The Two queens : Lata Mangeshkar and Noor Jahan
It is very difficult to make comparison between the two queens. Both are the genius of the age, both sing with equal ease and have command of classical music. While both are the artistic paragons of perfection it is not easy to say who is the better of the two. Lata has a voice that is soft and mellow, while Noor Jahan’s voice is strong. Lata represents the softness, decency, inhibition and introversion of Delhi and Lucknow, while Noor Jahan represents the openness, strength and extroversion of the Punjab. Lata’s voice is so soft and so alluring that it penetrates the listeners’ heart. A cuckoo might have been enthralled by Lata’s cooing in the song: Nindya Sey Jagi Bahar/Aisa Mausam Dekha Pehli Bar/Koyel Kookey Galy Malhar. — such softness and naturalness is not found in Noor Jahan’s voice. Lata’s softness seems to be innate and natural as she does not sing in “Ragi”, while Noor Jahan sings in “Ragi” meaning that she strains her vocal cords, thus rendering her voice an artificiality. In this respect she seems to be less gifted than Lata. But here is the difference which makes Noor Jahan more varied, more novel and more versatile. And this shortcoming of “Ragi” , if it is, in any way a shortcoming, has turned into a real “something” in her throat. She is able to change, vary, strain, snap, twist and swing her vocal cords according to the demand of the song. Lata with her soft voice has her limitations. It seems to be a chain, curbing her versatility and novelty: making her suitable only for sad songs. There is always lurking sadness in Lata’s voice. Even when she is singing a happy song, she conveys a subtle sadness. Noor Jahan’s God-gifted capability to strain her vocal cords wherever and whenever she desires, has really made her a unique artist. Even in Alaps (prelude modulation), Taans (a stretched key note), Pulteys (Turned-over modulation) and Murkis (sudden metrical zigzag), she is able to produce variety. All the great master musicians like: queen of music Roshan Ara Begum, Amanat Ali Khan, Fateh Ali Khan, Nazakat Ali Khan, Salamat Ali Khan, Ustad Ghulam Ali Khan, Ustad Barkat Ali Khan and Nazar Hussain Shami paid rich tributes to Noor Jahan’s versatility. When Noor Jahan rendered “Murkis” even the great Ustads like Bundoo Khan Sarangi player, Abdul Aziz Khan flute player, Fateh Ali Khan Sitar player etc had to be extra careful in following the rise and fall of her voice.
Noor Jahan is also able to produce the effects of deep sorrow and sadness which seems to be only Lata’s speciality. In their song: Jo Bacha Tha Woh Lutaney Key Liyay Aai Hain/Akhri Geet Sonaney Key Liyay Aai Hain — while she alaps a couplet in alto as prelude to the song, she is able to produce the heart-rending effects of a last-cry of a dying beloved. Similar is the song: Jeo Dhola, Jeo Dhola/Tut Gai Aj Hunjwan Di Mala/Ghar Aya Naeen Karmanwala/ Kher Howay Shala/Jeo Dhola. Her songs in the film Anarkali bear out Noor Jahan’s novelty, diversity, versatility and maturity of the heighest rank. In the song: Banvari Chakori Karay Dunya Sey Chori Chori/Chanda Sey Peyar, the artistic Murkis in the song will always be alive for all future singers as model. Like Lata, Noor Jahan, too, seems to be capable of giving effect of lurking sadness in the song: Aa Bhi Ja/Aa Bhi Ja/Dekh Aa Kar Zara/Mujh Pey Guzri Hae Keya/Teray Peyar Main — and Sayyoo Ni Meray Dil Da Jani/La Key Neon Tor Gaya Jay/Sayyo Ni Merey Dil Da Jani.
Noor Jahan is capable of producing atmospheric effects with the help of her “Ragi”. In the song: Rim Jhim, Rim Jhim Parey Phowar/Tera Mera Nit Ka Peyar/–, it seems that it is drizling, outside when she is singing In the song: Sikhre Dopahri Piplee Dey Thaley/Mein Chankayan Wangaa — Noor Jahan’s voice also contributes to the situation. The hearer himself feels the scorch of the mid-summer long blazing noon. Even the chink of the bangles can be felt in the throat of Noor Jahan. Her song: Sadey Ghar Aai Barjhai/Lakhan Khushian Naal Leai — denotes general and collective happiness in bride-groom’s house full of near relatives. Here she pronounces the word “Bharjai” instead of “Parjhai” making one of the multi-faceted differences. In the song: Aj Qaidi Kar Liya Mahi Nooh/Main Chaj Patashay Wandan — she communicates full-blooded happiness. When she gives alaps and skrill-shouts in between the Asthai (first verse) and the Antra (the following verses), she is able to produce the heightened happy effects in the song. Lata, on the other hand, inspite of her many a happy song, has never succeeded in communicating delirious gladness like it because of the limitation of her over-softened voice. Noor Jahan while in the songs: Sanoo Nehar Waley Pul Tey Bula Key/Khawray Mahi Kithey Rah Geya/– and Lat Uljhi Suljha Ja Rey Balam/Main Na Lagaoon Gi Hath Rey — she is pert and coquettish, but she is equally able to communicate the contrary feelings of dire hopelessness and total disappointment in the songs: Ja Apni Hasratoon Pey/Ansoo Baha Key So Ja — Zinda Hain Kitney Loag Muhabbat Keyay Baghair/Hum Sey Badal Geya Woh Nigahain Tu Keya Howa — . In the songs: Yar Sadqey, Dildar Sadqey– and Tum Jug Jug Jeo Maharaj Rey/Hum Teri Nagarya Mein Aaey — she seems to be in the state of trance. She takes the audience to the height where they feels dissolved into her song. Lata, herself, a number of times, has recognised and acclaimed this novel quality of Noor Jahan’s voice. Thus it seems to be a settled fact that, doubtless, Late is greater than any of her contemporaries yet Noor Jahan is the greatest.
(Source: The News)