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مشاهدة جميع الاصدارات : The First Masters 4/5



fredlag@noos.fr
14-05-2006, 17:07
Mahmud al-Bulaqi is a very impressive voice, sot beyzaghlil, although not always very precise. He probably died between 1914 and 1920, for no trace of him is to be found after the war, but there is not mention of him either as "al marhum" anywhere, so maybe he just retired...
The very harsh words Kamil al-Khula‘i has, in his "al musiqi al sharqi", on a singer who writes booklets on music and commits horrible mistakes both in theory and practice, are quite obviously aimed at Bulaqi, who wrote "al-mughanni al-misri" devoted to art music and "maghani al-gins al-latif", basically a compilation of Awalem songs. Khula‘i is definitely biaised in his judgement, as recordings show.
The Baidaphon catalogue mentions a series of qasa'id he recorded, that happen to be the very same titles Manyalawi was famous for : does it mean he was a madhhabgi of shaykh Yusuf, or simply imitated him, or that his renditions have nothing to do with shaykh Yusuf ? Allah a3lam. So anybody on these forums who owns "mayyaztu bayna gamaliha wa dalaliha", "ukazzibu nafsi", "aqsadat zaynabu qalbi", "ya zaynabu l-hasna'", uhibbuki ya salma", or "qifi ya umaym al-qalb" sung by Bulaqi (everybody has the shaykh Yusuf versions, I suppose), PLEASE share.

Mahmud al-Bulaqi
dor / Yalli garaht el-qalb (huzam) 4 sides
Baidaphon 51750/51/52/54
composer : Ahmad Ghanima ?
recorded Cairo, no precise dating possible, estimated 1912-1914.

The takht seems to be bordering on nashaz more than once, unlike the singer, much more in the duzan, except in some qafalat (around 3', for instance, where takht and singer both sound a little off, but then again this could be a consequence of bad recording by Baidaphon and uneven speed). But maybe I'm wrong, waiting for your opinions.
I hope it will keep you all singing "ma kansh keda tab3ak ya ghazaaaaaaaaaaaaaal".

I haven't heard anybody on Ali abd al-Bari's qasida rast ? No comment ? :-(

أبو علاء
14-05-2006, 18:19
The only version of this dor I've known to date was the one by Nwira's ensemble. I know you classify 'ahmad Ghunimah as a secondary composer of 'adwar and I don't know many others of his composition, but I think that this one, at least, is comparable in quality to Qabbani's compositions and offers a rich structure that is favourable for modulation and ornamentation and Bulaqi does explore some of such alleys.
As for Bulaqi himself, I heard his voice for the first time (while interpreting El-qalbi fi hubbi-l-hawa) through the Hakawati episode you dedicated to him. I think I prefer the voice I heard in that recording to this one (is there really a significant difference or is it the melody that determines the tone?). His melodic capabilities seem to be tremendous. His voice is strong, but perhaps too much strong. I find it a bit harsh. I remember a previous comment of mine where I wondered whether Bulaqi would not be the missing link in a line going from Salamah Hijazi to 'ali Al-harith (I should add the weak link). I still think there is a certain similarity between the textures of the three voices.
As for the supposed nashaz, maybe it's an imperfection of the recording as you put it. We know at least that the qanunji is Muhammad 'umar (his name is mentioned towards the end) and he's a good instrumentist as far as I know.

Najib
15-05-2006, 17:23
I've just listened to the Bulaqi file here, I hated it!!!

He was much better on the Hakawati episode.

I really don't know why.

He is not "malleable" at all here, and didn't appeal a bit to me.

Very strange because I am usually very tolerant!

Hattouma
15-05-2006, 18:22
صوته "بيزغلل"!!!!!!!!!!! ماشي يا فريد!!!:)
هو وصف جديد....و دقيق....
:)

fredlag@noos.fr
15-05-2006, 19:50
فعلا، بيزغلل بتتقال عن شيء يخص النظر كالنور الساطع أو ما شابه، وأشعر أن في صوته ما يرادف مفعول النور الساطع على صعيد السمع... بدعة لغوية
:d

ابو ناصر الشايجي
21-05-2006, 04:28
رائع جدا جدا الف شكر لك استاذي

alshame
06-10-2006, 12:14
Mahmud al-Bulaqi is a very impressive voice, sot beyzaghlil, although not always very precise. He probably died between 1914 and 1920, for no trace of him is to be found after the war, but there is not mention of him either as "al marhum" anywhere, so maybe he just retired...
The very harsh words Kamil al-Khula‘i has, in his "al musiqi al sharqi", on a singer who writes booklets on music and commits horrible mistakes both in theory and practice, are quite obviously aimed at Bulaqi, who wrote "al-mughanni al-misri" devoted to art music and "maghani al-gins al-latif", basically a compilation of Awalem songs. Khula‘i is definitely biaised in his judgement, as recordings show.
The Baidaphon catalogue mentions a series of qasa'id he recorded, that happen to be the very same titles Manyalawi was famous for : does it mean he was a madhhabgi of shaykh Yusuf, or simply imitated him, or that his renditions have nothing to do with shaykh Yusuf ? Allah a3lam. So anybody on these forums who owns "mayyaztu bayna gamaliha wa dalaliha", "ukazzibu nafsi", "aqsadat zaynabu qalbi", "ya zaynabu l-hasna'", uhibbuki ya salma", or "qifi ya umaym al-qalb" sung by Bulaqi (everybody has the shaykh Yusuf versions, I suppose), PLEASE share.

Mahmud al-Bulaqi
dor / Yalli garaht el-qalb (huzam) 4 sides
Baidaphon 51750/51/52/54
composer : Ahmad Ghanima ?
recorded Cairo, no precise dating possible, estimated 1912-1914.

The takht seems to be bordering on nashaz more than once, unlike the singer, much more in the duzan, except in some qafalat (around 3', for instance, where takht and singer both sound a little off, but then again this could be a consequence of bad recording by Baidaphon and uneven speed). But maybe I'm wrong, waiting for your opinions.
I hope it will keep you all singing "ma kansh keda tab3ak ya ghazaaaaaaaaaaaaaal".

I haven't heard anybody on Ali abd al-Bari's qasida rast ? No comment ? :-(
ألف شكر لك أخي فريد بيك على هذا التسجيل الذي يبدو انني كنت مسافرا وقت رفعه ولكن ملحوقة شكرا مرة اخرى على التسجيل النفيس

رودى
06-10-2006, 21:29
عريضة شكر من أهالى حى الأزهر بالقطر المصرى إلى جناب الفاضل فريد رك بك لدوره الفعال فى إثراء الأعمال المرسحيه وبالتالى النهوض بالموسيقى الشرقيه