Khyam
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Sama'i - Al Turath Ensemble (transcription)
Hi People,
I was wondering if any of you have a copy of the Al Turath Ensemble CD - La Musica De Al-Andalus.
I have just finished a transcription of the Sama'i on this CD (Track 1) but I need to know a couple of things:
1 - need a confirmation that it is called Sama'i Hijaz Kar Kurd
(I'm pretty sure it is, judging by the fact that this is the over-riding maqam used, but there are a lot of modulations, but want to be 100%)
2 - more importantly... who it is composed by.
If anyone knows, or has a copy of the CD they could check in I would really really appreciate it.
I want to buy this CD but it's expensive online, so I'm waiting to find it a bit cheaper.
Many thanks,
Khyam - London
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amarock
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Dear Khyam
This is a Samai in maqam Hijaz,very nice samai of Muhammad abdo.
You can listen it in this link too:http://www.kmplimited.com/sharq/listen/
In al turath they transposed it but it is a HIJAZ samai.
Regards
Bruno
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Khyam
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Hi Bruno,
Thank you so much for your help. Finally I know!!!
The performance on the link you sent me is wonderful also. Is this your group?
Many thanks again,
Khyam
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al-Halabi
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It is odd that the title given to this album ("La musica de al-Andalus") has little relationship to the origin of the music on it. The music is
actually Syrian, typical of the tradition of Aleppo. The recording includes five muwashshah songs, a poetic genre that did originate in Islamic Spain,
although the poets who wrote the verses of these particular songs are not known and cannot be placed definitely in Islamic Spain. The melodies of most
of the traditional muwashshahat we have today were composed after the fall of Islamic Spain, primarily in Aleppo, which was a leading center for
composition in this genre into the twentieth century. The recording also includes five Aleppo folk songs of the qadd halabi genre, which has no
claimed connection to the music of al-Andalus; a 20th-century sama'i (the sama'i developed in the Ottoman Empire well after the fall of al-Andalus);
and examples of mawwal, qasida, and layali that are typical of the Syrian tradition of improvisational singing. And the medley of vocal and
instrumental pieces in the recording is organized as a wasla, a Syrian musical suite that emerged sometime around the 17th century as a local
counterpart to the contemporary Ottoman suite (fasil).
This Syrian repertoire is part of a local tradition whose historical connection to Islamic Spain is at best tenuous if not non-existent. Representing
it as "the music of al-Andalus" is more than a stretch.
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Khyam
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Yeah I would agree with you also... but it's probably more as a vague historical reference to the Muwashshaha originating in spain as you mentioned.
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Microber
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Hello all,
Does anybody has the score of this Samai?
Thanks
Robert
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Jody Stecher
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Does anyone know which Muhammad Abdo composed this samai? and when?
Quote: Originally posted by amarock  | Dear Khyam
This is a Samai in maqam Hijaz,very nice samai of Muhammad abdo.
You can listen it in this link too:http://www.kmplimited.com/sharq/listen/
In al turath they transposed it but it is a HIJAZ samai.
Regards
Bruno |
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John Erlich
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| Quote: Originally posted by al-Halabi | It is odd that the title given to this album ("La musica de al-Andalus") has little relationship to the origin of the music on it. The music is
actually Syrian, typical of the tradition of Aleppo. The recording includes five muwashshah songs, a poetic genre that did originate in Islamic Spain,
although the poets who wrote the verses of these particular songs are not known and cannot be placed definitely in Islamic Spain. The melodies of most
of the traditional muwashshahat we have today were composed after the fall of Islamic Spain, primarily in Aleppo, which was a leading center for
composition in this genre into the twentieth century. The recording also includes five Aleppo folk songs of the qadd halabi genre, which has no
claimed connection to the music of al-Andalus; a 20th-century sama'i (the sama'i developed in the Ottoman Empire well after the fall of al-Andalus);
and examples of mawwal, qasida, and layali that are typical of the Syrian tradition of improvisational singing. And the medley of vocal and
instrumental pieces in the recording is organized as a wasla, a Syrian musical suite that emerged sometime around the 17th century as a local
counterpart to the contemporary Ottoman suite (fasil).
This Syrian repertoire is part of a local tradition whose historical connection to Islamic Spain is at best tenuous if not non-existent. Representing
it as "the music of al-Andalus" is more than a stretch. |
I agree! The best thing I could say in partial defense of the project is that it is a good excuse to record and distribute Arabic music in Europe in
North America, thus exposing people outside the Arab World to Arabic culture.
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