Mike's Oud Forums

The “Rawdat al-Balabel” Broadcast

David.B - 3-24-2013 at 04:50 AM

The foundation for Arab Music Archiving and Research provides real treasures for your ears!

http://www.amar-foundation.org/podcasting/

001 – Al-qaṣīda ‘alā al-waḥda

David.B - 3-24-2013 at 04:51 AM

http://www.amar-foundation.org/001-alqasida-ala-al-wahdah/

Rambaldi47 - 3-25-2013 at 01:33 PM

This podcast is invaluable!
Thanks for sharing, David. :)

It's interesting to witness the evolution (or perhaps devolution) of Lāzimat el-‘awādhil.
Abū al-‘Ulā had recorded his famous qaṣīda "Afdihi in hafiz al-hawa" (Bayati) with
only an instrumental introduction and conclusion of this part.

Abū al-‘Ulā Muḥammad - Afdihi in hafiz al-hawa

When his prodigy Oum Kalthoum recorded it, perfecting every trill of her master and
adorning it with her own still-developing style, this introduction was dropped in favor
of a simple doulab. My father remembered this version by heart from his childhood
years in Casablanca's Cafes where they played Oum Kalthoum's records regularly. It
was only recently that I've found this version online and my father's eyes were lit
with joy, perhaps the only pleasant father-son moment I've ever shared with him.

Oum Kalthoum - Afdihi in hafiz al-hawa

His other famous qaṣīda "Araka 'asiya al-dam'" (Bayati), which I can't
find it online or in my collection although I'm pretty sure he recorded it
and I've heard it, was recorded by many others after him, including Oum Kalthoum.
In her version, perhaps because it is one of the very first recordings she'd
ever made, this instrumental introduction is still present.

Oum Kalthoum - Araka 'asiya al-dam'

In this 2010 concert, Najib Coutya sang and played this qaṣīda with the traditional
Lāzimat el-‘awādhil still intact.

It's intriguing just as much to find qaṣīdat traditionally sung in one maqam
performed in another, and sometimes in the same artist repertoire -- a testament
to the artist's versatility and the form's flexibility.

Abū al-‘Ulā had recorded "Wa-haqqika ant almuna wa-talab" in Huzam,
the traditional melody picked up by Oum Kalthoum and countless others.

Abū al-‘Ulā - Wa-haqqika ant almuna wa-talab (Huzam)

But I've also found this rare recording of it in Bayati with Lāzimat el-‘awādhil
as instrumental introduction.
Abū al-‘Ulā - Wa-haqqika ant almuna wa-talab (Bayati)

Rambaldi47 - 3-25-2013 at 03:07 PM

Correction to my above post. It was Abdel Hay Hilmi whose recording of
"Araka 'asiya al-dam'" I've remembered, and in which Lāzimat el-‘awādhil has
a very prominent place throughout.

Abdel Hay Hilmi - Araka 'asiya al-dam'

David.B - 3-26-2013 at 01:31 PM

I say thank you for adding this contribution to the podcast!

You share your experience and for others it's the best way to learn.

At this point I begin to understand why I did not understand ... I needed to know these recordings, some explanations and plenty of time to digest! Besides, I realize that it becomes more complicated because I don't understand Arabic.

002 – The Oriental Takht I

David.B - 3-29-2013 at 01:01 AM

http://www.amar-foundation.org/002-the-oriental-takht-i/

Rambaldi47 - 3-30-2013 at 07:23 AM
Quote:

At this point I begin to understand why I did not understand ... I needed to know these recordings, some explanations and plenty of time to digest! Besides, I realize that it becomes more complicated because I don't understand Arabic.


I do not understand most of the Arabic in this music as well. Hebrew
and Arabic do share some common roots and words that I can
recognize or pick up but that's about it. It would be doubly enjoyable
to actually understand these amazing songs.
Quote:

http://www.amar-foundation.org/002-the-oriental-takht-i/


Thanks, David. I didn't know they were going to publish them so fast.
I know many of us have been waiting for this podcast series. The
inclusion of an English transcription is very much appreciated for
us non-native speakers.

I'm trying to understand the role of biṭāna. It is a bit unclear
(though perhaps subsequent listening would be beneficial) if he is
the same as madhhabjiyya. They give as an example muwasshaḥ
“Waghak mushriq” by ‘Abd al-Ḥayy Afandī Ḥilmī and his biṭāna (Ṣāliḥ ‘Abd al-Ḥayy?),
but also mention "the first madhhabjī who does not merely
accompany the muṭrib, but also completes and improves his
performance, as mentioned previously."

So I don't quite understand how many performers they hear in this
recording, or the role of each of them. I only hear ‘Abd al-Ḥayy
Afandī Ḥilmī with someone in the background completing his
voice when he paused to inhale or intentionally paused, "tagging"
his co-performer to continue his phrase, as a sort of echo effect.
This "echo" can be clearly heard several times in Yūsuf al-Manyalāwī
rendition of dawr "Fu'adi amro 'agib" I've mentioned in your other
thread.

I've also found this long recording of dawr "El Bolbol Gani" (Rast
suznak?) by Yūsuf al-Manyalāwī in which a rhythmic mawwal and
taqsim forms the introduction, and then the dawr extends on two
sides. The aforementioned "echoing" can be clearly heard here as
well, along with some ecstatic sighing in the background. The
mutual respect between the mutrib and the takht is
prominently heard, with each complementing the other. :)

Yūsuf al-Manyalāwī - Dawr "El Bolbol Gani" - Pt. 1

Yūsuf al-Manyalāwī - Dawr "El Bolbol Gani" - Pt. 2

David.B - 3-30-2013 at 09:36 AM

I'm still studying the qasida: from what I'm reading when the "chorus" is used as a prelude it's named dulab al-'awadhil and lazimat al-'awadhil when it's used as an instrumental response or concluding phrase (which means 'Patrol of the Censors'). And the most important, the two verses:

Ah ya ana w-esh lel-'awazel 'andena
'um ma adya' el-'uzzal we-waselni ana

Woe is me! What must we render to the censors?
Let them be lost, and bring thee hither!

Source: Shaykh Yusuf al-Manyalawi, The Voice of the Nahda Era by Frédéric Lagrange.

PS
Could someone tell me how to write proper letters without copy and past (qaṣīda instead of qasida for example)?

Rambaldi47 - 3-30-2013 at 11:37 AM

Quote: Originally posted by David.B  
I'm still studying the qasida: from what I'm reading when the "chorus" is used as a prelude it's named dulab al-'awadhil and lazimat al-'awadhil when it's used as an instrumental response or concluding phrase (which means 'Patrol of the Censors'). And the most important, the two verses:

Ah ya ana w-esh lel-'awazel 'andena
'um ma adya' el-'uzzal we-waselni ana

Woe is me! What must we render to the censors?
Let them be lost, and bring thee hither!

Source: Shaykh Yusuf al-Manyalawi, The Voice of the Nahda Era by Frédéric Lagrange.

An Intriguing distinction! And many thanks for the translation.
I wonder what was the context of this excerpt that got accepted
as an integral part of qassid performances.
Quote: Originally posted by David.B  
PS
Could someone tell me how to write proper letters without copy and past (qaṣīda instead of qasida for example)?

I think there isn't any keyboard layout with these Unicode characters
built-in. You have to use Alt + a numerical and/or lettered code.
For example, a Unicode character for a section (§) in certain books
is achieved with Alt+0167. Num Lock must be on.

Here's a complete list of Unicode characters on Wikipedia.

David.B - 3-30-2013 at 02:54 PM

Quote: Originally posted by Rambaldi47  
I'm trying to understand the role of biṭāna. It is a bit unclear
(though perhaps subsequent listening would be beneficial) if he is
the same as madhhabjiyya. They give as an example muwasshaḥ
“Waghak mushriq” by ‘Abd al-Ḥayy Afandī Ḥilmī and his biṭāna (Ṣāliḥ ‘Abd al-Ḥayy?),
but also mention "the first madhhabjī who does not merely
accompany the muṭrib, but also completes and improves his
performance, as mentioned previously."

So I don't quite understand how many performers they hear in this
recording, or the role of each of them. I only hear ‘Abd al-Ḥayy
Afandī Ḥilmī with someone in the background completing his
voice when he paused to inhale or intentionally paused, "tagging"
his co-performer to continue his phrase, as a sort of echo effect.
This "echo" can be clearly heard several times in Yūsuf al-Manyalāwī
rendition of dawr "Fu'adi amro 'agib" I've mentioned in your other
thread.


