Renowned Lalon vocalist Farida Parveen succumbed after a protracted illness on Saturday night, September 13. She passed away at 10:15 PM while receiving treatment at a private medical college hospital in Dhaka. On Sunday, September 14, at noon, individuals from many backgrounds gathered to pay their respects at the Central Shaheed Minar. During the tribute, her husband, acclaimed flautist Gazi Abdul Hakim, remarked, “An artist of Farida Parveen’s caliber emerges once in a century.”
“An artist of Farida Parveen’s caliber emerges once in a century.” How can this loss be rectified? Nothing halts for anyone, and it is indeed true that Farida Parveen will never return. Will another Kazi Nazrul Islam or Rabindranath Tagore ever emerge? I am not juxtaposing her with them; instead, Farida Parveen was a once-in-a-century talent. From the akhra of Kushtia, she transported Lalon’s music to a global platform, reaching even the parlors of the affluent. “Nothing could surpass that,” Gazi Abdul Hakim said to reporters.
Hakim was both Farida Parveen’s personal partner and her musical companion. The combination of her passionate voice and his flute produced a distinctive dimension to Lalon’s songs. Profoundly affected by the demise of his companion in both existence and creativity, he remarked, “I must endure the remainder of my life with her memories, yet it will be exceedingly painful.” We formed a duet—my flute and Farida Parveen’s voice harmonized uniquely. I am uncertain about the future quality of my flute’s sound. I must either relinquish it or engage in even greater play, ensuring she finds solace on the other side, aware that her Hakim continues to play.
After the tributes at the Shaheed Minar, Farida Parveen’s initial namaz-e-janaza was conducted at the Dhaka University Central Mosque after the Zuhr prayers. The body was subsequently transported to Kushtia, where a second funeral will occur before interment at the Kushtia Municipal Graveyard, as verified by the family.
