he wrote:

        He identified the trumpet player as Abdul Hakim Chisti (reportedly working then at the Lahore studio of the Gramophone Company)

After leaving New Theatres, Kanan Devi sang many songs on Kamal’s compositions "Duniya yeh dunyia toofan mail" "Meri Majbooriun ne Mera Daman Chak Kar Dala" – Kanan Devi …... 

Shehnaz Begum

SILKY VOICE & SILK SARIS

The silk in her voice never fails to stun you with its finesse and soft influence. The dusky Bengali song thresh, Shehnaz Begum, who was pictured on our MAG cover of November 1723, 1983, could be called the real revolutionary personality in the musical context. She literally set the mood of the TV music with beautiful numbers like Hum tum jahan milay they, Mauj barhey ya aandhi aaey, Sabz pattey pe shabnam ke moti etc. And above all, those pearls of poetry and composition from Aalijee and Suhail Rana titled Sohni dharti Allah rakhey and Jeeve jeeve Pakistan. Who can forget them?   Shehnaz Begum, who came to Radio Pakistan and PTV, early in the 1970s, after Runa Laila had already conquered the media with her soprano sur. With that kind of brilliant example to follow, it needed 16996e 9M6unt of coaxing to the producers to try her in the national hook up programs

Suhail Rana introduced his patriotic songs with artistes who had no reputation for such numbers. For instance, before this, Mehdi Hassan, Ahmed Rushdi, Masood Rana, Noor Jahan and others were known for such numbers from the 1965 war. But, to get the same kind of effects from Shehnaz Begum, Ifraheem, Habib Wali Mohammad and others was something awesome to behold.

Our MAG cover was caught on the footage when Shehnaz returned to Pakistan in 1983, preceding the SAARC conferences. At that time, both Runa Laila and Shehnaz Begum had gone to Bangladesh, but since then, Runa, Shehnaz, Firdausi Begum, Bashir Ahmed etc have all come back quite a few times, and have literally taken the country by storm with their performances.

Shehnaz Begum is also known for her typical silk saris and her rural style of lipstick application. She always wore so many colorful saris, with golden borders and very typical Dhaka silk. When she sang during the black and white days of television, she had such a pleasant expressions, despite her uneven teeth, that one could easily nominate her for a glamorous artiste of the 1970s.

Shehnaz sang quite a few film songs too, but they were never as famous as her TV songs. In fact, it is interesting to note that with the beautiful contribution of Runa Laila in the industry, Shehnaz Begum was never given the prominence in the films as was expected. Probably, the powerful elements in the industry didn't let her enter the domain. Even then, she sang some nice numbers for films like Pazeb, Tiger Gang etc.

(By Zulqarnain Shahid)