You're right, I can't hear a difference between the biṭāna of the example (muwasshaḥ “Waghak mushriq”, thanks) and the lead madhhabgî in the dawr "Fu'adi amro 'agib" in the first 3 or 4 minutes.
Quote: Originally posted by Rambaldi47  
I've also found this long recording of dawr "El Bolbol Gani" (Rast
suznak?) by Yūsuf al-Manyalāwī in which a rhythmic mawwal and
taqsim forms the introduction, and then the dawr extends on two
sides. The aforementioned "echoing" can be clearly heard here as
well, along with some ecstatic sighing in the background. The
mutual respect between the mutrib and the takht is
prominently heard, with each complementing the other. :)

Yūsuf al-Manyalāwī - Dawr "El Bolbol Gani" - Pt. 1

Yūsuf al-Manyalāwī - Dawr "El Bolbol Gani" - Pt. 2


I would say Suznak for the dûlâb, in the beginning I hear G Ab G F G in the higher notes. Then you write "a rhythmic mawwal": it isn't a layâlî?
I can hear each singer in each role. So we have madhhabjiyya ("chorus singers"), sannīda ("supporters") and raddīda (?).

In the same book mentioned above biṭāna ("cover") are the backing-singers in the realm of the inshâd dînî (sacred singing).

David.B - 3-30-2013 at 02:59 PM

I give up with Unicode characters :(

David.B - 4-4-2013 at 03:37 AM

I try to focus on:

Yūsuf al-Manyalāwī - Dawr "El Bolbol Gani" - Pt. 1

I hear a dûlâb, a layâlî (00:57), the madhhab (01:50), the dawr itself (04:34) ...

I am new to this kind of exercise, so feel free to say that I'm wrong.

003 – Al Muwashshah

David.B - 4-4-2013 at 11:02 AM

http://www.amar-foundation.org/003-al-muwashshah/

David.B - 4-4-2013 at 03:16 PM

Does anyone have the scores of these muwashshaḥāt?

“Aḥinnu shawqan”

“Hāt yā ayyuhā al-sāqī”

“Malā al-kāsāt”

“El-‘uyūn el-kawāsir”

I've not exhaustively looked at, but I can add two things:

"Malâ l-kâsât
Il a empli les coupes et m'a servi
Celui dont la taille est si gracile
Ma vie ne tient qu'à un mot de lui
Son regard, tel une épée, m'a transpercé
Vous qui me blâmez ! Ne vous enquiérez point de moi
Laissez-moi respecter mes serments"

Source -> http://www.alkindi.org/francais/repertoire/repertoire_alep.htm

"If the rumor were to be true, then we would be in possession of the remnants of a piece dating back to the 15th century by Shams al-Dīn al-Ṣidāwī, a great music professional, a composer and a singer whose contemporaries considered to be the most knowledgeable among the period’s music professionals as to the principles of melody and singing. He also authored theory books in which he included simple melodic phrases to various maqāmāt." -> http://www.mikeouds.com/messageboard/viewthread.php?tid=12494

Rambaldi47 - 4-4-2013 at 03:31 PM

Quote: Originally posted by David.B  
I try to focus on:

Yūsuf al-Manyalāwī - Dawr "El Bolbol Gani" - Pt. 1

I hear a dûlâb, a layâlî (00:57), the madhhab (01:50), the dawr itself (04:34) ...

I am new to this kind of exercise, so feel free to say that I'm wrong.

I am new to this as well, David. Is the madhhab from 01:50 to 04:33
a kind of repeated introductory lyrics and instrumental interlude
of the same melody, i.e. the refrain of dawr?

I agree it seems the main part of dawr itself begins @ 04:34.

Rambaldi47 - 4-4-2013 at 03:43 PM

Quote: Originally posted by David.B  
Does anyone have the scores of these muwashshaḥāt?

“Aḥinnu shawqan”

“Hāt yā ayyuhā al-sāqī”

“Malā al-kāsāt”

“El-‘uyūn el-kawāsir”

I've not exhaustively looked at, but I can add two things:

"Malâ l-kâsât
Il a empli les coupes et m'a servi
Celui dont la taille est si gracile
Ma vie ne tient qu'à un mot de lui
Son regard, tel une épée, m'a transpercé
Vous qui me blâmez ! Ne vous enquiérez point de moi
Laissez-moi respecter mes serments"

Source -> http://www.alkindi.org/francais/repertoire/repertoire_alep.htm


There are scores available here except the last one.
I just chose Muwashshah under genre and then scrolled down to
browse the list for the desired scores.

Quote: Originally posted by David.B  
"If the rumor were to be true, then we would be in possession of the remnants of a piece dating back to the 15th century by Shams al-Dīn al-Ṣidāwī, a great music professional, a composer and a singer whose contemporaries considered to be the most knowledgeable among the period’s music professionals as to the principles of melody and singing. He also authored theory books in which he included simple melodic phrases to various maqāmāt." -> http://www.mikeouds.com/messageboard/viewthread.php?tid=12494

Many thanks for this, David. :)

David.B - 4-4-2013 at 11:26 PM

"In its ultimate form, honed by Muhammad Uthmân and further developed by composers such as Dawûd Husnî (1870-1937) and Ibrâhîm al-Qabbaânî (1852-1927), the dôr was a poem in sophisticated vernacular Arabic, comprising anything from four to ten verses. It consisted of two measured parts, usually derived from the wahda cycle. The madhhab was an overture entirely made up of two or more verses; the dôr - or ghusn (and there might be two or several dôrs/ghusns) - per se was a semi-composed development on the remainder of the text. The madhhab was sometimes sung collectively, and it was performed at speed. The second part of the work was a thematic development of the madhhab's melodic phrases performed by the soloist, occasionally supported by the madhhabgiyya backing-singer during two optional sections: the 'âhât, semi-improvised variations of the sigh 'âh', and the hank, a quick-fire interchange of composed, semi-composed or improvised melodic questions and answers between the soloist and the backing-singers."

Source: Shaykh Yusuf al-Manyalawi, The Voice of the Nahda Era by Frédéric Lagrange.

So from 01:50 to 04:33 what we hear fits pretty well the definition of the madhhab. If you listen carefully you can hear the madhhabgiyya backing-singer at 02:26 and clearly at 03:00.

-------------------------------

Thanks for the scores, I'll be able to read while I'm listening. Good to better identify the different parts of the Muwashshah :)

Rambaldi47 - 4-5-2013 at 01:52 PM

Quote: Originally posted by David.B  
"In its ultimate form, honed by Muhammad Uthmân and further developed by composers such as Dawûd Husnî (1870-1937) and Ibrâhîm al-Qabbaânî (1852-1927), the dôr was a poem in sophisticated vernacular Arabic, comprising anything from four to ten verses. It consisted of two measured parts, usually derived from the wahda cycle. The madhhab was an overture entirely made up of two or more verses; the dôr - or ghusn (and there might be two or several dôrs/ghusns) - per se was a semi-composed development on the remainder of the text. The madhhab was sometimes sung collectively, and it was performed at speed. The second part of the work was a thematic development of the madhhab's melodic phrases performed by the soloist, occasionally supported by the madhhabgiyya backing-singer during two optional sections: the 'âhât, semi-improvised variations of the sigh 'âh', and the hank, a quick-fire interchange of composed, semi-composed or improvised melodic questions and answers between the soloist and the backing-singers."

Source: Shaykh Yusuf al-Manyalawi, The Voice of the Nahda Era by Frédéric Lagrange.

So from 01:50 to 04:33 what we hear fits pretty well the definition of the madhhab. If you listen carefully you can hear the madhhabgiyya backing-singer at 02:26 and clearly at 03:00.

Finally, a definition that serves to illuminate many adwar I
have listened to over the years. I have never looked at it
precisely, and from your exercise and the invaluable notes
on your CD set it is now much clearer to me what are the
individual parts that makes up a dôr / dawr.

Rambaldi47 - 4-7-2013 at 01:42 PM

Quote: Originally posted by David.B  
http://www.amar-foundation.org/003-al-muwashshah/


The parts of a muwashshah as presented here are nearly identical to
almost every Sana'a in a given Andalusian nawba.
Quote:

First dawr: a melody that may include tarannum or not. When it does not, it is limited to one or two lines of poetry.

