Experience the soulful magic of ghazals and geet at this specially commissioned Shaam-e-Ghazal evening, featuring talented upcoming vocalists from the East Midlands, Satish Verma and Priya Kaur, accompanied by amazing musicians Kamalbir Singh, Shubham Tajeja & Upneet Singh. The evening will pay tribute to reknowned Punjabi poet late Shiv Kumar Batalvi and honour the music of ghazal legends like Jagjit & Chitra Singh, Mehdi Hassan, Ghulam Ali, Madam Noor Jahan and Reshma. If you love the timeless ghazals, this evening is for you! It will transport you to a world of melody and emotion.
This concert is suitable for age 10+. This concert is 2hrs long including an interval. Late comers will not be permitted entry until interval.
Ticket concession is offered to senior citizens, full time students, children under17, people on unemploment benefit and individuals with disabilities. Be prepared to present valid ID or proof of eligibility when entering the venue.
What is Ghazal?
Author: Jameela Siddiqi Source: Darbar.org
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Ghazal is a poetic form consisting of rhyming couplets, usually in Urdu or Persian, set to music and mostly performed solo. It is probably the single most popular light classical form in South Asia as well as its huge diaspora abroad.
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Although the term ghazal is an ancient form originating in Arabic verse, previously much in vogue for early mystic-poets to describe the pain of divine love, it is now viewed more as a vehicle for expressing the many nuances of human love too. Even so, the words of a ghazal may be interpreted at many levels, including both kinds of love, human and divine.
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Given the rich vocabulary of the Urdu language, there is an astonishing variety of ghazals with their dominant theme of unrequited or unattainable love featuring a pining lover (usually male) and an uncaring or coquettish beloved (female).
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Although related thematically, the couplets are designed to stand independently of one another. But when a ghazal is set to music, then one of the lines in the opening couplet also serves a refrain. A ghazal singer does not have to sing the poem in its entirety but can pick four (or more) couplets from a ghazal featuring perhaps dozens.
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The text of a ghazal affords a composer a great deal of freedom with regard to melody – which can be based on a purely classical raag (melodic framework) or a completely contemporary tune – as well as a vast range of orchestral arrangements featuring any number of instruments, Indian or Western.
Some famous 18th and 19th century ghazals (this period being known as the golden age of Urdu poetry and featuring such immortal poets as Mir Taqi Mir, Mirza Ghalib and Daagh Dehlavi) have been composed many times in dozens of different styles and tunes and performed by numerous singers.
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But, because this is a genre in which words are ranked very high above the music, there is a tacit agreement that the most “classical” form of a ghazal rendition is that which involves only a solo voice, some kind of melodic accompaniment, (ideally a sarangi, but nowadays more likely to be a harmonium) and percussion provided by tabla. The role of the accompanying melodic instrument is clearly a secondary one, shadowing the vocalist as well as filling in interludes between the couplets.
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The current ghazal repertoire is a varied mix of the poetry of classical Urdu poets as well as contemporary Urdu verse, usually by poets from Pakistan. Unlike the more classical genres, for example khayal, many amateur or non-professional singers can sing ghazal as a hobby, given that a crystal-clear and correct pronunciation of the Urdu words ranks above musical ability where this genre is concerned. Even so, many of ghazal’s leading maestros (male as well as female) were also very well-versed in North Indian classical music. Many also sang other light classical genres such as thumri and dadra.
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Ghazals were also a great favourite for inclusion in Indian films, particularly during the 1940s and 1950s, with many composers, notably Madan Mohan, specialising in this format. The '60s and early ‘70s saw a general decline in ghazal as popular tastes inclined more towards catchy rhythms and as Urdu language education generally waned.
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One musician credited with resurrecting the ghazal to its former glory was Jagjit Singh (died 2011) who presented it in a format that not only had instant mass appeal but also led to a renewed interest in the original classical repertoire as well as a greater demand for the study of Urdu around the world.
About the artists
Satish Verma
Based in Derby Satish has deep passion for music and has a rich, soulful voice. He has over 30 years of experience in singing Ghazals, semi-classical, Hindi, Urdu, and Punjabi songs,
Inspired by his mother who was a great devotional singer, Satish started his vocal training from the age 11 from Guru Kuldip Singh Mitharu, Punjab India.
