Discover live ghazal concerts, studio recordings, behind-the-scenes stories, Urdu poetry, compositions, and my experiences as a ghazal singer and composer.
I am deeply honoured and grateful to share that I will be receiving the Swarchaitanya State-Level Award, presented by the Swarmegh Art Foundation (Regd.), a respected organisation dedicated to the promotion and encouragement of art and culture.
The Swarchaitanya Puraskar is a state-level honour instituted to recognise sustained contribution, artistic integrity, and commitment to the performing arts. Being selected for this award is a matter of immense pride and responsibility, and it strengthens my resolve to continue serving music with sincerity and dedication.
Award Ceremony Details
Award: Swarchaitanya State-Level Award
Date: 1st February 2026
Time: 9:00 AM to 11:00 AM
Venue:
MKH Sancheti Public School, Narayani Hall
Hindustan Colony, Nagpur
The Swarmegh Art Foundation has consistently worked towards nurturing artistic values and honouring artists who have contributed meaningfully to their respective art forms. I express my heartfelt gratitude to the foundation and its office bearers for this recognition.
I dedicate this honour to my listeners, well-wishers, gurus, accompanists, friends, and family, whose constant support has been an integral part of my artistic journey.
A Journey Through My Ghazal Tributes to Jagjit Singh
The journey of paying tribute to the legendary Jagjit Singh ji has been one of the most emotional and fulfilling chapters of my musical career. Each concert dedicated to him has been not just a performance, but a heartfelt remembrance of the maestro whose voice continues to echo in every ghazal lover’s heart.
Sajda – The First Tribute
My first tribute concert titled “Sajda” was held at the Scientific Society Hall, Nagpur, soon after Jagjit Singh ji’s sad demise. The memories of that evening are still vivid — the hall was filled with emotions, and every song carried a deep sense of loss and reverence. It was my humble offering to the man whose music had been my greatest inspiration.
Aatish Tha, Aaftaab Tha – A Tribute to Jagjit Singh (Raipur, 2012)
My second tribute concert dedicated to Jagjit Singh Ji was titled “Aatish Tha, Aaftaab Tha” and was held in Raipur on his first death anniversary in 2012. The event was beautifully organized by Jivan Girhe and Vikas Sharma from the Ashok Ratna Residents’ Welfare Association.
The lawns within the society premises were filled to capacity with more than 1200 people, who had gathered to celebrate the life and music of the maestro. The ambience was both soulful and electric — every ghazal evoked heartfelt applause and deep nostalgia.
This concert was also marked by the release of my ghazal single “Aatish Tha, Aaftaab Tha,” a musical tribute to Jagjit Singh Ji. It remains one of my most memorable performances, reflecting the continuing bond that connects generations of listeners to the timeless legacy of the legend.
Siyahat – A Journey Through Emotions
In 2013, my album Siyahat was released by Saregama (HMV). They wanted me to perform the ghazals live, recording videos for the album. For the concert, it was suggested that I present my album ghazals in the first half, and dedicate the second half as a tribute to Jagjit Singh Ji. This concert was held on The World Music Day.
The list for the tribute segment, provided by Saregama, included timeless ghazals and nazms like“Jhuki Jhuki Si Nazar”,“Ye Daulat Bhi Le Lo”,“Aahista Aahista”,“Baat Niklegi Toh Door Talak Jaayegi”. All the performances from this concert are available on Saregama’s official YouTube channel, preserving the legacy for audiences everywhere.
Ek Shaam Jagjit Singh Ke Naam – A Tribute Ghazal Concert
I performed "Ek Shaam Jagjit Singh Ke Naam" (An Evening in the Name of Jagjit Singh) as part of the grand Sharda Mahotsav 2014 in Nagpur, organized by Sharda Chowk Mitra Shardotsav Mandal. It was a heartfelt tribute to the legendary Jagjit Singh, and I was delighted to bring his timeless ghazals to life for the audience. Being part of Vidarbha's largest Sharda Mahotsav and connecting with music lovers through his immortal melodies was truly unforgettable.