Second dawr: a repetition of the first dawr with different lyrics. If the first dawr includes a tarannum, then so does the second one. If the first dawr does not include a tarannnum, then neither does the second one.

Khāna or māyt khāna: another melody with new lyrics. It can either be equal in length to one of the adwār, or double its length, thus equal in length to both put together. Also, if both adwār include a tarannum, then this tarannum is repeated at the end of the khāna‘s melody. If they do not, then a tarannum is composed especially for the khāna, improvised by the performer, or bypassed to go directly to the khātima (conclusion). Usually, the khāna’s melody allows for responsorial passages between the munshid (performer) and the biṭāna, i.e. the improvisation resulting from the khāna’s melody followed by the taslīm in repeating part or all of the khāna as a pre-conclusion.

The khārija: the repetition of the first dawr’s melody –that is the same as the second’s– with new lyrics. The melody is either repeated in full –which is the usual process–, or repeated partially –in some exceptions– then considered as a conclusion to the piece.


A sana'a is usually comprised of 2-3 adwar in the same melody
with a possible inclusion of taranum as ya-lalan/tirritai/tani
tanai/etc., then a part or a whole dawr with a different but closely
related melody, and finally a dawr with a repeated melody of the
first adwar.

Here's an example from Mizane Bassit (6/4) Rasd Dhil (a kind of
'Ajam?) of sana'a "Naktsoub Kitsab", comprising of
3 adwar of the same melody with taranum at the end of each,
with the exception of the second part of the 3rd dawr leading
to a 4th which repeats that 2nd part and then ending
with a 5th dawr of repeated melody.

http://www.youtube.com/watch?v=auRhSp5n4M8

Here's another from Mizane Btayhi (8/4) 'Ushaq of
sana'a "Ahin Ya Sultani", though this an exception
with only the 1st and 5th dawr having the same melody
and the middle 3 having a different one.

http://www.youtube.com/watch?v=r6HL43vOpzA

David.B - 4-9-2013 at 03:04 AM

Quote: Originally posted by Rambaldi47  
Quote: Originally posted by David.B  
Does anyone have the scores of these muwashshaḥāt?

“Aḥinnu shawqan”

“Hāt yā ayyuhā al-sāqī”

“Malā al-kāsāt”

“El-‘uyūn el-kawāsir”


There are scores available here except the last one.
I just chose Muwashshah under genre and then scrolled down to
browse the list for the desired scores.


I tried to play "Hat yā Ayyuha al-Saqi" but the score doesn't match the recording. And I need to practice to get my ears used to old recordings ...
Quote: Originally posted by Rambaldi47  
A sana'a is usually comprised of 2-3 adwar in the same melody
with a possible inclusion of taranum as ya-lalan/tirritai/tani
tanai/etc., then a part or a whole dawr with a different but closely
related melody, and finally a dawr with a repeated melody of the
first adwar.

Here's an example from Mizane Bassit (6/4) Rasd Dhil (a kind of
'Ajam?) of sana'a "Naktsoub Kitsab", comprising of
3 adwar of the same melody with taranum at the end of each,
with the exception of the second part of the 3rd dawr leading
to a 4th which repeats that 2nd part and then ending
with a 5th dawr of repeated melody.

http://www.youtube.com/watch?v=auRhSp5n4M8

Here's another from Mizane Btayhi (8/4) 'Ushaq of
sana'a "Ahin Ya Sultani", though this an exception
with only the 1st and 5th dawr having the same melody
and the middle 3 having a different one.

http://www.youtube.com/watch?v=r6HL43vOpzA


The comparison is interesting, and recordings are easier to listen. About the first example, as I'm not familiar with Andalusian classical music I won't make comparison with Arab maqamat. But I found a short explanation for this mode -> http://mcm.bois.free.fr/booklet260010.pdf page 22 of the .pdf.

"The mode rasd al-dhîl is actually the pentatonic mode rasd based on the tonic C.
Like its counterpart mode rasd, rasd al-dhîl is enriched by two floating secondary degrees: F or F # and B or Bb which have no other function than to be ornamentals or passages.
In some cases, the polarization degree of sika (E) shows the mode of the same name."

David.B - 4-9-2013 at 10:48 PM

Quote: Originally posted by David.B  
http://www.amar-foundation.org/002-the-oriental-takht-i/


It seems that "mutayyib" ("cheerleader") is a synonymous for "madhhabjī". It's the first mutayyib who received the fee of the performance, so that the singer doesn't suffer the indignity of receiving money from a host. He saw himself as the friend and not the servant or forced. A detail on the social aspect that seemed interesting to me.

Source: Musiques d'Egypte by Frédéric Lagrange

David.B - 4-10-2013 at 11:38 PM

Quote: Originally posted by David.B  
http://www.amar-foundation.org/003-al-muwashshah/


I won't be very original, here it is a quote from the same book: Shaykh Yusuf al-Manyalawi, The Voice of the Nahda Era by Frédéric Lagrange.

"In Egypt, these pieces, which were collectively played by the takht while pride of place continued to be given to the soloist, were merely preludes to the more demanding vocal performance that was to come. Unlike Aleppine custom, which was characterised by a lengthy suite, the Egyptians were probably accustomed to singing just one or two such pieces, which were swiftly dispatched before the pièces de résistance of the wasla. The muwashshah was considered by teachers to be a key learning-aid: mastering it was essential if one was to venture later into the performance of a variation or novel embellishment without straying into cycles of sometimes fifteen or sixteen beats. Knowing how to respect the muwashshah’s cycle trained the aspiring mutrib to be in a position later to improve on cycles other than the binary wahda. Another of its virtues, in preparing the student for the performance of other types of piece, was that the muwashshah provided a concise presentation of the broad potential of a mode while also being a source of the standard phrases and clichés of the maqâm that could later be exploited for such other pieces.

The muwashshah seems to have attracted substantially more attention among the pioneers of modern Arab musicology in Egypt than it did among performers themselves. While singers and instrumentalists alike bent and twisted the traditional rhythms in order to squeeze some fantasy and tarab into such worthy exercises in virtuosity, those who sought to establish Arab song on more scientific foundations became thoroughly carried away by this form, one whose prestige was only further enhanced by its Andalusian origins. Indeed, this is perfectly understandable, given that these were the same people who came out firmly in favour of notation and settled forms at the time of the heated pre-war debate about composition versus improvisation. In the 20th century, the muwashshah was to become the most cherished focus of the conservatoires, notwithstanding the extraordinary indifference to it among the public at large."

It seemed appropriate to add.
Also, I wonder about the role occupied by the melody types in Meshâkah's work.

Rambaldi47 - 4-11-2013 at 11:51 AM

Quote: Originally posted by David.B  

I tried to play "Hat yā Ayyuha al-Saqi" but the score doesn't match the recording. And I need to practice to get my ears used to old recordings ...

There were two scores on the site I've found. Were both of
them a mismatch with the recording provided? Perhaps some
performers have different, less strict interpretations to a given
muwashshah as you've mentioned in your latest post.
Quote: Originally posted by David.B  


The comparison is interesting, and recordings are easier to listen. About the first example, as I'm not familiar with Andalusian classical music I won't make comparison with Arab maqamat. But I found a short explanation for this mode -> http://mcm.bois.free.fr/booklet260010.pdf page 22 of the .pdf.

"The mode rasd al-dhîl is actually the pentatonic mode rasd based on the tonic C.
Like its counterpart mode rasd, rasd al-dhîl is enriched by two floating secondary degrees: F or F # and B or Bb which have no other function than to be ornamentals or passages.
In some cases, the polarization degree of sika (E) shows the mode of the same name."

Thanks for the linked PDF. I cannot read French but I can pick
up some common roots with English and your translation
of course is quite welcomed. I cannot figure out
myself the notes of each nawba. Several extensive parts of
quite a few nawbat were taught to me vocally without any
mention of notes. I can say that Higaz al-Kabir (Morocco) and Zidane
(Algeria) share common traits with Hijaz and Ramel Maya & Higaz
al-Mashriqi (Morocco) and 'Irak (Algeria) are in turn closely related
to Bayati. But that's about it. I would definitely understand
whatever I've learned a lot better if I could play it. :shrug:

Rambaldi47 - 4-11-2013 at 01:49 PM

Three interpretations of Dawr "Haz il-Hayat" (Bayati):

Abdel Hay Hilmi - Dawr "Haz il-Hayat"
Dawoud Husni - Dawr "Haz il-Hayat"
Saleh Abdel Hay - Dawr "Haz il-Hayat"

I like the expansion and embellishment of the dawr by Saleh Abdel Hay, his takht, and his choir.
It's actually on youtube. Took me a while to rediscover it without knowing much
Arabic. According to the description (translated to broken English via Google), the composer was Muhamad Othman
and the maqam Husseini. It is listed here, with the Hebrew version, 'Oz
Ou'Mihyat (=Strength & Sustenance) under Bayati.

