مشاهدة جميع الاصدارات : 4 muwashshahat (1/4)

15-05-2006, 09:25
muwashshah bayyati / qatili bi-ghang al-kahali
shaykh Sayyid al-Safti
Zonophone 102031/32
low technical quality, used record.

أبو علاء
15-05-2006, 11:42
Thank you so much, Fred. You made my day if not my whole week. You know, I didn't know this muwashshah at all until I heard it from the Morcus family ensemble and I fell in love with it. This brings me back to the reflection on the artistic value of muwashshahat. Owing to your thesis, I know now in a more precise manner the status they had in the classical waslah and which consideration they were given by the 19th and beginning of 20th centuries Egyptian singers. Although I understand their favouring the dor both for practical as well as esthetic reasons (the rigidity of the musical pattern and the complexity of the rythm as opposed to the greater freedom offered by the dor). Yet, such considerations are not convincing enough in view of the fantastic melodic richness of this pattern of chant. Safti's renditions of this muwashsah, Layali-l-wasli 'andi 'id, Hal 'ala-l-'astari hatkun, Hayyara-l-'afkar and even the overexploited Lamma bada yatathanna are there to testify to the immense potetntialities of tarab the muwashshahat repertory offer for he who's capable of interpreting them despite the afore mentioned double challenge of complexity and rigidity. Other masterpiecs such as Hat 'ayyuha-s-saqi bi-l-'aqdah and 'ana min wajdi 'ana in 'iraq mode, Hajani fada'ni bi-l-bi'ad and Imlali ya durri in hijaz mode, 'aya muradi in bayati, 'atini bikra-d-dinani in muhayyar, Ya 'udhayba-l-marshaf, Al-'adhara-l-ma'isat and 'ahinnu shawqan in rast, Sabani jamalak in kurd....etc are so numerous and so beautiful that one can not satisfy oneself with the above explanations.
In this case, couldn't we advance the hypothesis that the muwashshah was neglected by the nahda singers because, inspite of the high artistic quality reached by the vocal arts in the second half of the 19th century and the huge progress seemingly achieved in comparison with the artistic scenery in the first half of that century, such pattern as the muwashshah belonged to a higher stage of urban music as practised in another era and/or another area that was yet too complicated for the singers of the hamulo-othmanian school?
I know such hypothesis doesn't sound serious in view of what we know of the recent history of the region, including cultural history (by the way, what do we know about music and vocal arts in Egypt and the Sham region in the 16th-18th centuries?). Is the Andalusian origin academically proven to be definitely out of question? What about a possible Ottoman influence?

15-05-2006, 13:22
What a gorgeous rendition.

Thanks Fred.

16-05-2006, 13:08
gameeeeeeeeeeeeeeeeeeel ya sheeeekhy