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مشاهدة جميع الاصدارات : A dor bastanikar by Dawud Husni sung by Safti



fredlag@noos.fr
25-06-2006, 13:36
Maqam bastanikar was seldom used in art music recorded on 78rpm discs : in some rare muwashshat, in at least two dors, but never in mawawil neither in qasâ’id with the notable exception of Ali Mahmud’s Fa-ya girat al-shi3b al-Yamani. It was alwo used in light music, as in Qasabgi’s taqtuqa Hobbak ya sidi ghatta 3al-koll, perfectly sung by Munira.
Qalbi yehebbak wa-lakin (words by Ahmad Ashur) was composed by Dawud Husni in the first years of the 20th century, and its bastanikar nature is much clearer than in Qabbani’s rival (and nevertheless beautiful) Qoltelak wen-nabi terham, which has a final section and qafla in bastanikar, but a madhhab sounding more like maqam iraq.
Neither Manyalawi nor Hilmi cared to record those pieces, although they were composed before their deaths, and it was shaykh Sayyid al-Safti who got hired for singing those twin dors, for Gramophone, Odeon and Baidaphon, a indication of their popularity perhaps (as well as of Safti's takassub...).
Qastandi Rizq has a slightly harsh judgement on Muhammad Uthman’s adwar (as opposed to Hamuli’s), in which he claims he can still feel the smell of candles lit all night while composing them, a smell that didn’t go away until the great singers had polished those works. I feel the same applies to Qalbi Yehebbak : it is “too new”, and Safti is not used to it to the point that he can enforce his own personality upon it and really make it his own interpretation.
The transition to rast (rast/mahur or rast/kardan? a instrument player is needed for this, my ear cannot tell) in the madhhab at 1’34 is very surprising and the way back to bastanikar impressing.
The second side (from 3’30 on) explores bastanikar, always joining saba sentences to sikah. The repeated use of degree muhayyar for hayam (yezdad 3alek el-hayam 5’31) gives a hint of what ulterior developments of the dor can be.
Third side starts at 7’03, with a nice degree by degree exploration of the saba/nawa tetrachord (nawa-tik hisar-3agam-mahur), this time forgetting the sikah platform, signalling interest for the upper tetrachord. Then, saba is left for bayyati, actually signaled by a discrete lazima of the takht at 8’03. Safti gets the hint, switches to bayyati and the dor really gets on the road, especially when it opens way to rast/kerdan from 8’39, beautiful sentences there.
Back to the sikah trichord, with some gins iraq/sikah formulas, and bastanikar is back in the 10th minute, in the men yom 3esheqt ya qalbi hank.
Fourth side starts at 10’40, and bayyati/nawa is back for a new hank section, interesting rythm transition around 11’51, final qafla bastanikar and qafla, followed by Sami al-Shawwa’s short taqsim and short layali bastanikar, a delicacy, by Safti.
In short, a nice dor that didn’t get the chance to be recorded by enough masters among singers so as to get the novelty of it wear off a little.
الشيخ سيد الصفتي
دور بستنيكار / قلبي يحبك ولكن
أحمد عاشور / داود حسني
Odeon 45841 1/2/3/4
recorded Cairo circa 1910.

أبو علاء
25-06-2006, 14:59
I totally share your judgement concerning the novelty of the dawr as a limiting factor. But, I would add there's another problem with this dawr probably due to the fact that it is an "on demand" composisiton. It is overcomposed. When I say "on demand", I don't mean it was necessarily ordered by the company for instance, but the demand is implied in the need to break new grounds and to compose a dawr in an unattended mode. Of course, there are plenty of nice things in this dawr and, as usual, you provided an exhaustive inventory thereof. I will limit myself, apart that brilliant though unexpected shift to higher rast in the madhhab, to mention that magnificent second hank section in bayati nawa then rast, muhayyar, 'iraq in the fourth side from 10' 40" onward. But the very return from that round to bastanikar illustrates the patchwork character of the dawr construction. Indeed, the main problem here, in my view, is the the lack of a fundamental unity. Dawud Husni (and Safti after him) seems to have assembled a series of fragments and, in most cases, it is not a seamless assembly. Strange enough, Sayyid Darwish 'ashaqti husnak, which was composed approximately fifteen years later sound much more coherent in its construction. This is really a paradox because Dawud is the main representative of spontaneous emotion impulsed artistic creation as opposed to "overthought" mental composition. It might be, however, that Darwish benefited from the "experience" accumulated through pieces such as Husni's and Qabbani's dawrs in this mode in a way that the mode was no longer "new" by the time 'ashaqti husnak was composed.

ابن كار
26-06-2006, 04:22
الأخ الكريم الاستاذ فريدريك الفاضل
لكم الشكر الجزيل على تسجيل الدور البستة نكار و طبعاً ما أطرب من دور نادر و من مقام نادر
و أذكر دور يا ميت صباح الخير على الملاح و طقطوق راح يقول إية عذولي من هذا المقام
و هم من الحان زكي أفندي سرور و قد قمت بسماعهم من احد الأساتذه الذين عاشروه في ذلك العهد و قد حفظنا موشح أقبل الصبح و موشح اقبل الساقي علينا و غيرهم معروفين في مدينة حلب و أرجوا من ربنا ينور مجهودكم و ينعمكم بالتوفيق لكي تحصلوا أيضا ً على هذه التحف المذكوره
المخلص بكم دانيال

Najib
26-06-2006, 13:26
Yes I can see the over-composition of the dor.

In the beginning I felt more of a composed monologue rather than an actual dor, and as the dor progressed, I felt it resembled more of the late dors of Abdel Wahab (not that I’m a big fan of his dors).

Fred and Abu 3ala have milked all of the makamic angles of this dor in their posts.

What I want to add is that the actual singing of bestenigar here does not match with 3ali Mahmoud’s ease of singing the same murekkeb makam inAya Jiratal Shi3bi el yimani (http://www.zamanalwasl.net/forums/showthread.php?t=1072&highlight=%E3%CD%E3%E6%CF)

This I think confirms what Abu 3ala and I were talking about the other day, that 3ali Mahmoud and Qasabgi are a few men who – we feel - “drank” this stuff from the Turkish source and weren’t “artificially” using these makams sort of “just for the sake of using them”.

To have an idea of what I mean by source listen to some of the “Dini” stuff by Bekir Sedki Sezgin (http://www.zamanalwasl.net/forums/showthread.php?p=7305#post7305) posted by Paul in the Turkish section. Bekir was one of the last Giants of Turkish Dini Singing.

alshame
26-06-2006, 15:08
ألف شكر أخي الكريم فريدريك على هذه التحفة النادرة

Hattouma
27-06-2006, 12:17
indeed one feels tight listening to this dor ..only felt some relief at the last part (the Iraq according to Abu Alaa ..:)..
S Darwish is spontanious .. i think D Husni is also his most important influence..