David.B - 4-11-2013 at 02:51 PM

Quote: Originally posted by Rambaldi47  
There were two scores on the site I've found. Were both of
them a mismatch with the recording provided? Perhaps some
performers have different, less strict interpretations to a given
muwashshah as you've mentioned in your latest post.


For now I only tried Hat yā Ayyuha al-Saqi, but nothing matches: different rhythm, different maqam, etc.
Quote: Originally posted by Rambaldi47  
Thanks for the linked PDF. I cannot read French but I can pick
up some common roots with English and your translation
of course is quite welcomed. I cannot figure out
myself the notes of each nawba. Several extensive parts of
quite a few nawbat were taught to me vocally without any
mention of notes. I can say that Higaz al-Kabir (Morocco) and Zidane
(Algeria) share common traits with Hijaz and Ramel Maya & Higaz
al-Mashriqi (Morocco) and 'Irak (Algeria) are in turn closely related
to Bayati. But that's about it. I would definitely understand
whatever I've learned a lot better if I could play it. :shrug:


I give my source to avoid interpretation. Here I'm a bit lost between the pentatonic structure that reminds me of the music at the time of the Pharaohs and the origin of the Persian maqam 'Ajam. Anyway they share common notes depending on the finalis.

Rambaldi47 - 4-11-2013 at 03:47 PM

Quote: Originally posted by David.B  

For now I only tried Hat yā Ayyuha al-Saqi, but nothing matches: different rhythm, different maqam, etc.


I only have this recording of this muwashshah by The Egyptians Choir
in my collection. While Hilmi's is free-form, much more lax on
the rhythm, and a whole lot more tarab-filled, this one's rather boring.

The Egyptians Choir - Muwashshah "Hat Ya Ayyuha al-Saqi"

David.B - 4-11-2013 at 11:00 PM

Thanks for sharing. It's boring as a school day, perfect for learning ;)

I put the partition attached to see if anyone can read what is written ...

004 – Lammā badā yatathanna

David.B - 4-11-2013 at 11:03 PM

http://www.amar-foundation.org/004-lamma-bada-yatathanna/

David.B - 4-12-2013 at 01:53 PM

Quote: Originally posted by Rambaldi47  
I only have this recording of this muwashshah by The Egyptians Choir
in my collection. While Hilmi's is free-form, much more lax on
the rhythm, and a whole lot more tarab-filled, this one's rather boring.

The Egyptians Choir - Muwashshah "Hat Ya Ayyuha al-Saqi"


I wrote the two first instrumental phrases (the tarannum!?) on the same octave. The rhythm is Yuruk Samai (6/8) -> http://www.musiqame.com/score/84
You can play the score but it's better to reduce the tempo (the man who seems to have an emergency).

I think there's only the kirdan open string which is used on the oud, difficult for me to make it sounds nice ...

David.B - 4-13-2013 at 01:12 AM

Quote: Originally posted by David.B  
http://www.amar-foundation.org/004-lamma-bada-yatathanna/


Just perfect! Cutting and comparison allow an useful analysis before the whole listening. The photos also allow us to understand what we hear: Take a look at the headgear ...

I'm not sure, but it seems to me that Mustafa Said is talking, what do you think?

Rambaldi47 - 4-13-2013 at 11:20 AM

Quote: Originally posted by David.B  
Quote: Originally posted by David.B  
http://www.amar-foundation.org/004-lamma-bada-yatathanna/


Just perfect! Cutting and comparison allow an useful analysis before the whole listening. The photos also allow us to understand what we hear: Take a look at the headgear ...

I'm not sure, but it seems to me that Mustafa Said is talking, what do you think?

I'm not familiar with Mustafa Said's voice, so I would take your
word for it. :)
The bayati decent in Muḥyiddīn Ba‘yūn’s interpretation is very unique
and it changes the overall mood of the muwashshah.
The C&C of these two performers and their interpretations is
so beneficial for any prospective student and music aficionados alike.

David.B - 4-14-2013 at 03:19 AM

I agree with the bayati decent! This difference has plunged me in an old thread about maqâm Hisâr, I have to correct some mistake ...

Rambaldi47 - 4-14-2013 at 11:37 AM

I hope others would join the discussion as well, David.

Is Mustafa Said of the podcast/site the same one as in this video?

If nawa athar and nahawand in general is in the air, let me add these
three interpretations of dawr "Kadni El Hawa" (nawa athar) for comparison.

Sayyid as-Safti - Dawr "Kadni El Hawa"

Yusuf al-Manyalawi - Dawr "Kadni El Hawa"

Abbas al-Bileidy* - Dawr "Kadni El Hawa"


* Not sure about the spelling.

David.B - 4-15-2013 at 01:24 AM

I'm listening with half an ear ... Abbas al-Bileidy is already in homophony: do you know the date?
Quote: Originally posted by Rambaldi47  
Is Mustafa Said of the podcast/site the same one as in this video?


Yes, he is :)
I didn't know this method to play on harmonic nodes, I'm going to try a little.

Rambaldi47 - 4-15-2013 at 08:49 AM

Quote: Originally posted by David.B  
I'm listening with half an ear ... Abbas al-Bileidy is already in homophony: do you know the date?

I think 1961 or c.1960. This layali by him and Rast taqsim by the qanun player Fahmi 'Awad of Saleh Abdel Hay's takht (or George Michel's) is from the same televised performance. I especially love the modulation to Saba. :applause:

Rambaldi47 - 4-19-2013 at 08:02 AM

005 – Sama‘ – Wa Haqqiqa – Part I

http://www.amar-foundation.org/005-sama-wa-haqqiqa-part-i/

Very interesting podcast, dealing with the qasida I mentioned in my
first post with both recordings of it.

I think the part about a half-composed, half-improvised melody
comes into light when we compare the different interpretations of
dawr "Haz il-Hayat" in my earlier post. In Hilmi's and to a lesser extent
Husni's recordings we can very much notice that it is the takht
who follows the mutrib and not the other way around, whereas in
Saleh Abdel Hay's the melody and overall progression,
even of the improvised parts, were definitely pre-organized, with the
qanunist (Fahmi 'Awad?) acting as a precursor.

David.B - 4-21-2013 at 03:27 AM

Quote: Originally posted by Rambaldi47  
It's intriguing just as much to find qaṣīdat traditionally sung in one maqam
performed in another, and sometimes in the same artist repertoire -- a testament
to the artist's versatility and the form's flexibility.

Abū al-‘Ulā had recorded "Wa-haqqika ant almuna wa-talab" in Huzam,
the traditional melody picked up by Oum Kalthoum and countless others.

Abū al-‘Ulā - Wa-haqqika ant almuna wa-talab (Huzam)

But I've also found this rare recording of it in Bayati with Lāzimat el-‘awādhil
as instrumental introduction.
Abū al-‘Ulā - Wa-haqqika ant almuna wa-talab (Bayati)


Yep :)
Quote: Originally posted by Rambaldi47  
Three interpretations of Dawr "Haz il-Hayat" (Bayati):

Abdel Hay Hilmi - Dawr "Haz il-Hayat"
Dawoud Husni - Dawr "Haz il-Hayat"
Saleh Abdel Hay - Dawr "Haz il-Hayat"

I like the expansion and embellishment of the dawr by Saleh Abdel Hay, his takht, and his choir.
It's actually on youtube. Took me a while to rediscover it without knowing much
Arabic. According to the description (translated to broken English via Google), the composer was Muhamad Othman
and the maqam Husseini. It is listed here, with the Hebrew version, 'Oz
Ou'Mihyat (=Strength & Sustenance) under Bayati.


It sounds like if it were your own (old) recordings, isn't it?

I can ear the "progress" from Abdel Hay Hilmi (1857-1912) to Saleh Abdel Hay (1896-1962) via Dawoud Husni (1870-1937). Please let me know if I'm wrong with the dates.

