 Roshan Ara Begum, 'Maleka-e-Mosiqi' |
Roshan Ara Begum
, 'Maleka-e-Mosiqi'
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| Inaam |
  Jul 11 2004, 04:21 PM
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#1
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 Dedicated Member  Group: Members Posts: 3602 Joined: 15-January 04 From: Pakistan Member No.: 187  |
Roshan Ara Begum, is one of the great singers, lost to partition of the Indian sub continent. An eminent desciple of the great Kirana founder, Ustad Abdul Karim Khan, she migrated to Pakistan after partition and sufferred the consequences of neglect of classical music in post independence Pakistan.
Roshan Ara Begum was one of the most outstanding disciple of the legendary Abdul Karim Khan of the Kirana Gharana. After singing a few ghazals and geets for the films she devoted her entire life to classical music even when it was not that popular in Pakistan. She shifted to Pakistan at the height of her career. Considered to be one of the most accomplished singer of the kheyal at that time, impeccable in her control of the taal and the delineation of the raag. Her taan-s too were very fast and unerring and in the old tradition she relished to perform on stage in competition with the leading singers of her time. Her voice was extremely crafted and the correct intonation of the sur in relation to the raag was the result of great perseverance that she had to endure during her long training. Even when she lived in the far way Lalamusa with very limited opportunities to display her immense talent she was a soure of great inspiration as she refused to compromise on quality in return for acceptance and popularity. After a few years she was persuaded to make some recordings for Radio Pakistan, but none of her renditions had the verve of her pre-partition work. She was a supreme craftsman and was admired by the aficionados of classical music who called her (Mulkai Mauseeqi) the Queen of Music. I am uploading some of lovely Raags by Roshan Ara Begum. Anandi Ajhu na aaey baalam |
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| archimoz |
Jul 12 2004, 12:30 PM
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#2
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Regular Member Group: Members Posts: 554 Joined: 5-November 03 Member No.: 88 |
Dear Mr. Nadeem,
Thanks for the details of 'Malka-e-Mausiqi'. A small query. I had read somewhere that she is the daughter of Abdul Haq Khan, the youger brother of Abdul Karim Khan. Can you confirm this please? Thanks for the upload!. Lata-ji's song from 'Mera Saya' & Ashaji-s song from the non-film album 'Dil Padosi Hai' are beautiful adaptations of this wonderful raaga. Regards-Archie. |
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| Inaam |
 Jul 13 2004, 01:10 PM
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#3
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Dedicated Member Group: Members Posts: 3602 Joined: 15-January 04 From: Pakistan Member No.: 187 |
To be honest, I do not know much about Roshan ara, following is a brief aritical about her life and work. Inaam A forgotten singer Saeed Malik Twenty years ago on December 6, 1982, Pakistani classical music in particular and that of the subcontinent in general, was impoverished by the death of vocalist Roshan Ara Begum, who was known as Malika-i-Mauseeqi - the queen of music. Although she hailed from Calcutta, she contributed tremendously to the melodic culture of Pakistan both before and after partition. Roshan Ara Begum visited Lahore, the music capital in Pakistan then, during her teens to participate in musical soirees held at the residences of affluent citizens and the aastana of Chun Peer in Mohalla Peer Gillaanian inside Mochi Gate. Another reason for her occasional visits to this city was to broadcast her songs from the then All India Radio Station, Lahore, and her name was announced as Bombaywali Roshan Ara Begum. She had acquired the popular nomenclature Bombaywali because she shifted to Bombay (now Mumbai) in the late 1930s from Calcutta, the place of her birth, to be near to Ustad Abdul Karim Khan from whom she took lessons in classical music for many years. I still remember her performance at Chun Peer's abode in early 1941, when she pleasantly surprised local musical heavyweights and connoisseurs with her expertise in rendering classical compositions. Possessing a rich, mature and mellifluous voice that could easily lend itself to the expression of a wide range of intricate classical asthai-antras, Roshan Ara employed her natural talent in the promotion of the art which requires a high degree of cultivation and training. Her singing was marked with a full-throated voice, short and delicate passages of sur (tones), lyricism, romantic appeal and swift taans. All these flourishes were combined in her unique style that reached its peak which was from 1947 to 1982. Her vigorous style of singing which was interspersed with bold strokes and perfect laykari, left no doubt that she was the greatest exponent of the Kirana gharana style of khayal singing after the demise of both her mentor Ustad Abdul Karim Khan and his equally talented cousin Ustad Abdul Waheed Khan. Even before migrating to Pakistan, Roshan Ara Begum was acclaimed the best exponent of Kirana gharana style of khayal singing in the subcontinent. She embodied in her art all the exquisite tonal qualities and attributes of her mentor's delicate style of classical vocalization. She was equally good at alap (step-by-step progression from one note to another) while delineating ragas, and also in taking breezy taans (flights) again in the strand of her ustad. She was very conscious of her dignity and status and never allowed herself to be emotionally swayed. But when the recording of her ustad's music was played her eyes filled with tears. An outstanding personality in the world of music, Roshan Ara Begum has aptly been called a phenomenon as her voice and its timbre, her creative musical intelligence and sensitivity had combined to produce perfect harmony. She had profound knowledge of the theory of classical music and practised this art for over 40 years. Roshan Ara Begum changed the course of Pakistani classical music by her masterly renditions and at the same time raised its status by endowing it with dignity, grace and glory Migrating to Pakistan in 1948, Roshan Ara Begum settled in Lalamusa, a small town almost mid-way between Lahore and Rawalpindi, a place to which her husband originally belonged. Although far away from Lahore, the cultural centre of the country, she would shuttle back and forth to participate in music and radio programmes. Thanks to audio and visual recording devices, the late Malika-i-Mauseeqi will always be remembered for the richness of her music, which often overflowed with tonal modulations, for its sweetness and delicacy of gammaks, and for her slow progression of ragas. It is difficult to adequately describe in words the quality of her music. One can only say that it went straight to the hearts of both knowledgeable listeners and cultivated connoisseurs. |
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| Inaam |
Jul 13 2004, 01:20 PM
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#4
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Dedicated Member Group: Members Posts: 3602 Joined: 15-January 04 From: Pakistan Member No.: 187 |
Raag Hans Dhuni
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| Inaam |
Jul 13 2004, 01:28 PM
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#5
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Dedicated Member Group: Members Posts: 3602 Joined: 15-January 04 From: Pakistan Member No.: 187 |
Raag Maru behaag
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