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مشاهدة جميع الاصدارات : ام كلثوم تغني داود حسني



Burhan
12-03-2007, 11:45
تصادف النسة الذكرى الـ70 لوفاة داود حسني، ولهذه المناسبة نرفع نماذج من الاعمال التي قدمها لأم كلثوم نستهلها بـ"شرف حبيبي القلب" بالاضافة الى نبذة عنه وصور له على الروابط التالية


http://www.zamanalwasl.net/forums/showthread.php?t=2269



http://www.zamanalwasl.net/forums/showpost.php?p=15206&postcount=1

أبو علاء
12-03-2007, 15:01
فكرة طيّبة يا برهان ؛ الحقيقة أنّي كنت قد نويت رفع أدوار داود حسني لولا أنّي سهوت عن ذلك، ثمّ إنّ مراسلة من أحد الأعضاء الجدد (السّيّد ديفيد مرزوق) وهو ابن خالة بديع داود حسني وصديق ألبير زكي باروخ الجميل قد ذكّرتني بالأمر إلاّ أنّي لم أفرغ له.
ما أعلمه أنّ داود لحّن لأمّ كلثوم أحد عشر دورا وصلنا منها عشرة وطقطوقة وحيدة هي جنّة نعيمي في هواك.
وشرّف حبيب القلب الّذي رفعته هو أحد الأدوار العشرة، وقد سبق رفع دور يا فؤادي إيه ينوبك مالأنين، وهذه البقيّة :

البعد علّمني السّهر
كنت خالي
حسن طبع اللّي فتنّي
قلبي عرف معنى الأشواق (تبدو لي سرعة هذا الأخير زائدة وسأحاول إصلاح ذلك وإبدال الملفّ في وقت لاحق)


Burhan has taken the initiative of uploading 'um kalthum's adwar composed by Dawud Husni, starting with sharraf habibi-l-qalb. Ya fu'adi 'ih yinubak mi-l-'anin was previously posted and here are the others

أبو علاء
12-03-2007, 15:34
بقيّة الأدوار :
كلّما يزداد رضا قلبك عليّ
يوم الهنا حبّي صفا لي
يا عين دموعك مالغرام تشكي
روحي وروحك في امتزاج

kabh01
13-03-2007, 00:28
وهذه طقطوقة جنة نعيمي
من ألحانه

مقام: حجاز كار
سنة:1931
على أسطوانة أوديون

3amr
13-03-2007, 07:31
I have a really big problem.

Is it abnormal to start liking Hosni's style so much, that even this only taqtuqa we have from him sung by umm kulthum came closer to my heart than most of qasab's early taqatiq?

I'm listening to hawa habibi wafiqni at 7:30 in the morning.

Would that be also normal?

fredlag@noos.fr
13-03-2007, 08:29
This is the very definition of normality, 3amr Bey.
3unwan al-rashad, as Shaykh Salama would put it.
(can u identify which song I'm refering to ? :D )

أبو علاء
13-03-2007, 09:58
I have a really big problem.
Is it abnormal to start liking Hosni's style so much, that even this only taqtuqa we have from him sung by umm kulthum came closer to my heart than most of qasab's early taqatiq?
I'm listening to hawa habibi wafiqni at 7:30 in the morning.
Would that be also normal?


This is reassuring about my own normality. You should know Husni is my favourite composer of dawr and that I like him the way you like Zakariya. But, here again, you have so much to catch. Hawa habibi of course, but also 'ahidti qalbi, ez-zahri wi-l-'aghsan, ya tali'i-s-sa'd, 'ana-l-gharam (listen to that magnificent gem as interpreted by Muhammad Silim, 'in 'ash fu'adak, 'ala 'ashqi-l-gamal, ya tali'i-s-sa'd, bini-d-dalal wi-l-ghadhab, el-hubbi li-l-'ashiq dawa...

3amr
13-03-2007, 10:17
ok, I'm catching up on the Selim today (downloading as we speak).

as for the dawrs you mentioned, ala 3ishqil gamal I already know and love.

As for the In ash fuadak, it's my favourite nahawand dor ever (Fred can testify that I was asking him the other day about alternate renditions, which was a negative unfortunately).

I still can't believe that In ash fuadak is Hosni, it seems to me the epitomy of the Othman dor. It's like the perfection of othmanic style, and one of the best examples of a typically structured dor, although I could be wrong.

Ez zahr wil Aghsan I heard once by zaki efendi a long time ago.

Beinil Dalal wil 'atab, I have by sheikh bakri il Kurdi (amazing version).