I think I'm not awake enough this morning to listen to the podcast. I clearly recognize Umm Kulthūm but I'm waiting the part 2 in order to have the whole recordings. I can't clearly identify which examples correspond to the text. OK, it's time to take a black coffee!

Rambaldi47 - 4-21-2013 at 12:28 PM

Quote: Originally posted by David.B  

It sounds like if it were your own (old) recordings, isn't it?

I can ear the "progress" from Abdel Hay Hilmi (1857-1912) to Saleh Abdel Hay (1896-1962) via Dawoud Husni (1870-1937). Please let me know if I'm wrong with the dates.

I think I'm not awake enough this morning to listen to the podcast. I clearly recognize Umm Kulthūm but I'm waiting the part 2 in order to have the whole recordings. I can't clearly identify which examples correspond to the text. OK, it's time to take a black coffee!


I wish I had the original records of that fascinating era!
These low-quality, poorly tape-recorded mp3s are from a
friend of my brother who'd gathered them over the years
and given them to him about 5-6 years ago. There are some
rare gems there to be mined, no doubt. :)

Rambaldi47 - 4-25-2013 at 01:13 PM

006 – Sama‘ – Wa Haqqiqa – Part II

http://www.amar-foundation.org/006-sama-wa-haqqiqa-part-ii/

Rambaldi47 - 4-25-2013 at 01:48 PM

A creative rendition, full of emotion and ornamentation from a contemporary
mutriba of Oum Kalthoum, and one who was considered a better performer in
those early years.

Fathiya Ahmad - Wa-haqqiqa ant almuna wa-talab (Huzam)

David.B - 4-26-2013 at 03:16 AM

I took some time to identify musical passages corresponding to the text. I hope this can help those like me who use English to understand.
Quote: Originally posted by Rambaldi47  
005 – Sama‘ – Wa Haqqiqa – Part I

http://www.amar-foundation.org/005-sama-wa-haqqiqa-part-i/


The qaṣīda “Wa ḥaqqika ant”
Written by Sheikh ‘Abd Allāh al-Shabrāwī to the baḥr al-mutaqārib
First recorded by Mechian national record company before 1914, performed by Sheikh Abū al-‘Ilā Muḥammad

Wa ḥaqqika anta al-muna wa al-ṭalab - Wa anta al-murādu wa anta al-arab
Wa lī fīka yā hājirī ṣabwatun - Taḥayyara fī waṣfihā kullu ṣabb
Abītu usāmiru najm al-samā - Idhā lāḥa lī fī al-dujā aw gharab
Wa u‘riḍu ‘an ‘ādhilī fī hawāka - Idhā namma yā munyatī aw ‘atab
A-mawlāya bī-llāhi rifqan bi-man - Ilayka bi-dhulli al-gharāmi intasab
Wa yā hājirī ba‘da dhāka al-riḍa - Bi-ḥaqqika qul lī li-hādhā sabab
Fa innī ḥasībuka min dhā al-jafā - Wa yā sayyidī anta ahlu al-ḥasab
Mata yā jamīl al-muḥayyā ara - Riḍāka wa yadhhabu hādhā al-ghaḍab
Atāka al-‘adhūlu bi-annī salawtu - Wa ḥaqqika yā sayyidī qad kadhab
Fa innī muḥibbun kamā qad ‘ahidta - Wa lākinna ḥubbaka shay’un ‘ajab
Wa mithluka mā yanbaghī an yaṣudda - Wa yahjura ṣabban lahu qad aḥabb
Ushāhidu fīka al-jamāl al-badī‘a - Fa ya’khudhunī ‘inda dhāka al-ṭarab
Wa yu‘jibunī minka ḥusnu al-qawāmi - Wa līnu al-kalāmi wa farṭu al-adab
Wa ḥasbuka annaka anta al-malīḥu - Al-karīmu al-judūdu al-‘arīqu al-nasab
Amā wa al-ladhī zāna minka al-jabīna - Wa awda‘a fī al-laḥẓi binta al-‘inab
Wa anbata fī al-khaddi rawḍa al-jamāli - Wa lākin saqāhu bi-mā’i al-lahab
La’in judta aw jurta anta al-murādu - Wa mā lī siwāka malīḥun yuḥabb


A comparison between two recordings of Sheikh Abū al-‘Ilā Muḥammad:

The first recording was made by Mechian before 1914 –as mentioned earlier– on both sides of a 27cm record, matrix # 393, 1 and 2.

The second recording was made by Baidaphon around 1921 on both sides of a 27cm record # b-02259 and b-082260

This episode will also address two other recordings. One is a performance by Umm Kulthūm Ibrāhīm recorded by Gramophone / His Master’s Voice record company around 1927 on both sides of a 25cm record, order # 7-13570 and 7-13571, matrix # BF 1165 and BF 1166.

The last one is a performance by Ṣalībā al-Qaṭrīb in a public concert in Lebanon, recorded at least 40 years after the previous recording was made.

Let us now analyze it!

The qaṣīda “Wa ḥaqqika anta al-muna wa al-ṭalab”:

Besides its marvelous poetry, melody and performance, this qaṣīda offers great material to address two major problems encountered by whoever listens to the old recordings on 78rpm records. First, the eternal question of the set and the variable: how much improvisation is allowed? And what are the boundaries ruling the melody when performing a qaṣīda?

This issue has been somewhat resolved in the case of the dawr thanks to the large number of recordings available. The qaṣīda however has been known to be, in most cases and in the recordings made before WW1, inseparable from the muṭrib’s or the muṭriba’s name; the lyrics can be sung by different performers, but each performer in his personal style. After WW1, a radical change took place, as we shall witness in the specific case of the qaṣīda “Wa ḥaqqika anta al-munā wa al-ṭalab”.

Another difficult issue is: to what extent do these recordings reflect the authenticity of the musical patrimony? How do these records relate to the actual –public or private– concerts? All these recordings –I am referring to the recordings of qaṣa’id ‘ala al-waḥda– were made on both record sides with a 6 to 9 minutes duration. When the qaṣīda replaces the dawr in the muṭrib’s third and last waṣla –as confirmed by the old sources such as Kāmil al-Khula’ī ‘s book, all these sources treating life in the musical milieu and the way the waṣla was performed in concerts–, then it was surely impossible for a muṭrib to perform the qaṣīda during 6 or 9 minutes at the end of the waṣla (the last waṣla). The waṣla should be at least an hour-long including the muwashshaḥ and the mawwāl …etc. But if the qaṣīda ‘ala al-waḥda (on-the-beat) replaced the dawr in the third waṣla, then the performance of the qaṣīda should last exactly or approximately as long as the dawr’s; for example, at least twenty or thirty minutes.

Logically, the performance of the qaṣīda ‘ala al-waḥda had to last between 20 and 30 minutes during a concert. But the recordings available –on 30cm records– do not exceed 6 to 8 minutes, precisely such as Sheikh Yūsuf al-Manyalāwī ‘s recordings. A second comment: we know that the dawr can be recorded on one side –exceptionally, on two sides –normally, or on three sides or two full records. There is another exceptional case –we were not able to find– of adwār recorded on five sides. As for qaṣa’id, we were never able to find any recorded on more than two sides, except for a unique recording of ‘Abd al-Ḥayy Ḥilmī singing the qaṣīda “Arāka ‘aṣī al-dam’ ”. But that’s another story. The qaṣīda is usually recorded on two sides:

What do these sides represent?

How are these two sides related to the qaṣīda as performed in concerts?

How did the muṭrib or the muṭriba deal with both the lyrics and the melody of the qaṣīda if we assume that there was a melody, i.e. if we assume that the qaṣīda’s melody was pre-composed or at least prepared?

Were there any repetitions during concerts? Were there any improvisations?

What type of improvisations were they? Were they only ornamental?

Did these improvisations only consist in developing a certain melodic phrase without the addition of totally different phrases to a different maqām for example?

Were they creative melodic improvisations? Additions? Changes in the melodic path?

We truly know nothing of these concerts. To my opinion, the qaṣīda “Wa ḥaqqika anta al-muna wa al-ṭalab” is a perfect illustration of all the questions we must ask, but can’t give definite answers to.

Let us get back to this famous –famous, at least, for amateurs– qaṣīda because I think that a significant part of our audience have already listened to Umm Kulthūm’s famous version of this qaṣīda.

10:30

But even the majority of Umm Kulthūm’s fans know that her version she was famous for was composed by one of her teachers, Sheikh Abū al-‘Ilā Muḥammad.