Legacy of a Legend – Sai Sabhagrah, Nagpur
After the success of Sajda, I presented another major tribute concert, “Legacy of a Legend – A Tribute to Jagjit Singh”, at Sai Sabhagrah, Shankar Nagar, Nagpur on 9th October 2015, on the eve of his 4th death anniversary.
The evening began with soulful renditions of ghazals like Badi Haseen Raat Thi, Garaj Baras Pyaasi Dharti Par Phir Paani De Moula — each one taking the audience on a journey through the golden era of ghazals. The response was overwhelming. Listeners rejoiced with every familiar melody — Tere Khushboo Mein Base Khat Main Jalata Kaise, Tum Itna Jo Muskura Rahe Ho, and Kal Chaudavi Ki Raat Thi received thunderous applause. This concert was also later telecast on Insync Music Channel.
Forget Me Not – Israel Concert Tour
Soon after the Nagpur concert, in November 2015, I was invited to perform a special tribute series titled “Forget Me Not – A Tribute to Jagjit Singh” in Israel.
The concerts were held at: Heikhal HaTarbut, Dimona – 16th November 2015, Heikhal HaTarbut, Ramle – 17th November 2015 & Matnas, Ashdod – 19th November 2015
Each show was houseful, and the response was overwhelming. Many Indians now settled in Israel also attended in large numbers and made the atmosphere truly magical.
One unforgettable incident still makes me smile — a local staff member, who didn’t understand Hindi or Urdu, came up to me after the show and said he had “really enjoyed the performance.” That, to me, was the greatest compliment — a true reminder that music transcends all barriers of language and culture.
Chitthi Na Koi Sandesh – Hits of Jagjit Singh
Continuing the series of tributes, I presented another concert titled “Chitthi Na Koi Sandesh – Hits of Jagjit Singh” on 31st January 2016 at Mateshwari Bhavan, Jaripatka, Nagpur, organized by Jyeshtha Mitra Mandal.
This show once again brought alive Jagjit ji’s timeless ghazals — his music that so beautifully blends emotion, melody, and poetry. The audience relived those golden moments with every composition, and I felt blessed to see the unending love people still hold for him.
In Loving Memory
Even today, in every ghazal concert I perform, Jagjit Singh ji’s presence can be felt through his immortal creations. His ghazals continue to find a special place in every show, as audiences lovingly request and sing along.
For me, these tributes are not just performances — they are conversations with the soul of a legend whose music lives on forever.
Jagjit Singh ji will always remain the voice of emotion, the sound of poetry, and the melody of countless hearts.
Some voices don’t just sing — they stay with you forever. For me, Jagjit Singh Ji’s voice was that companion, shaping my musical journey long before I stepped on stage.
My first encounter with his music was as a child. Our home record player could only play 78 RPM and 45 RPM discs, but Jagjit Singh Ji’s LPs (33⅓ RPM) — “Come Alive” and “The Unforgettables” — belonged to my father’s dear friend, Mr. Kamat. I would visit their home again and again, listening to every ghazal and nazm, trying to hum and learn them. These melodies planted the first seeds of my love for ghazals.
Over time, I explored more of his albums, including “Two in One”, gifted to my father by my uncle from the US, and other cassettes I carefully collected. Every piece — from “Baat Niklegi Toh Phir Door Talak Jaayegi” (nazm) to “Aahista Aahista”, and “Ye Daulat Bhi Le Lo, Ye Shohrat Bhi” (nazm) — became a lesson in expression and emotion. Even the ghazal “Jhuki Jhuki Si Nazar” from the film Arth deeply moved me and became part of my practice repertoire.
In the mid 1980s, after moving to Nagpur, I continued preparing and performing his ghazals. I never missed the Mirza Ghalib serial on TV, as every line and nuance influenced my singing deeply.
