مشاهدة جميع الاصدارات : Two dor-s by Abd al-Hayy eff. Hilmi

30-04-2006, 22:46
The first dor is my absolutely favorite track sung by Abd al-Hayy Hilmi.

dor / qulli ra'et eh fe dalalak hatta ertadeeto
Gramophone 2012060/61
text : Muhammad al-Darwish
music : Muhammad Uthman

قوللي رأيت إيه في دلالك / حتى ارتضيته
بالروح لو باعوا وصالك / أنا كنت اشتريته

يا للعجب شوف طول بعادك / واللي نويته
إوعى تخونني في بعادك / وحياة عيونك
راقب بقى ربك / واشفي غرام صبك
أحسن أنا أعدم / وانت كمان تندم
ويبقى تسكين الأشجان / مش في الإمكان قوللي رأيك

The record was released in 1924, 12 years (!) after Hilmi's death. It was probably recorded in 1910, but since I don't have the matrix number, I cannot assure this.
The first side is nice but usual, the second is fantastic when the lyrics come to ahsan ana a3dam / wenta kaman tendam, and the way he pronounces the letter /m/ in "mosh fel emkan" is legendary in my opinion.
Two years later, according to A. Anany, he died of an overdose of alcohol and "tersa" (sea turtle) in the toilets of a restaurant in Alexandria...

The second track is also a legendary dor, although very simple in its composition, it is the dor in which Abduh al-Hamuli cries the death of his son. It was recorded by Hilmi and Sulayman Abu Dawud, but I only have Hilmi's rendition, unfortunately.
dor / la ya 3en ya hliwa
maqam bayyati (although the dor is sometimes signaled as saba, Hilmi's version is bayyati)
Gramophone / Zonophone
probably recorded 1908
لا يا عين يا حليوة يا نور العين كبدي يا ولدي آه يا جميل
لما رأيت البدن داب البدن مني
ودمع عيني جري بعد ان نشف مني
يا ولدي يا جميل
the "badabadabadan" Hilmi does at some point is simply confounding. Of course, his usually tragic style of interpretation and the taqti3 technique Abu Ala' has rightly pointed out do wonders for this mother of all tragic adwar.

30-04-2006, 23:26
فريد أفندي البولاقي
أنا ممنون كتير ليك على المحاضرة الرائعة دي
بس من فضل معاليك تنشر الكلمات بقدر الإمكان علشان نقدر نتابع ونتمتع أكتر

30-04-2006, 23:51
أمرك مطاع
تم تكميل نص دور / لا يا عين

01-05-2006, 00:00
تشكرات إفندم
شي جوزال

01-05-2006, 00:03
إيفات، شوك جوزال
:d :d

01-05-2006, 01:00
Tchok tatle
Tchok Techekkurat

wallah testahel ya qalbi

01-05-2006, 01:03
معلش أصل التركي بتاعي بعافيه شويه

01-05-2006, 14:03
كل الشكر فريد على هذا الكرم

أبو علاء
01-05-2006, 15:39
Great dor and fanstastic performance indeed! We're talking of Qulli ra'it fih fi dalalak. But, are you sure this is the full dawr, Fred? It seems as though it was cut in the middle. Wouldn't it be one of the four disk sides pieces? If such is not the case, the final part is funny.
La ya'in is the kind of dors that suit most Hilmi's style as Hamuli composed it exactly in the way 'abdi-l-hay used to sing and no wonder at that in view of the tragic circumstances of the dor creation. But what I liked most are the layali, both the initial and final ones. Overwhelming. Thanks a million.

01-05-2006, 17:15
No, "qulli ra'et" is indeed complete. Obviously, Abdel Hayy must have told the sound engineer that 2 sides would be enough, and then got stuck at the end, realizing he should have considered 3 sides or even 4. So he simply ends it with a fast qafla, not even letting time for a taqsim bamb at the end. But the catalogue is clear, the dor is complete this way. I share your feeling of unsatisfaction, the "ahsan ana a3dam wenta kaman tendam" part deserved a longer treatment... Still, it is beautiful !
1930 Gramophone Catalogue pages for Hilmy as pdf attachment.

أبو علاء
01-05-2006, 18:52
Indeed! My feeling was precisely that last part did not receive an adequate development. As matter of fact, the whole dor warranted much more development and melodic exploration. I like very much the "modal economy" of the composition and that balance struck between a certain sense of sobriety (there's not a large variety of maqams) on the one hand and the full exploitation of the possibilities of bayati and its various nuances and "levels".

03-05-2006, 16:50
Hi guys,

I'm really sorry I've been missing from your "class" for the last few days. My doctor diagnosed me with a new type of flu. Urabitis (listening to too much Urabs) :)

Anyways I have a lot of catching up to do, but I promise I will.

Abdel Hay is unbelievable, I mean how can we love anyone after him is really difficult. The mm in moush fil imkan is really khurafiyyah.

Also in Lay Ya 3eyn I love the way he ends a pair of down ya leyl on Rast rather than on Doukah (1'15"), which is not easy to reproduce at all (when the mode is bayati of course)!

His badabadan reminds me of the transe that some qawwali singers get out some series of consonnas in their singing. Of course the difference is that Hilmi's is 6000 more beautiful.

Also sadly no more Abdel Hay, but also no more Tersah! I think my fishermen friends tell me that the last time they have seen a Tersah in the Lebanese waters was in the seventies!