مشاهدة جميع الاصدارات : In the Path of God : 3 versions of qasidat "a la fi sabili -llah" (3/3)

09-06-2006, 15:26
The art of qasida 3ala al-wahda in the case of Abd al-Hayy Hilmi appears as an original, sui generis type of rendition. As Najib pointed out in a recent post that no riqq is clearly hearable in almost all qasida recordings. It must be made clear, at first, that there are different kinds of wahda, the basic wahda and the wahda sa’ira or wahda bi-ribat, the syncopated kind, that can be heard for instance in Salih Abd al-Hayy’s marvelous 1950s version of Araka 3asiyya al-Dam3.

D = dum ; T = tak ; S = fillable silence : ° = absolute silence, 4/4 cycle :
basic wahda :
D°/S°/T°/T°/ or D°/T°/T°/T°/
wahda bi-ribat :
D°/ST/°S/T°/ or D°/ST/S°/T°

In almost all the early 20th century recordings, the riqq is either unhearable or absent, and the qanun is in charge of the metric. It almost always accounts to a 4/4 ostinato of the basic wahda type, one time out of 4 being slightly more accentuated (representing the dum)
Most singers, and particularly mashayekh, respect this meter and perform acrobatics in order to fall back on the dum (Manyalawi, Higazi, Safti, Abu al-Ila, etc). Meanwhile, Abd al-Hayy, not a shaykh trained in inshad (which demands respect of metric cycles) and utterly uninterested by compulsory rythm anyway, has his own qasida 3ala al-wahda rules. The aesthetics of the melodic sentences is still comparable to Manyalawi’s, although less imaginative in terms of maqamian construction and exploration, but the border between qasida 3ala al-wahda and qasida mursala tends to blur at times with Abd al-Hayy. The instrumental ostinato hardly marks an accentuated time anymore, it sometimes turns to 4 equally accentuated times.
A la fi sabili-llah by Abd al-Hayy is no exception to the rule : just listen to his slurring deeena of 3andena in the dulab el-3awazel. Strange sikah insistence at the beginning. On the second side, the wonderful short 3anki at 3’55, completely disruptive as Abu Ala’ would say, almost dissective, again at 4’52, dha / dha t-tarki... Nice shuri color at 5’00. disruptive fa-hal / hakimun fil-hubb.
Do not miss at 5’47 the funny Ya Sharikeh, in Bani Suwayf accent : Hilmi is actually insulting the Gramophone Company for not paying him enough !
Gramophone 14-12605/06, matrix nb 1377/1378y (recorded by A. Clarke in May-June 1910, Cairo)
عبد الحي حلمي
قصيدة ألا في سبيل الله
شعر ابن أبي عيينة

09-06-2006, 15:45
الله عليك وعلى هذه الفاكهة من كل الأصوات والأنواع وبكل المقاسات حقا كما قالت الست لأهل باريس في 1967 في الأوليمبيا ما أجد من الكلمات ما أعبر به عن شكري0000 لك على هذه التشكيلة الرائعة التي تستطيع أن تحرز بها كأس العالم 0000؟

09-06-2006, 16:39
Thanks, many questions are answered now.

Being very thick as usual it took me few listenings to understand why he was saying "Ya Sharikeh", he chose to shout it after Yunsifuni Minki :-) very clever!

His micro estethics in 3anki are really beautiful.

On the whole, I prefer Manyalawi's rendition.

أبو علاء
09-06-2006, 21:16
Very nice recording, Fred! I started by this one. Well, I had already heard Safti's vesion, but not yet Manyalawi's. And I like much this one inter alia because of that "disruptive" reading of the qasidah. I think such approach is much more agreeable when applied to a qasidah than to a dawr and don't ask me why! I said inter alia, because I was delighted first by the dulab in particular and all the instrumental play in general. Very inspired. I also like 'abdi-l-hay playing with the dulabi-l-'awadhil and that lovely "deeneh" as well as that strange drift to sikah. When commenting this qasidah, you mentioned several linguistic peculiarities (by the way, doesn't Hilmi commit here the same grammatical error as Safti with the sababiyah?) but you missed one here -"muhgiti" pronounced twice this way instead of muhgati, typical "Egyptianism".

20-06-2006, 08:24
روعة وجمال لك مني جزيل الشكر