11:02

The first known recording of this qaṣīda, unlike what most may think, is intrinsically different from the tune we know and memorize. Because the first recording –when we check the matrix numbers and the record numbers– was undoubtedly made by Mechian. How do these numbers prove it is a Mechian record? Because Sheikh Abū al-‘Ilā Muḥammad performed in a number of recordings made by Gramophone in 1912 that do not include this qaṣīda (unless it was a test-recording, in which case it is missing.) Let us disregard this assumption and get back to the available documentation i.e. Mechian’s recording of the qaṣīda “Wa ḥaqqika anta al-munā wa al-ṭalab” performed by Sheikh Abū al-‘Ilā Muḥammad. Details put aside, I suggest that we listen to the beginning only. We will listen to the full qaṣīda later on.

12:25

The great surprise for those who listened to the beginning of the qaṣīda and are knowledgeable as to maqāmāt is that this qaṣīda is to the bayyātī maqām, not to the usual sīkah maqām. This is surprise number one. One may think that Sheikh Abū al-‘Ilā Muḥammad wanted to show off and maybe impress the audience by changing the usual maqām to an improvised bayyātī melody. This assumption must also be disregarded because the dates confirm that this recording was made before the popular famous version. Therefore, the first rough copy of this qaṣīda is none but this beautiful and extremely touching bayyātī version that appears to the listener as dominantly improvised, if not completely.

15:05

Why hasn’t this version of the qaṣīda become famous?
Maybe the cause is technical. The first reason that comes to mind is the bad recording. This record was produced by Mechian. We know that El-khawāgā (Mister) Mechian –an Armenian born and educated in Egypt– completed by himself in his shop the work of a whole team: he recorded, printed and marketed his records –tasks performed by a complete team of employees in the other respectable record companies. This does not mean that El-khawāgā Mechian was not a respectable person. It only means that his records’ artistic value is good, but that they are more “complicated” on the technical level.

16:54

Approximately six years later, Sheikh Abū al-‘Ilā Muḥammad recorded this qaṣīda again with the well-known national record company Baidaphon: with the same lyrics but this time to the sīkah maqām. You may not agree with me, but when I listen to this recording I feel that the melody is somewhere midway between a prepared and an improvised melody. It is clear that Sheikh Abū al-‘Ilā Muḥammad had not memorized the qaṣīda. His pure and natural performance seems to be born from his inspiration. It may be a little pre-arranged. Yet, many variations or melodic phrases –today considered as pre-requisites for those who want to imitate Umm Kulthūm or Sheikh Abū al-‘Ilā Muḥammad’s performance of this qaṣīda– were purely spontaneous. For example, I suggest we listen to the phrase “Mata yā gamīl el-muḥayyā ara riḍāk”.

18:55

To me, it is obvious that the repetition here is an ornamental improvisation. I do not think that Sheikh Abū al-‘Ilā Muḥammad composed two different melodies for the same phrase “Mata yā gamīl el-muḥayyā ara riḍāk”. On the contrary, I think he is improvising and ornamenting the melodic path he started with the first time. When listening carefully to the instrumental accompaniment in this recording –Sāmī al-Shawwā on the violin and Al-Quḍḍābī on the qānūn both interpreting Sheikh Abū al-‘Ilā’s phrases and bringing the necessary additions–, it is quite clear that they are following him, not preceding him.

20:22

Strangely, the record –as a medium– changed the course of the History of Arabic Music as well as everything in the music field: in 1927, Umm Kulthūm –the pupil of Abū al-‘Ilā Muḥammad– recorded the qaṣīda “Wa ḥaqqika anta al-muna wa al-ṭalab” with Gramophone. She said exactly what Sheikh Abū al-‘Ilā Muḥammad had said in his performance recorded by Baidaphon. Was Umm Kulthūm imitating Sheikh Abū al-‘Ulā’s performance of this qaṣīda or was she replicating his Baidaphon record released five years before?

Also, there is a world of difference between Umm Kulthūm and Sheikh Abū al-‘Ilā Muḥammad with all due respect to Umm Kulthūm ‘s marvelous performance. Yet we can feel that she memorized the qaṣīda and sang it without bringing anything personal to it. She just performed it as a brilliant student parroting an already recorded performance. She permanently fixed what came partially from melody composition –or quasi melody composition– and partially from improvised spontaneous creativity.

22:40

Muṣṭafa Sa‘īd: Sir, I am sorry I must interrupt your speech. Our episode today is about to end. Before it does, I would like to draw the attention of our listeners to Al-Qaṣṣabjī –the ‘ūd player with Umm Kulthūm: he did not only memorize Umm Kulthūm’s version of the qaṣīda but sometimes went ahead of her. This remark contradicts your comment on the musicians accompanying Sheikh Abū al-‘Ilā Muḥammad. Ladies and gentlemen, today’s episode of “Sama‘ ” is over. We will resume our discussion about the qaṣīda “Wa ḥaqqika anta al-muna wa al-ṭalab” in our next episode.
Quote: Originally posted by Rambaldi47  
006 – Sama‘ – Wa Haqqiqa – Part II

http://www.amar-foundation.org/006-sama-wa-haqqiqa-part-ii/


Let us assume that we have finished talking about the records, even if we haven’t listened to anything.

Anyway, we will at the end of this episode.

Let us give an idea about the public performance of this qaṣīda; I do not imply Sheikh Abū al-‘Ilā’s live performances as we are unable to gather any information about these, but Umm Kulthūm’s performance for example. We do know that Umm Kulthūm used to perform this qaṣīda in her public concerts. How did she perform it, knowing that she had actually memorized it from Sheikh Abū al-‘Ilā’s recording? How did she perform it in her public concerts?

We know for sure that Umm Kulthūm performed waṣlāt in the 1920s and that she sang the very successful qaṣīda “Wa ḥaqqika anta al-munā wa al-ṭalab” in many concerts. She undoubtedly sang it differently, or added a lot to this recording’s version, especially that the records produced in the 1920s are different from pre-WW1 records. The latter were nothing but a medium attempting to transmit a reflection –unfortunately a distorted reflection– of the period’s musical reality, whereas 1920s records had become a reference and a product by itself. Therefore, we notice that this song became the equivalent of a school exercise aiming to show the performer’s ability to perform maqāmāt, to go higher then lower, and to perform some ornaments. All beginner muṭribāt have sung this qaṣīda in conservatories. Some have recorded their performance and others haven’t. I have listened to this qaṣīda performed by different muṭribīn in Arab music festivals. Even when listening to a successful muṭriba with a beautiful voice like the Moroccan ‘Azīza Jalāl who recorded this qaṣīda, we notice that she sometimes misses the beat. Yet, the result is almost acceptable in terms of melody, emotion and performance. She does however imitate Umm Kulthūm, but her version is slower. When comparing the pace of Sheikh Abū al-‘Ilā Muḥammad’s recording to the pace of the performance of a commercial muṭriba who is not specialized in heritage music, we realize that her singing is clearly much slower. These performances do not give us any idea of the way this qaṣīda should be performed. Maybe the only reference that can –not Umm Kulthūm but maybe Sayyid al-Ṣaftī’s generation– is this marvelous recording of Lebanese muṭrib Ṣalībā al-Qaṭrīb singing it for ten minutes, or a little more.

04:45

What do we notice when listening to this recording? First: The numerous similar aspects between Ṣalībā al-Qaṭrīb’s voice and performance aesthetics and Sayyid al-Ṣaftī’s. I do not know if he was influenced by Sayyid al-Ṣaftī, knowing that the latter made several visits to Bilād al-Shām (the Levant).
Let us listen to the part starting with “Amā wa al-ladhī” performed by Sheikh Abū al-‘Ilā Muḥammad, then by Umm Kulthūm, and finally by Ṣalībā al-Qaṭrīb.

05:47

To my opinion, the difference is obvious: the original recording of Sheikh Abū al-‘Ilā Muḥammad sounds like an inspiration, an enlightenment; Umm Kulthūm’s version is a successful imitation; Ṣalībā al-Qaṭrīb seems to have been totally imbued in the melody –maybe Umm Kulthūm was also imbued in the melody, but there is unfortunately no recording to prove it– and then added his own creativity.

Let us now listen consecutively to four recordings of this qaṣīda. The first is Sheikh Abū al-‘Ilā Muḥammad’s recording to the bayyātī maqām, followed by his version to the sīkah maqām recorded five years later, then Umm Kulthūm’s imitation of Sheikh Abū al-‘Ilā Muḥammad, and last a live concert by Lebanese muṭrib Ṣalībā al-Qaṭrīb.