The rest I don't know.

As for the Sheikh Salama Song, I searched, and it is apparently the bayati qasida "wal jawa...forgot the rest of the matla3" which is no where to be found on the forum as far as I can tell. The question was not fair you know :p

Nice anecdote about being normal (or abnormal) in this day and age: once I was sitting in the kitchen of a friend of mine (my best friend actually, who listens to trance and modern arab stuff) when he made the BIG mistake of using the word "yizid" infront of me.
What happened is, I burst up with a nashazdelic "yizid fi 'asa, wana bardo ahwa" out of nowhere.

Kamal Kassar
13-03-2007, 10:31
هل تعني يا فريد : صفوتي في الحب عنوان الرشاد ؟

أبو علاء
13-03-2007, 11:06
Beinil Dalal wil 'atab, I have by sheikh bakri il Kurdi (amazing version).



For bini-d-dalal, with all due respect for shaykh Bakri, you should listen to Zaki Murad version (check the in the index). You have also both 'ahidti qalbi (thanks to Fred) and es-sabri (not el-hubb, how stupid of me!) li-l-'ashiq dawa. Of ya tali'i-s-sa'd, we have only 'amal Hisin version. I wrote the title of this one twice and I forgot to mention that magnificent faridi-l-mahasin as well as kulli min yi'shaq gamil, fu'adi 'amruh 'agib and sallimti ruhak... But the list is much longer.
Concerning 'in 'ash fu'adak, this is really strange, you know. For a long time I thought it was composed by Muhammad 'uthman and I kept saying: well, this means he's Dawud Husni's main source of inspiration untill I discovered in Fred's listings confirmed by the speakers of the Egyptian radio that it was actually a Dawud Husni composition! By the way, I owe apologies to Albert Zaki Baruch El-gamil as I included this in my "corrections" on his article concerning Dawud Husni.
Yes, 'in 'ash fu'adak is a well structured dawr. But, such a descritpion applies to most of post-'uthmanian 'adwar indluding Qabbani's and of course Husni's. On the other hand, you can say this of 'in 'ash fu'adak because you know it in Salih 'abdi-l-hay version. You can say the same about so many 'adwar of 'uthman, Hamuli, Maslub, Qabbani, Husni...etc as sung by Manyalawi, Safti, Murad, 'abdi-l-bari, Mursi... But would it have been so obvious, would we have heard a Hilmi's interpretation of this dawr?
In my view, the main characteristic of Dawud's compositions lies in his ability of producing very elaborate sentences while making them extremely lively or maybe should I say "burning" in the way 'abdi-l-wahab talked of "burning cadence" or qaflah harraqah. With Husni, all the sentence is harraqah with no respite. There are no neutral tunes in his music. It's "drenched in emotion". In speaking of 'uthman and trying to find examples of this kind of music, I found them in such instances as qaddi mahibbak za'lan minnak or ya wasli sharraf ya gafa ruh 'anna. But, it's not the case of all his 'adwar. Whereas with Husni, there are practically no exceptions including in his late compositions and the one for 'um kalthum are among them, but also such 'adwar as the ones composed for Fathyiah 'ahamd (qawami-l-ghusni li-l-'ashiq yimil), Siham (layali-l-'unsi in sa'dak)...etc

3amr
13-03-2007, 12:02
Ok, I just went on a zaki downloading spree, (by the way, I know zaki's version is most probably superior in terms of nahda aesthetics, not to mention vocally, but I do urge you to listen to Bakri's version, which is a very personal rendition, and well backed by an excellent mini-takht).

I'm going to need time listening to all of these, but regarding your analysis of In Ash Fuadak, I completely agree.

About the Dor's composed for Umm Kulthum and Fathiyya, I'm having trouble enjoying them as "dors" (even though I haven't heard most of the ones in the earlier category), because of the complete lack of madhhabjiyyeh.

(by the way, am I wrong, or is Qawamil ghusn's madhhab simply gorgeous? I wonder what a good set of madhhabjiyyeh could have done with it, and I remembering what Salih's company did with In Ash Fuadak).

I have been downloading the early recordings of Umm Kulthum on this forum and on Zeryab (alot of them going around recently), and I am astounded by two things: Umm Kulthum's range and power in the upper register was at some point in her life as good as Fathiyya (as testified by the incredible aya malikal quloob in amanan ayyuhal qamaru), although Fathiyya is the winner with the low notes, and second of all, the incredible contribution of the takht to a singer's creativity.

LONG LIVE THE TAKHT.