Through the 1990s, even during small concerts, I continued performing his ghazals. Songs from films like Prem Geet and Sarfarosh — especially “Hothon Se Chhu Lo Tum, Mera Geet Amar Kar Do” and “Hoshwalon Ko Khabar Kya” — resonated with me and formed part of my stage repertoire. I was fortunate to witness him live in Nagpur once, which remains a cherished memory.
Jagjit Singh Ji’s style, expression, and musical sensibilities had a profound impact on me. I never tried to imitate him — I simply absorbed the depth, emotion, and soul in his singing, applying it to my own compositions and performances.
From childhood through today, I have sung his ghazals at countless concerts. By 2011, before his passing, many of my performances included his iconic works. That same year, my album “Roomaniyat – Ghazals of Love and Longing” was released.
In 2012, I was deeply honored to be nominated alongside Jagjit Singh Ji for the prestegious Global Indian Music Academy Awards (GIMA) in the Best Ghazal Album category. While my album “Roomaniyat” released on 1st October 2011, Jagjit Singh Ji’s “Tera Bayaan Ghalib” came out a few months later, after his passing on 10th October 2011. Yet, both albums were recognized together that year.
It was a proud and humbling moment — though sadly, I never got the chance to meet him in person. Yet, his influence continues to guide every performance, every note, and every ghazal I sing.
Jagjit Singh Ji’s music is not just a memory; it is a lifelong companion, a mentor, and an eternal inspiration. Through his ghazals, I learned the true meaning of ehsaas in music — and that is a gift I carry with me on every stage.
The season of Navratri brings with it a unique energy of music and devotion. As Navratri 2025 unfolds, I find myself reflecting on a period of my life when I spent several years performing with orchestras, including BG’s Musical Group and others, during Navratri and other shows.
BG’s Musical Group
My first experience with orchestras was with BG’s Musical Group. Led by the respected Mr. Bhula Ghosh, this group included many of Nagpur’s senior and top artists. Even while I was studying engineering in college, it was essential for me to perform with them during Navratri, as artists were quickly booked with various groups during the season.
My first Navratri tour in 1991 remains unforgettable. We performed multiple shows throughout the festival, traveling from city to city, each day bringing its own unique experiences. I vividly remember one show that started at 1 AM and went on until 4 AM, with the crowd stretching as far as the eye could see.
During this tour, I also had the opportunity to perform with Uttara Kelkar Ji for two shows. The first was near Chhindrapur at a cement factory in Gugus, where I was asked to travel with her and look after her during the journey. We had wonderful conversations, and she appreciated my singing and blessed me. The second show was in Nagpur at the Engineers Association ground. The final show of the season took place in Parasia on the night of Dussehra, where we followed the Marathi tradition of giving gold on stage. The crowd was simply amazing.
Sunbeat Orchestra
After BG’s Group closed, I performed with Sunbeat Orchestra for about 2 years. These shows were mainly local in Nagpur and formed an important chapter in my orchestra phase.
S. Kumar & His Orchestra
After a few years, during a period when I was increasingly focusing on my personal ghazal performances, I joined S. Kumar and His Orchestra. I performed with them for several years, including Navratri and other orchestral shows.
In 2001, I also got a chance to perform a few shows with popular Hindi and Marathi film star Varsha Usgaonkar, along with S. Kumar and his orchestra, during the Navratri season. I even sang some duet songs with her, which made the experience even more memorable. That collaboration brought a special charm to the festivities and remains one of my fond memories.
MP Tour 2003
During Navratri 2003, we performed in Bhilai at the ACC Cement colony, followed by another show at an interior location in Balaghat. After one of these shows, my health deteriorated. I returned to Nagpur in a goods vehicle the next day. Upon arrival, I developed a very high fever, and my condition became serious on the night of Diwali. The doctor asked if I had traveled to MP, as Falciparum mosquitoes are found there. Thankfully, timely medical care saved me.