10:02 -> Sheikh Abū al-‘Ilā Muḥammad’s recording to the bayyātī maqām.
18:25 -> His version to the sīkah maqām recorded five years later.
24:47 -> Umm Kulthūm’s imitation of Sheikh Abū al-‘Ilā Muḥammad,
31:02 -> Live concert by Lebanese muṭrib Ṣalībā al-Qaṭrīb.

Thank you for your listening.

David.B - 4-26-2013 at 03:36 AM

Quote: Originally posted by Rambaldi47  
A creative rendition, full of emotion and ornamentation from a contemporary
mutriba of Oum Kalthoum, and one who was considered a better performer in
those early years.

Fathiya Ahmad - Wa-haqqiqa ant almuna wa-talab (Huzam)


Thank you for this other version :)

Rambaldi47 - 5-6-2013 at 11:07 AM

007 – Muṣṭafa Kāmil Bāshā – Min Al Tarikh

http://www.amar-foundation.org/007-mustafa-kamel/

David.B - 5-8-2013 at 02:39 AM

I was just now reading about the collapse of the Ottoman empire to understand the political context. It's clear that this is an essential key to understanding the Nahda.

Here are some maps that I could find to see geopolitics:

1878 -> http://www.atlas-historique.net/1815-1914/cartes_popups/EmpireOttom...

1908 -> http://www.atlas-historique.net/1815-1914/cartes_popups/EmpireOttom...

1912-1913 -> http://www.atlas-historique.net/1815-1914/cartes_popups/EmpireOttom...

1920 -> http://www.atlas-historique.net/1914-1945/cartes_popups/EmpireOttom...

1925 -> http://www.atlas-historique.net/1914-1945/cartes_popups/EmpireOttom...

Sorry, it's in French, but I haven't found such detailed maps in English.

David.B - 5-8-2013 at 02:52 AM

I'm not sure, but I think this part just been added -> http://www.amar-foundation.org/about/
The team does a very good job of digitalization and it's nice to see their workplace.

Rambaldi47 - 5-8-2013 at 02:25 PM

Thanks for posting those historical maps, David. I need to learn
more about the surrounding events from which sprouted this great music
of Nahda period.

Do you or any others know where is Abu l3eila Muhammad's recording
of the qasida "Kam Ba3athna"? I remember it was on YouTube a long
time ago. Perhaps it was removed. (Searching in Arabic
ابو العلا محمد كم بعثنا didn't help either.) It was included in the first podcast.

Here is Oum Kalthoum's version.

Fathiya Ahmad's rendition is once again proving to be so much more expanded
and inspired. Perhaps it was recorded live. One of the podcasts mentioned that
qassaid were often 20min long at the end of the wasla. This one is nearly 14min.

Rambaldi47 - 5-9-2013 at 03:17 PM

008 – The Qānūn Musical Instrument 1

http://www.amar-foundation.org/008-qanun-1/

David.B - 5-12-2013 at 01:12 AM

If I understand well Muḥammad Ibrāhīm, Muḥammad Al-‘Aqqād and ‘Abd al-Ḥamīd al-Quḍḍābī played qanun without 'arabāt although it had already been invented. It's not explained why: question of time and distance (brand new in the late 19th in Turkey)? Or question of local and instrumentalists tastes?

Muḥammad Al-‘Aqqād with his qanun -> http://ethnomusicologie.revues.org/docannexe/image/464/img-2.png

Rambaldi47 - 5-13-2013 at 12:06 PM

Most intriguing, David! I've seen this expanded pic of Yusuf al-Manyalawi but
I've never known his qanun player was Muḥammad Al-‘Aqqād. So in all those
adwar and mawawil, Al-‘Aqqād had changed the pitch without using mandals
-- possibly a mix of personal preference and a pre-1890 qanun -- but stopped
the strings with his left-hand fingers. I wonder what current day or the still-living
previous generation of qanun players prefer. Because I've seen both Abraham
Salman, a living legend and a remnant of the old era, and Eliyahu Avichzer, a
terrific modern-day qanun player with the Israeli Andalusian Orchestra
using both techniques in their playing.

Here's taqsim Hijaz Kar by Muḥammad Al-‘Aqqād, from a record by the Tunisian
qanunist, Hassan Elgharbi:

http://www.youtube.com/watch?v=-_LYNlt7kj0

Rambaldi47 - 5-16-2013 at 01:24 AM

009 – The Qānūn Musical Instrument 2

http://www.amar-foundation.org/009-qanun-2

Rambaldi47 - 5-16-2013 at 05:08 PM

This is one of those adwar I've mentioned before on other threads and one
which I hold dear to my heart. It's just so beautiful, even though I don't understand
the words. Its melody is simply the embodiment of tarab for me. These
three great performers have each imbued this dawr to Dalansheen maqam with their
own respective, unique approach.

Sayyid as-Safti - Dawr "Fouadi Amro 'Agib" (Dalansheen)

Yusuf al-Manyalawi - Dawr "Fouadi Amro 'Agib" (Dalansheen)

Sayyid Makkawi - Dawr "Fouadi Amro 'Agib" (Dalansheen)

And this young Egyptian-Jewish cantos has spotlessly performed the Hebrew
version of this dawr, "Yedidi Imro Agid,"* following Sayyid Makkawi's rendition.
His voice, reminiscent of the Nahda era, is captivating, and his precision
at tackling this difficult dawr is praise-worthy.

David Tsaliah - Dawr "Yedidi Imro Agid" (Dalansheen)

* I shall tell My friend's/beloved's (God's) word. Full lyrics here.

David.B - 5-18-2013 at 10:59 PM

Quote: Originally posted by David.B  
If I understand well Muḥammad Ibrāhīm, Muḥammad Al-‘Aqqād and ‘Abd al-Ḥamīd al-Quḍḍābī played qanun without 'arabāt although it had already been invented. It's not explained why: question of time and distance (brand new in the late 19th in Turkey)? Or question of local and instrumentalists tastes?

Muḥammad Al-‘Aqqād with his qanun -> http://ethnomusicologie.revues.org/docannexe/image/464/img-2.png


Part 2 answers my question: there were two schools, old vs new.

‘arabāt reminds me of the use of the piston on the chromatic harmonica -> http://www.youtube.com/watch?v=MlnK2sa7mm4
I would say: "go and buy a diatonic harmonica!"
It's a matter of taste ...

Rambaldi47 - 5-23-2013 at 12:18 PM

010 – Dawr 1st episode, Nedhamuna

http://www.amar-foundation.org/010-dawr-1/

David.B - 5-26-2013 at 12:25 AM

Clarification on the Dawr :)
I must admit that I have not taken the time to clearly identify each part of each dawr. On the last record, it's a pity not to hear the aqṣāk rhythm. I wonder if there is a riqq or if the rhythm is implicit within the melody.

Rambaldi47 - 5-26-2013 at 04:56 PM

Quote: Originally posted by David.B  
Clarification on the Dawr :)
I must admit that I have not taken the time to clearly identify each part of each dawr. On the last record, it's a pity not to hear the aqṣāk rhythm. I wonder if there is a riqq or if the rhythm is implicit within the melody.

I couldn't hear any percussion although they mention Maḥmūd Raḥmī
on the riqq. Perhaps the aqṣāk rhythm they refer to is in the first
part of the dawr, the madhhab. All I could discern was that the dawr
is in nawa athar or at least the dulab is.

David.B - 5-27-2013 at 07:13 AM

I can hear when the rhythm changes, but like most of these old recordings the riqq disappears ...

Rambaldi47 - 5-30-2013 at 02:25 AM

011 – Dawr Kādnī el-hawa

http://www.amar-foundation.org/011-kadni-el-hawa/

They write that the dawr is in nahawand, sub-maqam 'ushshaq.
I've seen somewhere else that the dawr is in nawa-athar, which is
why I've written this maqam in my earlier post with links to the three
interpretations I've found, two of which are analyzed in this podcast.
Is there some major difference between the two sub-maqamat?

There is a Hebrew version for this dawr, but no recordings of it whatsoever.
It's called "Be'vet Nava" (In the fair one's house=the holy temple). I wish I had
the voice or knowledge of maqamat to attempt a recording of it. Such a beautiful
dawr!

