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مشاهدة جميع الاصدارات : ح اسيبك للزمن - 23-07-1963



أبو الغيث
23-01-2007, 12:33
بناء على طلب الأخ الغالي لؤي ( وان كنت لا أولي هذا المونولوج الأهمية المعطاة لغيره ) ولم أجد هذا المونولوج ضمن الفهرس الخاص .
حسيبك للزمن
23-07-1963
عبد الوهاب محمد-السنباطي

Palmca
24-01-2007, 07:39
Thank you Abu Gaith for this song. I listened to your version and my version and I see some differences. I recorded my from the Radio Beirut year ago and I believe this concert was made in Lebanon but I do not have any dates.

luay
24-01-2007, 15:00
Thanks a million Abu-l-Ghayth.
Let me begin by saying that I personally like *all* of Sunbati's works, whether for Om Kulthoum or others. I definitely have different categories in terms of the quality of the
compositions, however. So, for example, Haseebak Lezzaman and Gholobt Asaleh are
in completely different categories. Yet, the times changed and the compositions of
Sunbati himself changed. In the 60's he didn't compose anything in the caliber of Gholobt
Asaleh, Sahran Liwahdi, or Gaddedte Hobbak Leh. But still, he didn't compose anything
of low quality such as Baligh's and Wahab's works. I recall, for example, Abu A'laa saying
in one thread that he thought that La Ya Habeeby was composed by Baligh. Regardless of
whether he meant that literally, or wanted to give the impression that it's not different from
Baligh's work, I would respectfully disagree with him in this case. Haseebak Lezzaman,
La Ya Habeeby, Ao'llak Eh A'ne-Shoa' Ya Habeeby, for example, are all in the same league
of songs that were composed around the same time by a composer who had given his
best (and "best" in absolute terms as well, in my opinion) years before.
To me, the Sunbati of that period is different from the Sunbati of the 40's. But also the Zakariyya of the 60's (Howwa Saheeh) is different from the Zakariyya of the 40's (El Awwela Fel Gharam).
Now, I asked for Haseebak Lezzaman, the Lebanon version, mainly our of curiosity. If you
notice, Om Kulthoum's 60's concerts in Lebanon included mainly works of Baligh and Wahab (unfortunately), so I was very surprised to hear that out of all of Sunbati's works,
she decided to sing Haseebak Lezzaman in that same period (its lyrics and music are different from the "mainstream" collection of Baligh and Wahab). I wanted to hear the
version and listen to her performance. As Fred once wrote, he prefers any version that
includes improvisations to ones that don't. In general I agree with that, and in this case, I
liked the performance of Haseebak Lezzaman (there are certain cases where the improvisations were not interesting. Examples: the commercial versions of Ya Msahharani and Lessabre Hdoud).

So, regarding your comment that you don't give the same importance to this song as to others, we're not in disagreement here if the "others" were Gholobt Asaleh, Raqq El Habib, Holm, etc. But we are in disagreement if the "others" includes the ones she sang that
very night (Ansak and Ana Wenta Dhalamna-l-Hubb).

Many thanks again for this file.

Best regards,
Luay

fredlag@noos.fr
24-01-2007, 15:14
Thanks Palmca, excellent quality recording. Could Lu'ay compare between the two versions ?

luay
24-01-2007, 15:24
Thanks Palmca, excellent quality recording. Could Lu'ay compare between the two versions ?

I'll be glad to do, Fred. Hopefully I'll get it done by the end of the day today (my day has just
started, since I live in the States, so I still have over 12 hours :-)

Thanks Palmca for the file, as well as for the others you've posted.

Luay

luay
24-01-2007, 16:18
Ok. I did compare the two versions, and as far as I can tell, they are NOT from the same concert. If you listen to Palmca's version, the first time she finishes the first part, and when
she sings "Daret-el-Ayyam A'leik", she doesn't finish it all without taking a breath. She actually cuts it in the middle of "Ayyam", whereas in Abu-l-Ghayth's version she says it all without a "break". Also, the audience reaction differs between the two versions.

Luay

أبو علاء
24-01-2007, 19:54
I recall, for example, Abu A'laa saying
in one thread that he thought that La Ya Habeeby was composed by Baligh. Regardless of
whether he meant that literally, or wanted to give the impression that it's not different from
Baligh's work, I would respectfully disagree with him in this case. Haseebak Lezzaman,
La Ya Habeeby, Ao'llak Eh A'ne-Shoa' Ya Habeeby, for example, are all in the same league
of songs that were composed around the same time by a composer who had given his
best (and "best" in absolute terms as well, in my opinion) years before.
(...).
Now, I asked for Haseebak Lezzaman, the Lebanon version, mainly our of curiosity. If you
notice, Om Kulthoum's 60's concerts in Lebanon included mainly works of Baligh and Wahab (unfortunately), so I was very surprised to hear that out of all of Sunbati's works,
she decided to sing Haseebak Lezzaman in that same period (its lyrics and music are different from the "mainstream" collection of Baligh and Wahab). Luay

