مشاهدة جميع الاصدارات : Fe zaman el wasl - Shaykh Yusuf al-manyalawi

24-05-2006, 09:33
"Zaman el wasl" is the very name of this forum and the title of a beautiful dor composed by shaykh al-Maslub on maqam nahawand, with this particularity of being set on cycle aqsaq instead of the usual masmudi.
Zaki Murad's exceptional rendition was already posted on the forum, this is now Shaykh Yusuf's. The record being in a very sorry state, this file was heavily filtered and might be below the usual technical quality offered, but still very enjoyable (it is still a direct transfer from the original record which I physically own).
Gramophone 012263/64 (matrix 135/136p)
recorded Cairo january 1908.

Manyalawi's version offers the shaykh's gorgeous voice, but is strangely not as lively and inspired as Zaki's, and also has some strange stops in what feels as the middle of a sentence. But the trails suggested for development during what we can imagine live concerts were like are quite clever, as always with Manyalawi.

24-05-2006, 12:38
Here he is after nearly 100 years still very cheerful and happy, and making our day happier from beyond the grave.

I love the bayat neva layali at 6'20 especially the rhythmically charged leli-leli-leli-leli at 7'06

And I don't know why 3ammy Sami wasn't in an Aksak mood at the end, and he flipped to shiftetelli.

Thank you is really not enought Fred, but what can I say?

24-05-2006, 13:08
it is not 3ammi sami, ya habibi, it's 3ammena Ibrahim Sahlun

أبو علاء
24-05-2006, 13:26
I'm really delighted at Fred's giving credit to Zaki Murad against Manyalawi. This proves there are no statues indéboulonnables for him either.:) This said, what strikes me here is that, after all, Murad and Manyalawi interperetation of this dawr are quite similar (curiously enough, the elaborate instrumental prelude is the same in both versions). Even that very bayati layali section with which I was so pleased in Murad's version, thinking it was his personal contribution to he dawr, appears to be part of the standard structure (the only difference is a jawab ornamentation Murad makes and Manyalawi doesn't). This brings us back to the important debate on two capital points:
First: to which extent the dawr was, as it is commonly admitted, a semi-composed piece where the composer draws up a melodic outline to be diversely filled and fitted by every interperter according to various factors such as his personal inspiration, his vocal capacities, his momentary mood, the "delivery" circumstances...etc?
Second: whatever the respective parts of predetermination and re-creation were in dawr production, didn't the "disk industry" constitute the decisive factor and the first serious step towards standardisation of vocal performaneces?

24-05-2006, 13:38
@Fred sorry about Shloun "el 3omr louh haqq bardoh" :-)

@Mohsen I think answers to the issues you've raise will always be speculative more than definitive because of the limited amount of recorded stuff. Moreover we have to accept that the recorded stuff is just a snapshot of what our intrepid heroes did actually on a live performance. My 2 cents anyway.

30-05-2006, 17:34
i was waiting to hear the leill leilli leeil leilli leilli leilli ya leill ..from sheikh Yousef after they killed me Murad ...el-hamdullelah seme3taha !

04-03-2012, 11:11
I've been listening to this wonderful Dor in a long drive in Britain yesterday and marvelling at how difficult it is to sing it on an Arabic Aqsaq 9/8 cycle.

It must be difficult for both singer and musicians.

I believe the Qanuni was making the ship steady by playing in notes: TT | DS | TS | TDS