Rambaldi47 - 6-6-2013 at 03:11 PM

012 – The rāst maqām

http://www.amar-foundation.org/012-the-rast-maqam/

Jody Stecher - 6-6-2013 at 04:16 PM

wow.
Quote: Originally posted by Rambaldi47  
012 – The rāst maqām

[url]http://www.amar-foundation.org/012-the-rast-maqam/
[/url]

Rambaldi47 - 6-13-2013 at 12:56 PM

013 – The mawwāl

http://www.amar-foundation.org/013-the-mawwal/

Rambaldi47 - 6-13-2013 at 02:39 PM

An analysis of Abdel-Wahhab's mawwal zanjaran "Amana Ya Leil" by Samy
Abu-Shumays, mentioned in the above podcast as the 2nd type of 5 hemstitches
mawawil, the kind that already has a set-melody, with very few truly improvised
parts. I would've very much liked to witness the performers sitting down and agreeing
on some set paths the mawwal and individual taqasim would take. Regardless
of whether this particular mawwal has any or very few improvised parts,
it is just so sweet to my ears. Zanjaran is quite a beautiful maqam.

http://maqamlessons.com/analysis/amanayaleil.html

Oh, and I've also got a confirmation in this podcast that Saleh Abdel Hay's
qanun player was Muhammad Abduh Saleh. Thoroughly astonishing
sikah mawwal and taqsim . :bowdown:

Rambaldi47 - 6-20-2013 at 02:19 PM

014 – Dawr 2nd episode, Nedhamuna

http://www.amar-foundation.org/014-dawr-2/

Rambaldi47 - 6-28-2013 at 10:13 PM

015 – The bayyātī maqām

http://www.amar-foundation.org/015-the-bayyati-maqam/

Rambaldi47 - 7-6-2013 at 02:05 AM

016 – Zaki Murad, Men AlTarikh, 1

http://www.amar-foundation.org/016-zaki-murad-1/

Rambaldi47 - 7-11-2013 at 01:23 PM

017 – Zaki Murad, Men AlTarikh, 2

http://www.amar-foundation.org/017-zaki-murad-2-2/

Rambaldi47 - 7-19-2013 at 09:16 AM

018 – Dawr 3rd episode, Nedhamuna

http://www.amar-foundation.org/018-dawr-3/

Rambaldi47 - 7-27-2013 at 03:03 AM

019 – Mawwāl Sāhī el-gufūn, Samaa

http://www.amar-foundation.org/019-mawwal-sahi-el-gufun/

Fascinating podcast, dealing with the same mawwal recorded by various
performers, both from a literary standpoint, and melodically.

Rambaldi47 - 8-1-2013 at 12:11 PM

020 – Khedive ‘Abbās Ḥilmī II

http://www.amar-foundation.org/020-khedive-abbas-%E1%B8%A5ilmi-ii/

021 – The Waṣla part 1

David.B - 8-8-2013 at 09:45 AM

http://www.amar-foundation.org/021-the-wasla-1/

I have a lot of reading to catch up ...

Here a French article about Kamal Kassar -> http://www.lemonde.fr/acces-restreint/culture/article/2013/07/05/6c...

Rambaldi47 - 8-15-2013 at 12:15 PM

Welcome back, David. :)

022 – Qaṣīda “Arāka ‘aṣiyy al-dam‘ ”, Part 1, Samaa

http://www.amar-foundation.org/022-araka-assiyy-al-dam-part-1/

majnuunNavid - 8-17-2013 at 10:17 PM

There could not be a better site dedicated to Arabic music. Is there any way to download these podcasts for listening later? I only seem to get the web browser option. Let me know if you've had better luck. Thanks.

David.B - 8-17-2013 at 11:31 PM

The staff did a great job, they upload the podcasts in .mp3. You can "Save Target As" with the right click on the link.

Rambaldi47 - 8-22-2013 at 08:09 AM

023 – Qaṣīda “Arāka ‘aṣiyy al-dam‘ ”, Part 2, Samaa

http://www.amar-foundation.org/023-araka-assiyy-al-dam-part-2/

All* of the recordings of Qaṣīda “Arāka ‘aṣiyy al-dam‘ ” on 4shared (Not mine):

http://www.4shared.com/folder/mZfbNF4V/__online.html

I like their description of Saleh Abdel Hay in this podcast:

Quote:

Some tried to get rid of what in their opinion was dust on the heritage, but one knight alone went on defending Al-Ḥāmūlī’s legacy till the 1950s.
Quote:

In my opinion, Ṣāliḥ is a tragic character, a “Don Quixote” carrying a spear and attacking the mills.


* Oum Kalthoum's version, as well as her mentor's, sheikh Abu l3eila Muhammad --
whose version was only excerpted on one of the earlier podcasts
-- are not on this list.

Rambaldi47 - 9-13-2013 at 08:01 AM

024 – Durūb al-Nagham, Waṣla
http://www.amar-foundation.org/024-durub-al-nagham-wasla/

025 – Bashraf, Nedhamuna
http://www.amar-foundation.org/025-bashraf-nedhamuna/

026 – Mohammad Salem, Min Al Tarikh
http://www.amar-foundation.org/026-mohammad-salem-min-al-tarikh/

All Episodes (weekly updated)
http://www.amar-foundation.org/podcasting/all-episodes/

Rambaldi47 - 10-10-2013 at 02:22 AM

027 – Salāma Ḥigāzī, Part 1
http://www.amar-foundation.org/027-salama-higazi-part-1/

028 – Salāma Ḥigāzī, Part 2
http://www.amar-foundation.org/028-salama-higazi-part-2/

029 – Salāma Ḥigāzī, Part 3
http://www.amar-foundation.org/029-salama-higazi-part-3/

030 – Samā‘ī
http://www.amar-foundation.org/030-samai/

All Episodes (weekly updated)
http://www.amar-foundation.org/podcasting/all-episodes/

Jody Stecher - 10-10-2013 at 08:10 AM

Thanks for calling attention to this, Nate. What a treasure trove. In the program about Samā‘ī I had trouble understanding what is meant by lāzima and how it differs from teslim. Perhaps something was lost in translation. Can anyone help? I've seen in some (older?) Ottoman Saz Semaisi transcriptions that the repeated theme is called Mulazime but when I listen to these pieces being played I don't hear exactly in what way it is different from Teslim.

Rambaldi47 - 10-11-2013 at 04:20 PM

Jody, I also couldn't understand the difference between a teslim and lazima here.
If we take for example Ibrahim al-Aryan's sama'i bayati, where does the teslim ends
and the lazima begins?

Here's their relevant quote if someone would care to explain.
Quote:
The samā‘ī form as it entered Arabic musical tradition is as follows:

Four khānāt to the 10-pulse samā‘ī thaqīl rhythmic cycle. Each khāna ends with a taslīm (a fixed melody in all of the khānāt, linked to each one of them to a certain limit depending on the maqām). The taslīm relays to the lāzima (a melody defining the samā‘ī maqām, that is repeated after each khāna, but is separated from it). The lāzima ends with the last part of the above-explained taslīm.

Rambaldi47 - 11-15-2013 at 08:24 AM

031 – The taḥmīla
http://www.amar-foundation.org/031-the-tahmila/

032 – Dawr El-bulbul gānī
http://www.amar-foundation.org/032-dawr-el-bulbul-gani/

033 – The jahārkāh maqām, Nedhamuna
http://www.amar-foundation.org/033-the-jaharkah-maqam/

034 – Yamanta Waheshni, I, Samaa
http://www.amar-foundation.org/034-yamanta-waheshni-1/

All Episodes (weekly updated)
http://www.amar-foundation.org/podcasting/all-episodes/

Rambaldi47 - 11-27-2013 at 12:33 PM

035 – Yamanta Waheshni, II, Samaa
http://www.amar-foundation.org/035-yamanta-waheshni-2/

This rendition by Sabah Fakhri and his bitana is also a marvelous performance
of this hijazkar dawr:
http://www.youtube.com/watch?v=FfuyLBPyNto

And here's Marie Jubran's rendition:
pt.1 - http://www.youtube.com/watch?v=IZdpTqMlw7g
pt.2 - http://www.youtube.com/watch?v=2OwRRD-YlLg

Finally, this is the first part of the hijazkar wasla by Saleh Abdel
Hay and his bitana, which was not included in the podcast.
It features a sama'i shatt ‘arbān and taqsim layali:
http://www.youtube.com/watch?v=9O1EPDcBN4c