Moh Se Bol Na Bol, Meri Sun Ya Na Sun
Poet: Moalana Mauj
Recital: Farid Ayaz & Abu Muhammad
24 Sep 2014
Moh se bol na bol, meri sun ya na sun
Mein to tohe naa chhoruungii ai sanvare
Baanh churrai jaat ho, nibal jaan ke mohay
hirday main say jaavoo gay Tub marad baton gee tohay
Mori saas nanandiaa phiri to phiri
Mosay phir kiyon na jaey sabbi gaon ray
Ek tu na phiray mo say ae meray piyaray
Main bhi to aee teri chhaon ray
Rahee laaj saram ki baat kahan
Jab prem kay phanday diyo paon ray
Nijam ko lal fakhar diin piyaray
Tumrii kahoo ke main kit jaauun re?
Bagar kay log lugai hamka
Dharat naam to dharo naon ray
Main to apnii Mauj se rahoongi tore sang
Main to yahee na chukuun rahunn thaam ray
----------
Original translation & transliteration by David Matthews,
edited by JNS
Speak to me or not, hear me out or not.
I shall not let go of you, O’ my swarthy one!
You snatch my hand away, imagining me weak.
Try pulling out of my heart and then ill call you a man.
Let my mother-in-law and my sister-in-law turn away from me;
What does it matter if the whole village leaves me?
Only you must not abandon me, O’ my beloved,
I have come under your shadow.
Now remains what scope for talk of bashfulness and shame?
When my feet are snared in the shackles of love
Fakhar Din is dear to Nizam, his darling
Tell me, if I were to leave you, where could I go?
Let the people of the town revile me;
Call me by any name they wish.
I shall, Mauj, live with you In ecstasy, as I please.
I shall never leave you; I shall remain where I am.
A delightful recording was recently uploaded on YouTube by Sayyan Qamar and I thought it best to preserve the audio as one whole mehfil be able to listen to at one go.
Hope you all enjoy it as much as I did.
Munshi Raziuddin, Qawwal Bachay Gharana
With a huge thanks first to Lok Virsa and second to Sayyan Qamar for sharing on YT
Posted again after the comment from Asif Hasnain from Vienna.
"Just beautiful, both the kalaam and the rendition. Transports the listener. The power of love of music, of the creator, of life, of the eternal. Thank you for this wonderful post, which I came across just now. " Asif Hasnain.
There was a beautiful mood created that night which can be felt through this particular ghazal. Both the qawwals and the audience were in heaven and feeding off each other. The style (andaaz-e-bayan) takes me back to other recitals I heard during my childhood.
______________________________________
Qawwali Recital at The Noor Cultural Centre, Toronto - 2008
Kalam: Hazrat Shah Niyaz (1742-1834).
Ishq mein tere koh-e-gham sar pe liya jo ho so ho
aesh-o-nishaat-e-zindagi chhord diya jo ho so ho
Laag ki aag lagte hi, Bamba namad yeh jal gaya
Rakht-e-wojood-e-jaano tak kuchh na bacha jo ho so ho
Aql ke Madrase se uth, Ishq ke Maikade mein aa
Jaame Fanaa-o-Bekhudi ab to Piya jo ho so ho
Hijr ki jo museebatein, arz kiin uske rubaru
Naazo adaa se muskura, kehne lagaa jo ho so ho
Hasti ke is saraab mein, Raat ki Raat bas rahe
Subhe Adam Huaa Numoo, Paaon Uthaa jo ho so ho
________________________________________
Translation: Saqib Mumtaz Mountains of agony, i bear in your love now, come what may. The luxuries of life, i forsake now, come what may.
In the fervor of love, the threads of being seared, the fabric of body, form, self; all charred now, come what may.
Rise from the seminary of reason, enter the tavern of love From chalice of annihilation and selflessness, drink now, come what may.
The pangs of seperation, I bared before the beloved With an airy smile said, "now, come what may."
In the mirage of this body, I seek the night only And if Adam appears with the morning, I could raise the feet, come what may!
