Begum Akhtar

Begum Akhtar (1914–1974), born Akhtari Bai Faizabadi, was a legendary Indian singer renowned for her mastery of ghazals, thumris, and dadras. Revered as the “Queen of Ghazals”, she was one of the foremost female voices to bring classical and semi-classical Hindustani music to the popular stage. Her artistry combined deep emotion, impeccable diction, and sophisticated raga-based phrasing, which elevated the status of light classical music in India’s cultural heritage.

Early Life and Background

Begum Akhtar was born on 7 October 1914 in Faizabad, in the erstwhile United Provinces of British India (now Uttar Pradesh). She was the daughter of Asghar Hussain, a lawyer, and Mushtari Bai, a courtesan with a keen interest in music. Raised in a traditional yet musically rich environment, Akhtari Bai’s early exposure to classical music came through her mother, who recognised her daughter’s extraordinary talent and arranged formal training for her.
She was trained under some of the finest musicians of the time, including Ustad Imdad Khan of the Patiala Gharana, Ata Mohammed Khan, and later Ustad Wahid Khan of the Kirana Gharana. Under their guidance, she developed a firm grounding in Hindustani classical music, mastering the subtleties of ragas, ornamentation, and emotive expression.

Early Career and Rise to Fame

Begum Akhtar gave her first public performance at the age of 15, which marked the beginning of a glorious musical career. Her talent was soon recognised by prominent music lovers and patrons, and her performance at the Bihar Earthquake Relief Concert (1934) brought her national attention.
She began recording ghazals, thumris, and dadras for gramophone companies such as Megaphone and HMV, making her one of the first female singers to achieve commercial success in recorded music. Her songs, sung in rich Urdu and Hindustani, resonated deeply with audiences for their blend of classical depth and lyrical sensitivity.
In the 1930s and 1940s, she also acted and sang in several Hindi and Urdu films, including Roti (1942), directed by Mehboob Khan, and Sanjog (1943). Her performances brought a new aesthetic dignity to film music, balancing classical elegance with mass appeal.

Musical Style and Specialisation

Begum Akhtar’s repertoire spanned three principal genres of light classical music:

• Ghazal – poetic songs based on themes of love, pain, and longing, often written by great Urdu poets such as Mirza Ghalib, Faiz Ahmed Faiz, Jigar Moradabadi, and Shakeel Badayuni.
• Thumri – lyrical compositions expressing romantic and devotional sentiments, typically set in semi-classical ragas.
• Dadra – a lighter form of classical music characterised by delicate emotional nuances and rhythm.

Her singing style was distinguished by:

• A deep, mellifluous voice capable of conveying complex emotions with effortless grace.
• Perfect control over sur (pitch) and taal (rhythm).
• Subtle and expressive taans (fast melodic runs).
• Deep understanding of Urdu poetry, which allowed her to interpret lyrics with emotional authenticity.

Begum Akhtar’s ghazals often carried a sense of melancholy and soulful introspection. Her renditions of compositions such as “Aye Mohabbat Tere Anjaam Pe Rona Aaya”, “Humri Atariya Pe Aao Sanwariya”, and “Deewana Banana Hai To Deewana Bana De” are timeless masterpieces.

Personal Life and Challenges

In 1945, Akhtari Bai married Barrister Ishtiaq Ahmed Abbasi, a respected lawyer from Lucknow, after which she was known as Begum Akhtar. Following her marriage, she faced strong social and domestic pressure to give up public performances, as performing arts were still stigmatised in certain conservative circles.
This enforced withdrawal from music led to profound emotional distress and ill health. Her husband, recognising the depth of her passion for music, eventually encouraged her to return to singing. When she resumed performing in the early 1950s, her music acquired a deeper, more introspective quality, enriched by personal experience and suffering.

Return to Stage and Later Career

After her comeback, Begum Akhtar gave some of the most memorable performances of her life. She began singing regularly for All India Radio (AIR) and recorded extensively during the 1950s and 1960s. Her concerts in India and abroad drew large audiences, who were mesmerised by her emotive voice and lyrical sensitivity.
Her repertoire during this period included classical and semi-classical compositions set to the poetry of Mir, Ghalib, Daagh, Faiz, and Shakeel Badayuni. She worked tirelessly to bring ghazal singing from private salons and courts into public concert halls, helping it attain mainstream recognition.
She also trained and mentored several disciples, ensuring the continuity of her musical tradition. Among her notable students were Shanti Hiranand, Rekha Surya, and others who carried forward her style.

Artistic Legacy and Influence

Begum Akhtar’s contribution to Indian music is immense. She elevated the ghazal and thumri to classical respectability and created a performance style that balanced technical excellence with emotional depth.
Her legacy can be observed in several dimensions:

• She revived ghazal singing at a time when classical music was losing its connection with popular audiences.
• She brought female performers into the mainstream, inspiring generations of women to pursue professional careers in music.
• Her recordings became benchmarks for later artists, influencing ghazal singers such as Farida Khanum, Jagjit Singh, and Chitra Singh.
• She helped integrate Urdu poetry and Hindustani classical music, thereby bridging cultural and linguistic traditions.

Awards and Recognition

Begum Akhtar’s artistic achievements were recognised with several national honours, including:

• Sangeet Natak Akademi Award (1972) – India’s highest award for performing arts.
• Padma Shri (1968) – for her contributions to Indian music.
• Padma Bhushan (1975, posthumously) – recognising her lifetime achievements in classical and semi-classical music.

She was also honoured by cultural organisations across India for her efforts in preserving and popularising traditional music forms.

Death and Posthumous Tributes

Begum Akhtar passed away on 30 October 1974 in Ahmedabad, Gujarat, shortly after a live performance. Her final concert, given despite ill health, exemplified her devotion to her art until the very end.
Following her death, her home in Lucknow was converted into a memorial and music academy. Numerous festivals and concerts continue to celebrate her life and music, ensuring that her art remains alive for future generations.

Musical and Cultural Legacy

Begum Akhtar occupies a unique position in Indian music — a bridge between classical tradition and modern sensibility. Her interpretations of ghazals remain unmatched for their emotional depth and poetic purity.
Her work also symbolises the emancipation of women in Indian music. At a time when female performers faced social stigma, she asserted artistic independence and dignity through her mastery and grace.
Her name today is synonymous with refinement, emotional intensity, and cultural synthesis. Scholars, poets, and musicians alike continue to revere her for her ability to translate the essence of Urdu poetry into timeless melody.