Focus on Ghazal Shows and Recordings
After this experience, I stopped performing regularly with orchestras and shifted my focus entirely to my personal ghazal shows and recordings. Gradually, my ghazal performances and recording work increased, becoming the central focus of my musical journey.
Navratri 2025 and the Joy of Memories
Now, as I celebrate Navratri 2025 amidst music and devotion, these memories continue to inspire me. Every show, every crowd, every performance during my orchestra days laid the foundation for my musical experiences. For me, Navratri is not just a festival—it is a celebration of music, memories, and the journey of life.
✨ At the age of 11, I performed my first Akashvani concert in Jamshedpur during the International Year of the Child (1979). Guided by Akashvani Ranchi’s musicians and inspired by my mother, this concert marked the true beginning of my lifelong journey in music.
Symbol of All India Radio – a gateway for countless artists, including my own beginnings
Music has been an inseparable part of my life from the very beginning. My mother, Pratima Parkhie, sang regularly for Akashvani Ranchi, and I grew up surrounded by melodies. Even as a tiny child, musicians from Akashvani would hold me on their laps or make me sit with them while they played—moments that forged a special bond between me and the world of music. Perhaps that’s why the artists at Akashvani always welcomed me with so much warmth and encouragement.
Among the mentors who shaped my early years, Shri Prabhakar Sonwalkar, a senior music producer at Akashvani Ranchi, holds a special place. He loved and encouraged me since childhood, and during shows in Bokaro Steel City, our home often became a temporary stay for him and other musicians. Those visits were invaluable, allowing me to absorb countless songs and ghazals directly from these gifted artists.
I also had the privilege of learning from Pt. Kashi Mishra, a sarangi player at Akashvani Ranchi, who stayed at our home when I was very young. He taught me a Kabir Das bhajan, “Kuch Lena Na Dena, Magan Rehna”, and the melody he shared has stayed with me to this day.
The official emblem of the International Year of the Child 1979 — celebrating the bond between adult and child
All of these experiences culminated in a defining milestone: my first Akashvani concert at the age of 11, held in Jamshedpur, at a bustling auditorium as part of the International Year of the Child (1979) celebrations. Artists from several other cities participated, making it a vibrant, inspiring musical event.For my performance, I presented two special pieces:
The bhajan, “Bhaj Man Ram Charan” by Tulsidas, set to music by my mother, Pratima Parkhie.
The ghazal, “Nazar Ki Pyaas Bujhao Ki Raat Jaati Hai” by shayar Shamim Farooqui, taught and composed for me by Shri Prabhakar Sonwalkar.
My senior from St. Xavier's Bokaro, Ajay Ponkshe, also performed classical music and received praise for his artistry. Leading newspapers of that time covered the event, highlighting the talent and energy of the young performers. This concert was a defining experience in my childhood and gave me the confidence to continue pursuing music with dedication and passion.
Looking back, these experiences—from being surrounded by musicians as a child to performing on stage at 11—were foundational to my musical journey. Akashvani Ranchi and its artists not only provided opportunities but also guided and inspired me. Those moments instilled in me a lifelong love for ghazals and classical music, shaping the singer I am today.
It was the autumn of 1983, during Navratri, when I was just 15 years old, that I had the unforgettable opportunity to perform my first solo ghazal concert. We were living in Bokaro Steel City then, in our home at Cooperative Colony. The colony had around 400–500 houses, with a large ground at the center where the Triveni Puja Samiti organized grand Durga Puja celebrations each year. That year, I was given the stage for a solo 90-minute ghazal performance.
From my childhood, I was deeply drawn to ghazals. My parents played a pivotal role in nurturing this love. My mother was associated with Akashvani Ranchi, where she often sang songs, ghazals, and bhajans from lyrics provided by the radio station. My father together with my mother composed the music for them. From these, I carefully chose a few ghazals to present at this concert. Alongside, I had spent countless hours listening to records and cassettes—rewinding, forwarding, and absorbing the nuances of the voices of Jagjit Singh, Pankaj Udhas, Talat Aziz, and Anup Jalota.
