مشاهدة جميع الاصدارات : Sallemt-e rohak 1/3

06-10-2006, 02:18
Hardly any need to present this classic. This is a 3 rendition series, in order to compare the various possibilities offered by this dor in Bayyati shuri composed by Dawud Husni. There is presently one "old school" version available on a CD issued by the Institut du Monde Arabe in 1988, Ali Abd al-Bari's 4 side Gramophone rendition.

This one is immensely different. Abd al-Hayy Hilmi on Odeon 45272 1/2 sums up the dor on only 2 sides, and proceeds with his usual "batr mubtakir" strategy, leaving aside much of the composition's elements to concentrate on a few items he tortures in his own nevrotic, tragic, and ultimately wonderful way : simply listen to the triple hilya on the a of gharaaam at 1'14-1'18, or the lam of "ma te3lam" at 1'23, or the qafla on khalaasak (2'05-2'11) and that's only the madhhab.
Pay attention to Abd al-Hayy's very low nawa (lets agree istilahan that the piece is on dokah, which of course is not the case) around 3'12-14 in his qafla on zamaan, almost flirting with saba.
legendary lam (qayel-lak) around 3'40-45, opening the higaz/nawa section.
sudden fit of madness around 4'22, and a full octave qafla shuri.
See how the mutrib hardly needs the madhhabgeyya, his thirst of sound makes him play all the roles, mutrib AND betana.

أبو علاء
06-10-2006, 14:13
I saw that this thread has been dangerously slipping down. So, I had to come in even though I haven't had enough time to listen properly and make a meaningful comment.
In the meantime, let me first say I think your filtering was too heavy here. Personally, I would prefer a version closer to the raw one. But, I can do with this one.
This said, The only version of this dor I've known to date was the one by 'abdi-l-bari you mentioned above and my first impression is that this is another instance where Hilmi has done an outstanding job. His approach to the dawr is more than ever one of "discontinuity". Yet, I like this version very much for the melodic genius it reveals and also for the remarkable work of the musicians.
I'll come back later.

06-10-2006, 15:44
أمرك مطاع، ستجد الملف غير المفلتر أسفل المفلتر، ولكن لا أظن أنك ستجده مريحا، فأصبحتُ حذرا في أمور التنقية وغالبا ما أعيد العملية حين أشعر أني أفرطت فقل لي ما رأية عند المقارنة، وكذلك بالنسبة إلى فتكات ابي حجاج...

06-10-2006, 15:50
A delicious rendition, I wish it was longer, but moments of madness can only be short I'm afraid!!

He starts toying with L of the te3lam since 0'54.

What about his cheeky slide into Yekah at 1'51"?

And yes Khalasak at 2'05" I can't stop listening to it.

Thank you ya sidi

أبو علاء
11-10-2006, 17:50
Time to come back to this one. First of all, thanks, Fred, for the unfiltered version. I do prefer it especially that, in the first one, upon listening to the first notes of the initial solo, one tends to thinks this is clarinet and not kaman!
I mentioned discontinuity in my preliminary comment and that's what you have from the first sentence when 'abdi-l-hay decides to paus right after the first sallimt at min. 0' 31" against syntactical logics. The discontinuity here is even further stressed through the repetition of ya fu'adi in the same sentence (to compare with the one-shot sentence as delivered by 'abdi-l-bari), which is the equivalent of a formal declaration that this is going Hilmi's personalised version of the dawr, not to confound with others!
Next typical hilmiesque feature (like Fred says) is that obsessive focus on the sound "m" already announced in the previously described pause (actually, we don't clearly hear the "t" in sallimt) and succesively confirmed in "li-l-gharam", and "ma" as well as the "l" in "ti'lam" respectively pronounced "gharamm", "mma" and "ti'llam" in such a way that, not only syntax, but phonetic rules are also infringed.
That discontinuity shifts the aesthetic focus from whole sentences to micro-units made of words or syllables as shown in the following instances: li-l-gharam 0' 45", ma ti'lam 0' 53", ti'lam 1' 52" and of course the famous khalasak as mentioned by Fred and Najib.
Then comes that dor or ghusn completely transformed by Hilmi starting with the order of the words (Il-'amri 'amrak 'ana mush qayillak) and then by turning it into "pure" bayati before reverting to shuri.
Always according to the previously described logics, a big focus on "shuf" and "el-'aman"...
This is one of the most moving and most delightful interpretations I've ever heard from 'abdi-l-hay.
Let me add a couple of words on the instrumental accompainment. I found it divine, particularly the qanun fantastic ornamentation in min. 1' 08" further expanded in the wonderful lazma after the madhahab min. 2' 25".

12-10-2006, 13:22
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