After arriving in Derby in 1982 Satish became very involved in the community where he started teaching young people improving their vocal techniques. He also regularly invited to perform at various community events across the country, captivating audience with his masterful voice.
His love of poetry of late Shiv Kumar Batalvi, led Satish to this music commission for emerging artists where he explores Shiv Kumar’s poetry through ghazal.
Priya Kaur
​From a young age, Priya has been involved in vocal music and has developed a passion for soulful ghazals, geets and shabads with her melodious voice. She began with learning shabad kirtan from her mother and regularly joined her family in community kirtan or Sikh devotional hymns. Since then, she has learned from Surinder Singh Sond ji, Tofail Ahmed ji and Ustad Dharambir Singh MBE as well as attending summer schools and learning intensives. Whilst vocal has been the main focus, Priya also learnt tabla from Bhai Gurmeet Singh Virdee aiding her understanding of rhythm. For the past number of years, Priya has been developing her vocal ability with Shri Mukul Kulkarni and is skilled at accompanying herself on the Harmonium while expressing a range of emotions through her voice.
Kamalbir Singh
Kamalbir Singh is a multi-talented, Sheffield-based critically-acclaimed violinist, ghazal singer and teacher. Kamalbir learnt classical music from his father, Raghbir Singh, from early childhood. He later went to learn violin from Pandit N.L. Nathan and thereafter from Sarangi Nawaz Ustad Nazar Hussain and Pandit Ram Narayan ji.
He became interested in singing Ghazals when he was inspired by Jagjit Singh in 1974 on Radio.
Violin was his first passion, he has continued playing concerts in India and Europe; including Tansen Sangeet Samaroh in Gwalior including prestigious appearances at the Royal Albert Hall, Royal Festival Hall, Barbican Centre, WDR Philharmonic Orchestra in Cologne.
He has been the first Indian musician to play in West End in a famous musical ‘The Far Pavilions', and played violin pieces in films such as Gurinder Chadha's ‘Bride and Prejudice'. He also wrote and composed for a film ‘A Winter in Love'.
Upneet Singh
Upneet Singh has been learning Tabla from the age of 5. He is a disciple of Pt Sanju Sahai of the Benaras Gharana. He has accompanied many artists, both upcoming and senior and has worked with a variety of organisations. Son of Sitarist Ust Dharambir Singh MBE, Upneet has had the opportunity to nurture his musical intellect with exposure to various instruments, musical projects and interaction with great artists. Upneet has learnt the art of accompaniment and brings out his musicality through the sweet melodious sound of the Benaras Gharana.
Shubham Tageja
Shubham Tageja is a versatile music producer, multi-instrumentalist, and audio engineer renowned for his profound command of sound and performance. His exceptional skill on the bansuri, guitar, Morchang , konnakkol and algoza, has made him a sought-after performer on both domestic and international stages.
Shubham’s musical journey began at a young age, driven by an enduring fascination with Indian folk music. Over time, his artistry expanded across genres, blending folk with modern influences. This synthesis has given him a unique musical identity, resonating with a wide array of listeners.
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Beyond his personal performances, Shubham is the founder of Enchanting Echoes Studios, a creative hub for music production and sound engineering. His sharp attention to detail and dedication to high-quality sound have led him to collaborate with numerous artists, helping them bring their artistic visions to life. His role as an audio engineer further demonstrates his deep understanding of the technical and creative aspects of music.
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Committed to sharing his knowledge, Shubham runs a music school in Mehrauli, New Delhi, where he teaches aspiring musicians. He is especially known for his instruction in Konnakkol, the Carnatic vocal percussion art form, following the curriculum of the World Konnakkol Academy LLP. His teaching approach, which combines traditional methods with modern techniques, has earned him widespread respect from his students and peers.
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Fluent in both English and Hindi, Shubham continues to bridge traditional Indian music with contemporary sounds, inspiring a new generation of musicians. His contributions as an artist, educator, and sound engineer have established him as a leading figure in today’s musical landscape, where his enchanting melodies continue to captivate audiences worldwide.