Thanks to Zahid Khan & Atique Azad and last but least the
Noor Cultural Centre
Jafar Husain Khansaheb ki sureeli awaz aur khubsoorat pyar bharay andaaz mein ye kalam aik farq hi rung mein, aur ruhani nisbat se pardha gaya hai.
preamble: Manzil Milli, Murad Milli, Mudaa Milla Sab Kuchh Mujhay Milla, Jo Tera Naqsh-e-Pa Milla
منزل ملی، مراد ملی، مدعا ملا
سب کھچہ مجھے ملا جو تیرا نقش پا ملا
Jab Dur tak Na Koi, Faqir Aashna Milla Tera Niyaz-mand, Teray Dar se Ja Milla
جب دور تک نہ کوئی فقیر آشنا ملا
تیرا نیازمند تیرے دار سے جا ملا
------ Mujh Mein Har Rung Ab Tumhara Hai, Ab to Keh do, Ke Tu Hamara Hai,
مجھ میں ہر رنگ اب تمھارا ہے
اب تے کہ دو کے تو ہمارا ہے
Aalam-e-Shoaq Mein, Na Jaaney Kyon, Mein Ne Har Dam, Tumhein Pukara Hai
Tuu To Sab Hi Ke Paas Hai Moajood, Kon Kehta Hai, Tuu Hamara Hai
Terey Sadqay Mein Ye Tamaam Jahan Apni Thhokar Pe Main Ne Mara Hai
Raaz Ko Raaz Kyon Samajhtey Ho Raaz Duniya Pe Aashiqara Hai,
Ab to Keh do, Ke Tu Hamara Hai,
-----------------------------------------
I arrived at my destiny, Received my heart's desire,
My prayers were answered. I received all, when I saw the imprint of Thy feet
When in the distance no one fimiliar with poverty was found Your supplicant embraced Your door.
Now that all I have are Your colors Pray tell me, You are mine.
In this mysterious world of desire, I have called Your name with each breath.
After all You are present for everyone Who can lay claim, You are just mine.
My Lord, this entire world is by your Grace I sacrifice everything worldly for you
Why consider this mystery such a secret When his eternal love is revealed to the entire world.
bohat achhay andaz mein pardha hai ye hazrat amir khusrau ka kalam
These qawwals are sons of Ustad Bahauddin Khansaheb
Najmuddin Saifuddin Qawwal from Karachi recite Khusrau
Khabaram raseed imshab ki nigaar khuahi aamad; Sar-e man fidaa-e raah-e ki sawaar khuahi aamad. Ham-e aahwan-e sehra sar-e khud nihada bar kaf; Ba-umeed aanki rozi bashikaar khuahi aamad. Kashishi ki ishq daarad naguzaradat badinsaa; Ba-janazah gar nayai ba-mazaar khuahi aamad. Balabam raseed jaanam fabiya ki zindah maanam; Pas azan ki man na-maanam bacha kar khuahi aaamad.
خبرم رسید امشب کہ نگار خواہی آمدسرِ من فدائے راہے کہ سوار خواہی آمد
بہ لبم رسیدہ جانم تو بیا کہ زندہ مانمپس ازاں کہ من نمانم بہ چہ کار خواہی آمدہمہ آہوانِ صحرا سرِ خود نہادہ بر کفبہ امید آنکہ روزے بشکار خواہی آمد
بیک آمدن ربودی دل و دین و جانِ خسروچہ شود اگر بدینساں دو سہ بار خواہی آمد
English Translation:
Tonight there came a news that you, oh beloved, would come – Be my head sacrificed to the road along which you will come riding! All the gazelles of the desert have put their heads on their hands In the hope that one day you will come to hunt them…. The attraction of love won’t leave you unmoved; Should you not come to my funeral, you’ll definitely come to my grave. My soul has come on my lips (e.g. I am on the point of expiring); Come so that I may remain alive - After I am no longer – for what purpose will you come?
Chaap Tilak is probably one of the all time popular kalams of Hazrat Amir Khusrau. Every qawwal has probably sung it due to its popular appeal.
This soulful rendition is special because it contains many appropriately inserted verses of poetry.
Similar to other forms of folk singing, qawwali has has an earthy and raw sound in the way it is sung. No one recital of a specific poetry is exactly similar to the other due to the constant improvisation, so sit back and enjoy this one.
The Poetry and Translation that are all part of this rendition
Meri Aankhon Se Mere Dil Mein Uttar Kar Daikho - anyone know the poet?
______________________________________________________ Mir Taqi Mir
'Mir' in Neem Baaz Aankhon Mien
Saari Masti Sharaab ki Si Hai.
Eng Trans:
'Mir' in Those Half Open Eyes
The Intoxication is Just Like Sharaab.