Music was always around me. My father noted down timings of ghazal programs on the radio so he could listen late into the night, and I often sat with him. Friends also played a role—my classmate Saurabh Chandra had a fine collection of ghazal records, while my father’s friend, Kamat Kaka owned LPs that I visited often to listen and learn. At home, a Panasonic two-in-one tape recorder gifted by my uncle from the US became my constant companion in practice.
When I look back, I realize how much the environment influenced me. At school, my history teacher, Dasgupta Sir, passionately explained Mughal history, and it was through him I first came across Bahadur Shah Zafar’s poetry. In a school gathering, I once sang Lagta Nahin Hai Dil Mera Ujre Dayaar Mein, which earned me warm appreciation. These small moments built my confidence step by step while I was studying at St.Xavier's School, Bokaro Steel City.
For my first concert, I was fortunate to have three senior musicians accompany me. On tabla was Surjeet Sinha, widely respected for his beautiful playing; on harmonium, Rana Jha ji, a renowned guru of classical music in Bokaro; and on guitar, Bapi da, who lived just behind our lane and later went on to play professionally in Mumbai and Kolkata. Having such accomplished artists support a young performer like me was a blessing.
That evening, I sang ghazals that had become a part of me—Jagjit Singh’s Hothon Se Chhu Lo Tum from Prem Geet, Talat Aziz’s Raaste Yaad Nahin, Rehnuma Yaad Nahin, and an Anup Jalota ghazal, Kamsin Ho Mohabbat Ki Baatein, along with a few others that I had picked up from my parents’ compositions and the popular ghazal repertoire of that time.
I still remember being handed ₹300 as an honorarium for that performance. I divided it equally among the three senior musicians who had accompanied me, as a token of respect for their guidance and generosity. For me, their blessings were the real reward.
Now, as Navratri unfolds once again, memories of that first solo concert come rushing back. It was not just a performance—it was the beginning of a lifelong journey with ghazals, nurtured by family, teachers, friends, and the musical environment of my early years.
Sharing fond memories of "Legacy of a Legend", a heartfelt tribute concert by Shishir Parkhie dedicated to the legendary Jagjit Singh Sahab on the occasion of his 4th death anniversary (9th October 2015).
The concert was held at Sai Sabhagruh, Nagpur, and was sponsored by Sarang Sadhu’s Yesshlok (an upcoming clothing brand). The evening was gracefully hosted by Shri Narendra Satija, with Shri Anoop Kumar ji (Divisional Commissioner, Nagpur) as the esteemed Chief Guest.
It was an honour and privilege to present some of Jagjit ji’s most celebrated ghazals along with a few lesser-heard gems that continue to inspire generations of music lovers.
Poet:Ashok Jharia “Shafaq” Album:Khulus – Ghazals of Dreams, Desires & Destiny Released by:T-Series
About the Ghazal
Wo Pyaar, Wo Khulus, Wo Chahat Nahin Mili is a soulful expression of lost love and the longing that follows. The poet, Ashok Jharia ‘Shafaq’, gives voice to a heart searching for true affection and sincerity (khulus) that remains elusive after separation.
Composed and sung by Shishir Parkhie, this ghazal features in the album Khulus – Ghazals of Dreams, Desires & Destiny by T-Series. Its melody and gentle arrangement highlight the depth of the poet’s emotions.
The Emotion
The ghazal beautifully portrays the emptiness that no wealth, wisdom, or worldly honor can fill — only the lost love’s sincerity could have. It speaks to every heart that has known the ache of longing.
Today was one of those fulfilling days when the soul connects deeply with melody and meaning. I had the pleasure of recording two beautiful Marathi ghazals composed by music director Moreshwar Nistane ji at Pawan Tiwari’s Digital AuVi Media Studio.
These ghazals, rich in emotion and lyrical beauty, gave me the opportunity to explore subtle expressions and delicate nuances — something that always excites me as a ghazal singer. Singing in Marathi, with its poetic depth and rhythm, brings its own charm and challenge, and I thoroughly enjoyed every moment of the session.
