دور يا قلبي اترك المحبّه لعبد الحي حلمي Abd Al-hayy Hilmi- ya qalbi utruki-l-mahabba

[أبو بسوم]

عبدالحي حلمي دور ياقلبي أترك المحبة

[أبو علاء]

ألف شكر يا أبا بسّوم ؛ لئن كان الصّوت ليس على أحسن ما يرام في هذا التّسجيل فإنّ السّرعة على الأقلّ قد بدت لي طبيعيّة، والدّور فيما أرى من خلال الدّقائق الأولى يبدو من عظيم أدوار عبد الحي حلمي، ولعلّه ممّا كان يخبئه لنا صديقنا الفريد باعتبار هذه القيمة المتميّزة...
ملاحظة : أرجو أن تفكّر مستقبلا في إغلاق الهاتف الجوّال عندما تنقل تسجيلات إلى الحاسوب، ولو أمكنك إعادة نقل هذا التّسجيل فإنّي أكون لك من الشّاكرين.

[Najib]

I think that was 3abdel Hay Hilmi's mobile ringing :D

[أبو علاء]

Nice one, Najib!
But, this dawr is really fantastic. It's a good candidate to emulate Manyalawi's hundred pound dawr (isn't it, Fred?). We'll probably have to come back to it in more details. But, can you tell me something on the rythm used here? The dulab also is worth mentioning as one of the special features in this recording.

[fredlag@noos.fr]

NO!
This is a good surprise for me, since what I had was side 3 and 4 (mawwal el-fagr aho la7). My copy of sides 3 and 4 is excellent quality, but means nothing without 1 and 2.

This is Gramophone 012237/38/39, recorded 1908. I thought this dor to be a dor gahârkah, and turns out to be plain rast.
It will need a lot of hearing indeed, it sounds great at first sight.


ألف شكر يا بسوم، وقعت هذه المرة على درة لم تكن في حوزتي
ولك مني جزيل الشكر وتعويض تسجيل أبو العلا محمد الذي رفعته منذ قريب بصيغة نظيفة بأسرع وقت ممكن

[أبو علاء]

!
I thought this dor to be a dor gahârkah, and turns out to be plain rast.



I precisely thought it was that famous rast gaharkah. Would it not be possible to replace the last portion (side 3)? If you so wish, you can send the file to me and I'll take care of the merging.

[fredlag@noos.fr]

@ Abu Ala':
Rast-Gaharkah ? Well, that's not what I feel. It's more of a standard question-bayyati / answer-rast structure, on the same two degrees (nawa for rast, and husayni for bayyati) with no noticeable evolution during the whole recording. I frankly don't see it as a masterpiece of the Bulbul magnitude, but more like another fantasy of Abd al-Hayy, not very inventive on the melodic side, but fantastic on the ornemental line, in the qafalat (amazing 4'10-4'18 surge, nice yama yama section around 8'40-8'55). The whole thing heavily relies on the beauty of Hilmi's voice.
Rythmically, it's just wahda. I suppose it was recorded the same day as Halali Balali, maybe even the same hour, the takht does very exactly the same thing.

The last portion of the song, side 3, is in Paris, still on a tape, non-digitalized, not on my hard drive here in Southern France. It should be very correct quality, I think it is a direct EMI transfer, not a Anani file. But I will have to digitalize first.

For those who, like me, prefer some filtering to Amr's theory of "the human brain as the best filter ever", this is a filtered version of Bassum's file, slightly slowed, cell phone noise at 5'5à-5'55 very attenuated thru replacing right channel by left one. Now total length is 13:30 instead of 13:00. I feel it is "easier" to listen to and appreciate, but Amr might send some hit men !
:D

[3amr]

:D hit men are becoming expensive these days (so much demand).

as long as a non filtered version is also provided, Amr is quite content really.

[Najib]

Fred, I think Mohsen thought, like you, that it was the famous Gharka dor.

If he heard Gharkah in the recording I'll be very surprised indeed.

Yes depending on tuning it could be Rast on Nawa, but anyway it's a Rast with an extra dougah tonal centre and the whole recording is a duel between bayat and rast, which makes it very interesting in the beginning, but boring on the long run. Boring save Hilimi's voice like you said.

I would love to hear the Gharkah version though!

[أبو بسوم]

نجيب فعلا هذا موبايلي عبدالحلي حلمي ناسيه لديّ .

[fredlag@noos.fr]

يا أبا بسوم، أراك أبدلت الملف ، هل رفعت صيغة بدون موبايل عبد الحي حلمي ؟