____________________________________ Hazrat Amir Khusrau
Chhap tilak sab cheeni ray mosay naina milaikay
Chhap tilak sab cheeni ray mosay naina milaikay
Prem bhatee ka madhva pilaikay
Matvali kar leeni ray mosay naina milaikay
Gori gori bayyan, hari hari churiyan
Bayyan pakar dhar leeni ray mosay naina milaikay
Bal bal jaaon mein toray rang rajwa
Apni see kar leeni ray mosay naina milaikay
Khusrau Nijaam kay bal bal jayyiye
Mohay Suhaagan keeni ray mosay naina milaikay
Chhap tilak sab cheeni ray mosay naina milaikay
Eng Trans:
You've taken away my looks, my identity, by just a glance.
By making me drink the wine of love-potion,
You've intoxicated me by just a glance;
My fair, delicate wrists with green bangles in them,
Have been held tightly by you with just a glance.
I give my life to you, Oh my cloth-dyer,
You've dyed me in yourself, by just a glance.
I give my whole life to you Oh, Nijam,
You've made me your bride, by just a glance.
____________________________________ Hazrat Sultan Bahu
Alif Allah Chambe Dee Bootee
Murshid Man Wich Laee Hoo
Nafee Asbaat Da Panee Milia
Har Rage Har Jaee Hoo
Eng Trans: (JR Puri)
My Master has Planted in My Heart
The Jasmine of Allah's Name
Both My Denial that the Creation is Real
And My Embracing of God, the only Reality
Have Nourished The Seedling Down to its Core
___________________________________________ Maulana Jalaluddin Rumi (604-672A.H) had touched the story of 'Ruh' 'Spirit' or 'Soul' by stating the pangs of departing 'Ruh' or 'Spirit' from its real source.
Bishno az nay Chun Heekayat Meekunad
Az Juda’i ha Shikayat Meekunad
Eng trans:
Listen to the flute, how it relates the story
Complaining about the Separation (from the real source)
___________________________________________ Baba Bulleh Shah
Ilmon Bas Kar Oo Yaar
Tainu Ikkoi Alaf Darkar
Eng Trans:
Forget the pride in your knowlege, O friend.
One ‘Alif’ is all you need (for unity with the Devine)
___________________________________________ Kabir Das
Sun Kabira, Bansuri Kahe Niraalee Baat
Nagar Dhandora Peet-ti, Hai Chhoota Pee Ka Saath
Eng Trans:(Farah Aziz)
Listen Kabir, to the flute's unique lament
announcing everywhere that it is parted from the beloved
______________________________________________
Just received a second version from Deepak Khatnani which I'd like to share.
It has a particularly endearing start that listeners will surely enjoy:
Do din bhi agar meri si halat ho jaye Maalom shab e gham ki haqiqat ho jaye Bejurm o khata mujh ko mitanay walay Allah karay tujh ko mohabbat ho jaye
Ab sabr karo nala e paiham na karo Jab mein he nahi hoon to mera gham na karo Yeh apni ruswai hai apne haaton Lillah meri laash pe maatam na karo
Wo un ko mera marg e nagahan nadeeda nadeeda Sub ke hoonton pe tabassum tha mere qatl ke baad Jaanay kya sooch ke rota raha qaatil tanha Wo un ko mera marg e nagahan, nadeeda nadeeda
aur jigar bey chain laikin guftugu sanjeeda sanjeeda ajab masti bhari aankhein magar tarseeda tarseeda sar e baali tabassum lab pe dil ranjeeda ranjeeda manaya ja raha hai mera gham posheeda posheeda
tamasha dekhiye mayree lehad se sar nahi uth'ta mujhe khud he mita baithe hein, aur khud he pasehmaan hein manaya ja raha hai mera gham posheeda posheeda
yeh kab se aa gayeen tabdeeliyan khayalon mein huzoor kab se ghareebon kay khairkhuwah howay manaya ja raha hai mera gham posheeda posheeda
dam-e-akheer qayamat yeh dha raha hai koi ke mout aanay ko hai, aur ja raha hai koi mere khuda, mujhe thori si zindagi day day udaas mere janazay se ja raha hay koi, dekho manaya ja raha hai mera gham posheeda posheeda
sabr-o- qaraar chheena, surat dikha ke tu ne barbad ker dia dil, dil mein sama ke tu ne basti ujaar dali, basti basa ke tu ne aray apna bhi dil dukhaya, mujh ko mita ke tu ne ab, manaya ja raha hai mera gham posheeda posheeda