A big thank you to Moreshwar ji for trusting me with these soul-stirring compositions and to the ever-efficient team at Digital AuVi Media for the smooth and inspiring studio experience.
Looking forward to sharing these ghazals with you all very soon. Until then — stay tuned, stay musical. 🎶
Some emotions live between dreams and reality, between desires unfulfilled and destiny unfolding. In Khulus, ghazal singer and composer Shishir Parkhie, along with the words of emerging contemporary poet Ashok Jharia "Shafaq", offers a musical journey into these subtle spaces where the heart often dwells.
Released by T-Series, Khulus carries forward the rich tradition of ghazal while embracing the freshness of contemporary thought and feeling. The verses touch upon not only romantic love, but also longing, spiritual quest, introspection, and acceptance of destiny.
The Tracks:
1. Jab Tassavvur Mein
A tender reflection on how thoughts bridge distances. Even in separation, the beloved remains close through imagination.
2. Wo Pyaar Wo Khuloos
A deep introspection on attachments and ultimate spiritual contentment. Material desires fade before the purity of true devotion.
3. Bekhudi Sii
An ecstatic surrender to love’s magic, where reality dissolves into blissful intoxication.
4. Allah Allah Ye Kya
A plea to the divine for reunion. The lover invokes higher powers to overcome obstacles in love’s path.
5. Ghamon Mein Zara
A poetic ode to pain — where sorrow itself teaches tenderness, depth, and understanding.
6. Sitam Ki Wo Bijli
A bold celebration of the heart’s resilience, where even suffering becomes insignificant before the beloved’s allure.
7. Kaha Dil Ka
An intimate exploration of desire, vulnerability, and emotional identity, wrapped in poetic delicacy.
8. Daur Pe Daur
A playful surrender to intoxication, where worldly concerns vanish, replaced by ecstatic abandon.
The Artistry Behind Khulus
The emotive voice of Shishir Parkhie, combined with the thoughtful arrangements, breathes life into each ghazal. This collection retains the classical essence of ghazal while presenting it through a contemporary lens — accessible yet profound for today’s audience.
🔗 Listen to the Album:
You can listen to Khulus – Ghazals of Dreams, Desires & Destiny by Shishir Parkhie on your favorite music platforms:
Khulus is not just an album; it’s an immersive journey where poetry and melody blend seamlessly, offering listeners a space to pause, reflect, and feel. It stands as a testimony to how ghazal continues to evolve — remaining timeless, yet always new.
Ghazal Title:Chaman Mein Subh Ye Kehti Thi Ho Kar Chashm-e-Tar Shabnam Poet: Khwaja Meer Dard Singer & Composer: Shishir Parkhie Album:Virasat – The Legacy of Legends (Times Music)
The Eternal Beauty of Urdu Poetry
In the world of classical Urdu poetry, few names shine as brightly as Khwaja Meer Dard. A Sufi poet from Delhi, Dard's verses express profound emotions of love, longing, separation, and spiritual depth, woven into delicate imagery that touches the heart.
This particular ghazal uses shabnam (dew) as a subtle metaphor for silent tears, painting vivid pictures of love’s tender vulnerability. Every couplet adds layers to the portrayal of longing, showcasing Dard’s mastery of poetic symbolism.
Meaning & Interpretation
"Chaman mein subh ye kehti thi ho kar chashm-e-tar shabnam
Bahaar-e-baagh go yoon hi rahi lekin kidhar shabnam"
As morning arrives, the garden remains beautiful and blooming, but the dew that cried all night — where has it gone? A tender symbol of longing and separation.
"Arq ki boond us ki zulfon se rukh'saar par tapki"
The drop of sweat or dew trickled from her tresses onto her cheek — capturing the softness and intimacy of a moment in love.