Dear Luay, what made that comment of mine you mentioned above ever more cruel is that it was a genuine statement and not simply a rethoric figure. You know how great is my appreciation of Sunbati's work as a whole and how fond I am of some of his compositions. I do acknowledge as well some others, although of lesser value, are still worth hearing, at least parts of them. But, of them all, I can't find anything to write home about in la ya habibi. Actually, I'm ready to concede some merit to Baligh's hubbi 'ih or 'ansak in comparison with that one or el-hubbi kidah!
Concerning the second idea I picked up in the above quotation, I wanted to tell you there is another of Sunbati's works that 'um kalthum interpreted in Lebanon and that is dhikrayat. 'abdiyah 'abdalla's celebrations on the occasion of UK's death anniversary are still going on and, yesterday, she broadcast the first part of a concert held in 'Aley on July 12th 1964 featuring dhikrayat. Let's wait for next Tuesday to have the second part, unless Burhan has that one for us too.

luay
25-01-2007, 16:42
Hi Abu A'laa,
I definitely know very well your appreciation to Sunbati as a great composer, and what I had written was in no way to indicate anything to the contrary of that. But when I write my comments, I always recall other statements made in a similar context (such as yours and Fred's in this case) for a contrast in "tastes", "likings", etc.
I don't think we're in disagreement regarding the "can't take anything home" from La Ya Habeeby, but where we have differing tastes is that I like a lot, for example, the last part of
the song "Belhobb Ana Sallemte Albi Eleik", and particularly the "non-rhythmic" part of "El Hagre Ahwan Men A'dhabi F-Orbak" and the way it's sung twice differently. I find it very expressive.

About cruelty, etc., don't worry about that. I prefer to hear honest opinions/assessments to hearing stuff that people sometimes write not because they believe in it but because others might like it! I once wrote that I didn't understand the whole fuss around Sayyed Darwiche being considered the greatest and the one and only, etc. I still stand by my opinion, no matter how stupid/ignorant/cruel others might find it, simply because that's what I feel based on what I've heard so far.

As for Dhikrayat, we'll be awaiting Burhan's say on the matter. I love the song, and I'm sure I'd love it more if I hear it performed in Lebanon. I must say that after all that we've
heard on this forum, I feel Om Kulthoum's best performances were given in Syria, followed by her performances in Lebanon. For those who don't remember: we already have several performances from Syria on the forum (examples: Gaddedte Hobbak Leh, Ya Dhalimni, Ahle-l-Hawa, Yalli Kan Yeshgeek Aneeny, Nahj Al Borda, Dhikrayat,...).
She did lots of improvisations in her Tunis performances, for example, but the song selection there is not my favorite (Enta Omri, Fakkarouni, etc.; compare these titles to the
titles of the jewels sung in Syria!!!).

Best regards,
Luay

alshame
24-02-2007, 00:30
السلام عليكم
هذه الحفله ليست في لبنان , هي في قاعة الاحتفالات الكبرى بجامعة القاهره , اما التاريخ فهو يوم 23 يوليو 1963 بمناسبة احتفالات الثورة ...
أخي حبيب لم تغن أم كلثوم في اعياد الثورة في قاعة الإحتفالات ولكنها كانت في نادي ضباط الزمالك( لأنه لها حفلات في فرع النادي بمصر الجديدة ) وهذه المرة هي اجمل مرة غنت فيها أم كلثوم حسيبك للزمن ومدتها غناء 61 د و75 مع المذيع =وتصرفت في مقطع ..... الندم بعدي حيفضل بدون إيقاع فإن كانت هي هذه الحفلة فهي في نادي الضباط وإلا فهي حفلة أخرى وهذه الحفلة موجودة عندي صوت وصورة (فيديو ) كانت بحضور رجال الثورة في مصر والكولونيل هواري بومدين الذي لم يكن رئيسا للجزائر بعد وأنا لا أستطيع تحميل الملف لكبرحجمه لكي أجزم ولكن سوف احمله قريبا من احد المقاهي للحكم ولكن حفلة لبنان لم تصل لهذه المدة وبالنسبة إلى ظلمنا الحب على الأرجح لم تغنيها في لبنان لأن تسجيلا لهذه الحفلة لم يظهر إلى الآن
والله اعلم

7abib
24-02-2007, 01:43
الحفلة التى وضعها الأخ ابو اغيث نعم هي يوم 23 يوليو 1963 ... لاني املكها بالمزيع . وغنى في هذه الحفل كثير من المطربين مثل عبد الحليم حافظ , شادية و فايزه احمد ونجاة ..اما عن المكان
اعتزر لأني اخطأت.. فعلا هي في نادي القوات المسلحة
وحقا هذه اجمل مرة سمعت ام كلثوم تغني هذه الاغنيه

fredlag@noos.fr
22-06-2007, 23:50
تم إبدال الحفلة التي رفعها أبو الغيث مشكورا بصيغة ممتازة لنفس الحفلة، سجلها أبو علاء من إذاعة الأغاني منذ أيام

أما الحفلة التي رفعها بالمكا، فهل هي حفلة بيسين عاليه ؟

phillip_qanunji
31-05-2017, 03:45
While it isn't everyone's favourite, I like this song a lot. I find it much darker than a lot of her other pieces.