bohot badnaam hoga hashr mein tu naam ke badle unhein shohrat se kya matlab, jo hein Allah ke bande yeh niyyat chor meri bandagi, dekhein jahan walay mazaa jab hai ke dunya per na ho zahir tere sajde khuda ki tu ibadat ker magar posheeda posheeda
sajdo ka sila jannat maange Allah se yeh ujrat maange karta hai ibadat ka souda zahid na hoa mazdoor hoa bus! khuda ki tu ibadat ker magar posheeda posheeda
kya ibadat hai teri jab ke tu yaksu he na tha rabb to moujood tha, ay shaikh wahaan tu he na tha dil hai behatka hoa bekaif nazar aata hai tu ibadat mein bhi dunya ki khabar rakhta hai
aik din majnu ka aisa haal tha yaad e laila mein sarapa choor tha khaak e sehra chhanta phirta tha wo wahaane laila her ghari karta tha wo
hoshiyari dekheiye deewane ki sair karne chal dia veeranaey ki aadmi aik parh raha tha wahan namaaz dil mein kuch rakhta na tha sooz o guzaaz ker raha tha wo namaz e haq adaa majnu us ke samnay ho ker chala khatam ker ke phir namaaz us ne kaha tujh ko doon is fail ki mein kya saza aa gaya meri ibadat mein khalal samnay se tu gaya mere nikal bola majnu ke mein ne laila ki qasam dekha nahi
bola majnu ke mein ne laila ki qasam dekha nahi warna samnay sajde ke mein aata nahi bola majnu ishq e laila mein sarapa choor tha aur dekhne se mein tujhe majboor tha per tu khuda ke samnay kaisa juhka apni aankhon se raha tu dekhta mujh ko to hai ishq fani zaat ka tujh ko to hai ishq hai maula zaat ka kia isi ko kehte hein sooz o gudaas kia isi ko kehte hein sooz o gudaas ja namaazi dekh li teri namaaz bus! khuda ki tu ibadat ker magar posheeda posheed
kia isi ko kehte hein sooz o gudaas ja namaazi dekh li teri namaaz khuda ki tu ibadat ker magar poshida poshida
le ke tasbeeh aur musallah aik aabid chal diya dhoondne Allah ko sehra mein wo rehne laga aik hiran bhi saath mein us ke wahaan rehne laga aur usi sehra mein wo bhi dorne phirne laga
aik din zahid ne pocha yaar ye kya baat hai arsa e muddat se tera aur mera saath hai tujh ko bethe dekhta hoon aur na sotay dekhta ja baja phirta hai tu aur ya ke rehta hai khara
sun ke bola yeh hiran! ta'ajub ki kya baat hai aashiqo ke wastay kya din hai aur kya raat hai mere andar mushk hai mein is liyeh rehta hoon mast tere ander ishq hai tu is liyeh rehta hai mast
mushk ki khushboo se hardam doorta phirta hoon mein apni aankhon se khuda ko dekhta rehta hoon mein us se milne ka tareeqa aa tu mujh se seekh le ishq mein hasti mita de phir tu Allah dekh le
khuda ke waste zahid na ker numa'ishi sajde khuda ki tu ibadat ker magar posheeda posheeda
jahan tak ho sakay mazloom ko ronay nahi dete aur kisi nadaar ko bhooka kabhi sonay nahi dete bakar e pardaposhi khalq per khone nahi dete khabar is haath ki us haath ko honay nahi dete sakhi khairat karte hein magar posheeda posheeda
tumhare samnay betha hoa hoon sakht mushkil mein musafir jaisay aa jata hai wehshatnak manzil mein bayaan karte hoay darta hoon jo kuch hai mere dil mein buri kuch aur to baatein nahi hein teri mehfil mein magar yeh chupke chupke guftugu posheeda posheeda
aur kisi ghar ki taraf takna kabhi phir mur ke ghabrana kaheen per chandni ko dekh ker saaye mein chupp jana qamar aik he na kya laakhon sitaro ne na pehchana ajab andaaz se waday pe unka raat ko aana dabay paaon nazar behki howi posheeda posheeda
(the preamble that sets the tone is a verse by Kabir)
Tan Jharu, Manu Nahain pewaru, Ansooan Neer Bahaoon
Payyan Pakar, Ruthay Saiyyan ko Manaon, Tab Mein Mira kahaon
(reference to Mira's devotion to Krishna)
Torey Bin Mohe Chain Nahin, Brij Ke Nandalala
Painyaan Parun, Binati Karun, Daarun Gale Maala
Dhundhe phiri Bindrabanay mein,
Madhira mein Janam liyo, Mohan Bansilala
--------
li ham ne tere vaaste dar dar ki gadaee
aavara huey, khaak zamanay ki urdayee
masjid mein bhi mandir mein bhi ki naase asaai
Kaabey mein hamain dukh tere deedar ki layee
Butkhaane mein phonchay teri tasveer ki Khaatir
Kya Kya na Jatan ham ne kiye Yaar ki Khatir
..................