"Ta'ajub ki hai jagah ye padi khurshid par shabnam"
It’s astonishing that dew could settle even on the sun — where heat should dominate, the cool softness of love still remains, revealing the depth of true affection.
"Humein to baagh tujh bin khaana-e-maatam nazar aaya
Idhar gul phaadte the jaib, roti thi udhar shabnam"
Without the beloved, the garden feels like a mourning ground. The flowers tear their own robes (petals), while the dew quietly weeps.
"Kare hai kuch se kuch taseer-e-sohbat saaf tabon ki
Huyi aatish se gul ki, baithte rashk-e-sharar shabnam"
The effect of good company is strange — even after burning by the heat of the flower, the dew calmly rests, making the sparks jealous of its composure.
"Nahin asbaab kuch laazim subuksaaron ke uthne ko
Gayi ud dekhte apne baghair az baal-o-par shabnam"
Those who are light don’t need wings to rise. The dew simply evaporates and floats away without wings or feathers.
"Na samjha 'Dard' hum ne bhed yaan ki shaadi-o-gham ka
Sahar khandaan hai, kyun roti hai kis ko yaad kar shabnam"
We could never understand the strange coexistence of joy and sorrow. The morning smiles, but the dew silently weeps — remembering whom?
My Musical Journey with This Ghazal
I had the privilege of composing and rendering this exquisite ghazal for my album Virasat – The Legacy of Legends released by Times Music. Translating such delicately nuanced poetry into melody was both challenging and deeply fulfilling.
The ghazal’s serene pace and profound emotion allowed me to explore subtle musical expressions that complement the poetry’s depth. Every note attempts to bring alive Dard’s soulful imagery.
About Virasat – The Legacy of Legends
Virasat is my humble tribute to the legendary poets of classical Urdu literature. In this album, I have composed and rendered ghazals written by poets like Khwaja Meer Dard, Asghar Gondvi, Brij Narayan Chakbast, Quli Qutub Shah, and others — many of whom are not widely sung today.
Through Virasat, my aim is to revive these timeless gems and present them to today’s generation with fresh yet respectful musical compositions.
ग़ज़ल: "चमन में सुब्ह ये कहती थी हो कर चश्म-ए-तर शबनम"
शायर: ख़्वाजा मीर 'दर्द'
गायक-संगीतकार: शिशिर पारखी
एल्बम: Virasat – The Legacy of Legends (Times Music)
क्लासिकल उर्दू शायरी में जब दिल की गहराइयों को छू लेने वाले शेरों की बात होती है, तो ख़्वाजा मीर 'दर्द' का नाम अपने आप सामने आता है। दिल्ली के इस सूफियाना मिज़ाज के शायर ने इश्क़, विरह और रूहानी एहसासों को इतने नाज़ुक और गहरे प्रतीकों में पिरोया कि हर शेर दिल में उतर जाता है।
इस ग़ज़ल में शबनम — यानी ओस की बूंदों — के माध्यम से विरह की पीड़ा को बयान किया गया है। सुबह की ठंडी फिज़ा में बिखरी ओस की बूंदें किसी के जुदाई में भीगे हुए आँसुओं की तरह जान पड़ती हैं। ग़ज़ल का हर शेर इस दर्द को और गहराई देता है।
