fredlag@noos.fr
28-09-2006, 15:14
Abu al-Ila Muhammad, last file :
qasida muwaqqa3a higaz : Khalliyani wa-law3ati wa-gharami
Gramophone 1512727/28, recorded 1912, released 1914.
Poem by al-‘Amili al-Bahaa’i (1547-1621), sung all around the Middle-East (Ahmad al-Shaykh), including as a qasidat inshad (Ali Mahmud, Muhriz Sulayman).
الشيخ أبو العلا محمد، قصيدة موقعة / خلياني بلوعتي وغرامي
شعر العاملي البهائي
It seems that ma-htiyali and mawwal ya qalbi ma-lak betetnahhed didn't really catch your ears. Maybe this last piece of the Abu al-Ila Muhammad legacy will prove slightly more succesful (?). Since the whole forum has been engaged for some days in a fit of Kulsulmic frenzy, maybe hearing her teacher in one of the qasa'id she probably learned and sung but never recorded will raise some interest.
I do not know why this piece is not as famous as "ghayri 3ala l-silwan qadir" or "wa-haqqika" or "amanan ayyuha l-qamar al-mutill" among Abu al-Ila’s compositions, for it in in no way inferior to those. I would go as far as saying that it is, along with Manyalawi's Fatakat Lahziki and Allahu Ya3lam, among the best works in maqam higaz I know in the field of qasida muwaqqa3a.
Very remarkable is how Abu al-Ila, in this piece, is clearly drifting away from the dulab al-3awazel logic. The musicians still quote it at times, but Abu al-Ila is really in a composition logic, this path which will be followed by the early Abd al-Wahhab or Mahmud Subh.
After a standard dulab, Abu al-Ila surprises the listener by starting on the «second floor» with a opening in genre (gins) nahawand, before concluding higaz, after a wonderful stop at 0’43 at which point the sentence «rebounces». The gharaaaaaaaami at 0’58>1’01 is typically Abu al-Ila-esque, subtly alluding to bayyati, before resuming higaz. Pay attention at 1’45 to the sudden 5-degree drop in qad da3ani l-[drop] ha/a/a/a/wa, very moving. Once again, the sentence (inna man dhaqa) beginning at 2’00 uses the same «false bayyati shift» trick.
On the second side, the 3’42 five-degree jump passes as natural, actually horribly difficult to perform in a soft way, and its conclusion on a lower degree than expected produces a clever suspension and feeling of unease for the listener. Nice 3afq at 4’04. qafalat are never what you expect, for instance at 4’18 you think it will close nawa athar, and it doesn’t, this unpredictability is amazing. The rast prepared before 5’00 is also admirable. Actually, Abu al-Ila is more in gaharkah at 5’11, and the takht takes the hint to turn to rast in the lazima. I love the 5’35 «fa-3ala l-hilmi wal-waqari sala[mun]», followed by the safe return to higaz.
Note the mistake in the lyrics, Abu al-Ila sings «salamun» instead of «salatun», but, hey, 3ala l-na7w wa-shi3r alf alf salam...
خلياني ولوعتي وغرامي * يا خليلي واذهبا بسلامي
قد دعاني الهوى فلباه لبي * فدعاني ولا تطيلا ملامي
إن من ذاق نشوة الحب يوما * لا يبالي بكثرة اللوام
خامرت خمرة المحبة عقلي * وجرت في مفاصلي وعظامي
فعلى الحلم والوقار صلاة * وعلى العقل ألف ألف سلام
qasida muwaqqa3a higaz : Khalliyani wa-law3ati wa-gharami
Gramophone 1512727/28, recorded 1912, released 1914.
Poem by al-‘Amili al-Bahaa’i (1547-1621), sung all around the Middle-East (Ahmad al-Shaykh), including as a qasidat inshad (Ali Mahmud, Muhriz Sulayman).
الشيخ أبو العلا محمد، قصيدة موقعة / خلياني بلوعتي وغرامي
شعر العاملي البهائي
It seems that ma-htiyali and mawwal ya qalbi ma-lak betetnahhed didn't really catch your ears. Maybe this last piece of the Abu al-Ila Muhammad legacy will prove slightly more succesful (?). Since the whole forum has been engaged for some days in a fit of Kulsulmic frenzy, maybe hearing her teacher in one of the qasa'id she probably learned and sung but never recorded will raise some interest.
I do not know why this piece is not as famous as "ghayri 3ala l-silwan qadir" or "wa-haqqika" or "amanan ayyuha l-qamar al-mutill" among Abu al-Ila’s compositions, for it in in no way inferior to those. I would go as far as saying that it is, along with Manyalawi's Fatakat Lahziki and Allahu Ya3lam, among the best works in maqam higaz I know in the field of qasida muwaqqa3a.
Very remarkable is how Abu al-Ila, in this piece, is clearly drifting away from the dulab al-3awazel logic. The musicians still quote it at times, but Abu al-Ila is really in a composition logic, this path which will be followed by the early Abd al-Wahhab or Mahmud Subh.
After a standard dulab, Abu al-Ila surprises the listener by starting on the «second floor» with a opening in genre (gins) nahawand, before concluding higaz, after a wonderful stop at 0’43 at which point the sentence «rebounces». The gharaaaaaaaami at 0’58>1’01 is typically Abu al-Ila-esque, subtly alluding to bayyati, before resuming higaz. Pay attention at 1’45 to the sudden 5-degree drop in qad da3ani l-[drop] ha/a/a/a/wa, very moving. Once again, the sentence (inna man dhaqa) beginning at 2’00 uses the same «false bayyati shift» trick.
On the second side, the 3’42 five-degree jump passes as natural, actually horribly difficult to perform in a soft way, and its conclusion on a lower degree than expected produces a clever suspension and feeling of unease for the listener. Nice 3afq at 4’04. qafalat are never what you expect, for instance at 4’18 you think it will close nawa athar, and it doesn’t, this unpredictability is amazing. The rast prepared before 5’00 is also admirable. Actually, Abu al-Ila is more in gaharkah at 5’11, and the takht takes the hint to turn to rast in the lazima. I love the 5’35 «fa-3ala l-hilmi wal-waqari sala[mun]», followed by the safe return to higaz.
Note the mistake in the lyrics, Abu al-Ila sings «salamun» instead of «salatun», but, hey, 3ala l-na7w wa-shi3r alf alf salam...
خلياني ولوعتي وغرامي * يا خليلي واذهبا بسلامي
قد دعاني الهوى فلباه لبي * فدعاني ولا تطيلا ملامي
إن من ذاق نشوة الحب يوما * لا يبالي بكثرة اللوام
خامرت خمرة المحبة عقلي * وجرت في مفاصلي وعظامي
فعلى الحلم والوقار صلاة * وعلى العقل ألف ألف سلام