This kalam (bhajan) by Hazir Ali Husain Saheb shows his secular love of God because it is related to devotion and not one religion or another in a typically mystical way.
trans:
I bow down to your feet, request to you stay, and shall garland you, O Nanda's son from the (holy) land of brij!!
From amongst the treasures left behind by Amir Khusrau, this is one kalam that is especially dear to my heart.
The following two renditions were added today to this older post: 1. By the full 11.09 min version Nizami brothers
2. A clip of the more classical rendition by Farid Ayaz from Sufi Eternal Vol 2.
this (full) version may be downloaded here: http://www.cdbaby.com/cd/sufieternalvol2 ------------------ The following is a shorter recital from the mehfil in Ottawa which was hosted by our friends Dr. Arshad Saeed, Javed Somra & Mustafa Hamid.
Ganj-e-Shakar Key Laal Nijamuddin
If any of you would like to share anything to do with Hazrat Moinuddin Chishti, Hazrat Nizamuddin Aulia, Hazrat Fariduddin Chishti or the Chishti order of sufis I'd be very interested to hear more.
----------- Sazad Barshan-e-to Alam Panahi Nizamuddin Mehboob e Illahi
Amir Khusrau's Love Poetry sung by Farid Ayaz & Abu Muhammad Qawwals
Nami danam chi manzil bood shab jaay ki man boodam; Baharsu raqs-e bismil bood shab jaay ki man boodam. Pari paikar nigaar-e sarw qadde laala rukhsare; Sarapa aafat-e dil bood shab jaay ki man boodam. Khuda khud meer-e majlis bood andar laamakan Khusrau; Muhammad shamm-e mehfil bood shab jaay ki man boodam.
Translation:
I wonder what was the place where I was last night, All around me were half-slaughtered victims of love, tossing about in agony. There was a nymph-like beloved with cypress-like form and tulip-like face, Ruthlessly playing havoc with the hearts of the lovers. God himself was the master of ceremonies in that heavenly court, oh Khusrau, where (the face of) the Prophet too was shedding light like a candle.
The above is an rare recital of a Hazrat Shah Niyaz kalam (incomplete) by Farid Ayaz and Abu Muhammad. While the audio quality leaves a lot to be desired, the words that are special and the style of recital that has poise and sentiment that is precious, especially so to the lovers of Imam Hussain.
In glory of Hazraat Imaam Hussain (R।A.) Huzoor Qibla wrote:
Aye dilbigeer daaman-e-sultaane-Aulia, Yaani Hussain ibn-e-ALi jaan-e-Aulia.
Amir Khusro’s putative associations with the Tarana run much deeper. One of the most persistent legends of Hindustani music relates to the encounter between Amir Khusro, who was then associated with the court of emperor Allauddin Khilji, and Gopal Nayak, court-musician to the king of Devagiri. Allauddin commanded Gopal Nayak to present the Raga Kadambak for six evenings running. During the entire performance, Khusro lay concealed under the emperor’s throne, and stealthily absorbed all that the Nayak had sung. On the seventh day, he astonished everyone present in the court by reproducing all that Gopal Nayak had presented. However, since he couldn’t follow the Nayak’s language, he substituted the text of the compositions with meaningless syllables. And that is how the Tarana was born!
Gopal Nayak, according to one tradition, presented the Geet Govind. Khusrau prepared his response in the form of Qaul Qalbana which he did not present himself, but through 12 young students, the original Qawwal Bachche. -----------------------
The above video of the original andaaz of Geet Govind and the following Qaul Qalbana is from a recital in Delhin and is followed by an interview with Abu Muhammad.
Kahe Ko Biyahe Bides Kalam: Hazrat Amir Khusrau Recital: Wajahat Hussain Khan Badauni
Most of us have heard this kalam at weddings or in an Indian film[1]. The tarz is immediately familiar and so easily enjoyable. I especially love the sweet words of Urdu and Purbi. The lament of the bride as she addresses "baabul" her father leaves her home, and the many terms of endearment[2] referring to herself in the eyes of Baabul.