🎙️ ग़ज़ल का भावार्थ — मोहब्बत का भीगा हुआ रूप
"चमन में सुबह ये कहती थी हो कर चश्म-ए-तर शबनम
बहार-ए-बाग़ गो यूँ ही रही लेकिन किधर शबनम"
👉 सुबह की रौशनी में बाग़ तो खिला हुआ है, लेकिन जो शबनम रात भर रोती रही — वह अब कहाँ है? यह विरह, जुदाई और तड़प का बड़ा कोमल प्रतीक है।
"अरक़ की बूँद उस की ज़ुल्फ़ से रुख़्सार पर टपकी"
👉 पसीने या ओस की एक बूंद उसके गेसुओं से फिसल कर उसके गाल पर गिर गई। इश्क़ के उस नाज़ुक पल की सजीव कल्पना सामने आ जाती है।
"तअज्जुब की है जागह ये पड़ी ख़ुर्शीद पर शबनम"
👉 यह आश्चर्य की बात है कि तेज़ गर्मी वाले सूरज पर भी शबनम बैठ गई। जहाँ गर्मी होनी चाहिए वहाँ भी नमी का टिकना इश्क़ की तासीर की गहराई को दर्शाता है।
"हमें तो बाग़ तुझ बिन ख़ाना-ए-मातम नज़र आया
इधर गुल फाड़ते थे जैब, रोती थी उधर शबनम"
👉 बाग़ तो हरा-भरा है लेकिन महबूब के बिना जैसे मातम सा महसूस होता है। फूल अपने दामन फाड़ रहे हैं और ओस की बूंदें रो रही हैं।
"करे है कुछ से कुछ तासीर-ए-सोहबत साफ़ तबओं की
हुई आतिश से गुल की बैठते रश्क-ए-शरर शबनम"
👉 अच्छी संगत का असर अलग ही होता है। फूल की गर्मी से जलकर भी शबनम उस पर बैठती है, और चिंगारी भी उससे रश्क करती है।
"नहीं अस्बाब कुछ लाज़िम सुबुकसारों के उठने को
गई उड़ देखते अपने बग़ैर-अज़-बाल-ओ-पर शबनम"
👉 जो हल्के होते हैं उन्हें उड़ने के लिए किसी सहारे की ज़रूरत नहीं। शबनम भी बिना परों के उड़ गई।
"न समझा 'दर्द' हम ने भेद याँ की शादी ओ ग़म का
सहर ख़ंदाँ है, क्यूँ रोती है किस को याद कर शबनम"
👉 हम ये भेद कभी समझ ही नहीं पाए कि यहाँ खुशी और ग़म एक साथ कैसे होते हैं। सुबह तो मुस्कुरा रही है, लेकिन शबनम किसकी याद में रो रही है?
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संगीतबद्ध करने का मेरा अनुभव
इस ग़ज़ल को मैंने अपने ऐल्बम Virasat – The Legacy of Legends में स्वरबद्ध और रिकॉर्ड किया है।
क्लासिकल बहर, गहरी संवेदना और ख़ूबसूरत imagery को संगीत में पिरोना मेरे लिए एक आत्मिक यात्रा जैसा रहा। शब्दों के भीतर छुपे दर्द को सुरों में ढालना कभी आसान नहीं होता, लेकिन यही चुनौती इस ग़ज़ल को गाते समय मुझे खास अनुभव देती है।
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Virasat – The Legacy of Legends
Virasat – The Legacy of Legends मेरे दिल के बेहद करीब एक प्रोजेक्ट है। इसमें मैंने उर्दू शायरी के उन रचनाकारों की ग़ज़लों को चुना है, जिन्हें कम सुना गया लेकिन जिनकी शायरी अपने आप में बेमिसाल है।
ख़्वाजा मीर दर्द, असगर गोंडवी, ब्रिज नारायण चकबस्त, क़ुली क़ुतुब शाह, और कई अन्य शायरों की ग़ज़लों को नए संगीतात्मक स्वरूप में प्रस्तुत करना मेरा एक विनम्र प्रयास है, ताकि इस विरासत को आज की पीढ़ी भी महसूस कर सके।
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अंत में...
"शबनम की भीगी बूंदों में छुपा इश्क़ का एहसास
सुबह की रौशनी में भी कभी कभी आँसू टिमटिमाते हैं।"
उम्मीद है इस ग़ज़ल को सुनते हुए आपको भी वही भीगापन महसूस होगा जो इसे गाते समय मेरे सुरों में बस जाता है।
🎶 Immerse yourself in Khwaja Meer Dard’s timeless poetry, composed & sung by me. Listen now on Spotify, Apple Music, YouTube & more.
