The inseparable dimension in Nazrul Sangeet

Some even said the birds that flocked to the pond side, seemed unhurried to fly back at the sweet sound of her voice.

But that was surely a myth. What was not a myth, was the meteoric rise of Feroza Begum from that peaceful cabin on to the world stage she would dominate for the next six decades. By the time, she was 12, when all her friends were busy in playgrounds she was being invited to perform at big name auditoriums. It was also around this time that Columbia released her first album that included the Islamic song Morur bukey jibon dhara and Nabiji esho go composed by Chitta Roy.

"To me singing was as natural as breathing. At first, when I had no tutor, I simply tried to follow and pick up the tunes from the gramophone records strewn all over our storeroom," says Feroza. "But I had little knowledge about the nuances that created the mood of a song. Fortunately, at that time, I was blessed to have come across stalwarts such as Chitta Roy (personal assistant of Kazi Nazrul Islam) and later the incomparable composer Kamol Das Gupta, who nurtured my enthusiasm to a more mature level."

"As I trained under Chitta Babu for almost two years I was fascinated by the exquisite compositions Chirotorey durey choley jabo, Tumi shundor tai, Tumi shunitey cheyo na, Ekadoshir chand and more of Kazi Nazrul Islam."

It was however, under composer Kamal Das Gupta (her husband) that she blossomed in semi classical music. Gupta was under the tutelage of the legendary Ustad Zamiruddin Khan, as was one other student, a certain -- Kazi Nazrul Islam. Belonging to the same gharaana, Kamal Das and Nazrul Islam, had a similar mindset, and the music they composed together seemed to find its natural voice in Feroza Begum.

Feroza had met Kazi Nazrul Islam almost by fate "It was during a training session at the radio station that I met Kazi Shaheb for the first time. As I looked into his inquisitive eyes he asked me why I chose to sing songs that was so beyond my age…"

"Because my love for the songs defies reason," Feroza replied, not knowing Kazi Shaheb's identity at that time. "I may have startled him with my answer, but he patted me gently on my head, and, well...the rest is for the history books."

The famous picture of Feroza Begum on stage, sitting alongside Nazrul has become iconic; a reflection of the close relationship they developed and gifted to the world through some of the most memorable music. When Nazrul started to fade away to his crippling disease, it was almost as if Nazrul's undying penmanship found its way to his adoring followers through Feroza.

In 1960, Gramophone Company of India approached Feroza to record songs for Puja. The Kamol-Feroza pair was a sure-fire hit in the genre of adhunik songs. However, she took up the challenge to re-invigorate the popularity of Nazrul songs and recorded Momero putul and Duur dwipobashini. The unparalleled style added a new dimension to the genre and sold out for three months in advance. Musafir mochh rey ankhi jol, her second recorded song, rekindled the popularity even more.

In those days it was difficult to attain popularity without doing playback. "I had flatly refused offers to perform roles in movies such as Purbo Raag, Dukhhey Jader Jibon Gora, Mahesh and Mahua," she says.

"In 1979, I recorded 3 LP's of adhunik and Nazrul songs, which were record hits as well. Astounding though it may sound, I performed in a record number of 380 solo concerts."

Over the next few decades, her name would become synonymous with Nazrul Sangeet. She travelled to Delhi, Paris, London, New York and other cultural capitals worldwide. Whenever she performed, admirers would travel miles to listen to her. Knowing her from close as I do, for the last 25 years, I have never failed to sense the deep love, admirers reserved especially for her.

In 1962 Feroza Begum organised a Nazrul Convention where artistes of all genres, litterateurs, poets assembled at the Netaji Bhavan, in Kolkata. Angur Bala, Radharani and others had retired from the music scene. It took quite an effort to convince them to step on stage once more. Renowned artistes Dhirendra Chandra Mitra, Rai Chand Boral, Konika Bannerji, Suchitra Mitra, Sachin Dev Burman, Debobroto Biswas were among the notable singers who performed Nazrul songs.

The programme ran for two days and was based on different rhythms titled Chhandoshree and Bichitra on variety of Nazrul songs.

"My next venture was to release an LP titled Love Songs of Nazrul in which I assembled several renowned artistes of West Bengal. Manebendra Mukherji presented Bou kotha kou--and Eto jol o kajol chokhey both magnum opus performances. Sandhya Mukherji sang Kemoney rakhi ankhi and Bidaye sandhya ashilo while I sang Mor ghumo ghurey and Nohey nohey priyo.

When Pandit Jawharlal Nehru passed away in 1964, his ashes were brought to Kolkata. At the "Maidan" adjacent to Victoria memorial a massive gathering was held to pay homage. Artistes of repute presented bhajans. Amidst pin drop silence in the sea of people I performed two Nazrul songs --Khelicho e bishwo loye and Tomar moha bishwey."

Since that day in the cabin, eons ago, Feroza Begum's voice has held listeners in a spell. When she takes the stage even now, you can still see the twinkle in her eyes, the slight curve in her lips as her fingers caress the harmonium. A hushed silence falls over the audience, as they witness a legend gifted with a voice to enthrall.

Who knows? Maybe those birds flocking to the pond-side was not a myth after all.