Besides Delhi of course it was in places like Hyderabad, Rampur and Bhopal where the princely states encouraged qawwals and Indian classical gayeki in general. Therefore the images of the architecture of Hyderabad, Deccan and then the one of Roza in Badaun the home of Wajahat Hussain Khan qawwal.
This particular rendition is also special because it is the most complete one I have heard yet. I am unsure if there any verses missing, however if anyone knows of other verses please let me know by commenting below.
***You may need to click "Play", "Pause" then "Play" again to view the video*** ------
2. This second rendition by Nusrat Fateh Ali Khan is probably the most complete rendition (30 minutes) of "Nami Daman Chi Manzil, Bood Shab Jaye Ke Man Boodam" - Amir Khusrau Poetry.
I love the really slow start (alaap) and the steady build up to intense climax. It is truly an unhurried recital where the singers have enjoyed every moment and cherished the words and the music. ______________________________________________________
Nami daanam chi manzil bood shab jaye ki man boodam;
Baharsu raqs-e bismil bood shab jaye ki man boodam.
Pari paikar nigaar-e-sarw-a-qadde lala rukhsare; Sarapa aafat-e dil bood shab jaye ki man boodam.
Khuda khud meer-e majlis bood andar laamakan Khusrau;
Muhammad sham-e-mehfil bood shab jaye ki man boodam.
I wonder what was the place where I was last night,
All around me were half-slaughtered victims of love, tossing about in agony.
There was a nymph-like beloved with cypress-like form and tulip-like face, Ruthlessly playing havoc with the hearts of the lovers.
God himself was the master of ceremonies in that heavenly court, oh Khusrau, where (the face of) the Prophet too was shedding light like a candle.
Poetry: Iqbal Recital: Munshi Raziuddin پس چہ بائد کرد اے اقوامِ شرق (اقبال)
قندہار و زیارت خرقہ مبارک
غزل از دیر مغان آیم بی گردش صہباست در منزل لا بودم از بادہ الا مست I come from the temple of Magians(Old Persian Magus)intoxicated with the passing of wine. I was inebriate with the wine of illa in the state of la*(Nothingness).
دانم کہ نگاہ او ظرف ہمہ کس بیند کرد است مرا ساقی از عشوہ و ایما مست I know his eyes perceive the capacity of every person, the saqi has made me ecstatic by his blandishment and beckoning.
وقت است کہ بگشایم میخانۂ رومی باز پیران حرم دیدم در صحن کلیسا مست It is time I should again open the tavern(Mai-Khana) of Rumi: I have seen the custodian (پیران) of the Harem intoxicated in the churchyard. این کار حکیمی نیست دامان کلیمی گیر صد بندۂ ساحل مست یک بندہ دریا مست It is not the work of a philosopher, catch hold of the hem of a Moses, who conversed with God. A hundred persons enrapt with the shore and but one tipsy with the river.
از حرف دلاویزش اسرار حرم پیدا دی کافرکی دیدم در وادی بطحا مست From his delightful words, the secrets of the Harem shine out: I saw a mini‐infidel yesterday intoxicated in the valley of Batha.
سینا است کہ فاران است یارب چہ مقام است اینہر ذرہ خاک من چشمی است تماشا مست Is this Sinai or Faran? O God, what is this place? Each particle of my dust is an eye lost in beholding the garment of that Interstice that cannot be crossed
"Har Cheez Musabib-e-Sabab Se Mango
Minat Se, Khushamad se, Adab se Mango
Kyon Ghair ke Aage Haath Phailatey ho
Bande he Agar Rab ke to Rab se Mango
Kya Faeda Fikr-e-baish-o-Kam se ho Ga
Ham Kya hein, jo koi Kaam Hum se hoga
Jo kuchh bhi hua, hua karam se tere
Aur jo kucch ho ga, tere karam se hoga
Dar Dar k....sta Phira ley ke Iltija
Paya na Kahin Manzil-e-maqsood ka Pata
Aakhir tere Karam ne pukara Idhar to Aa
Aa Phir Idhar Aa, Tu Phir Mang Phir Mang"
__________________________________________________________
This is another beautiful example of qawwali sung by
the Grand Master Munshi Raziuddin from his archives.
Here the poetry starts in one raag and one kalam and after about 20 minutes blends into another raag and another kalam. During the 30th minute, at an appropriate moment, the master switches back to the original raag and kalam.
As long as the subject (mazmoon) is the same this license to move from one poet to another or one raag to another is unique to qawwali and adds an element of surprise and creativity that the listener loves.
Furthermore one kalam is never actually repeated exactly from one rendition to another.
