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مشاهدة جميع الاصدارات : الآهات : قد تكون من حفلة حديقة الأزبكيّة في الثاني من فبراير 1950



أبو علاء
24-04-2007, 23:25
بثّت إذاعة الأغاني هذا التّسجيل منذ يومين دون ذكر أيّة بيانات بشأن مكان الحفلة وتاريخها، إلاّ أنّ لؤيّا بعد الاستماع أكّد أنّه تسجيل مختلف عن النّسخة التّجاريّة، وبما أنّه لم يصلنا من هذه الرّائعة سوى تسجيلات قليلة جدّا فقد ارتأينا رفعها لكم.

luay
25-04-2007, 22:54
Thanks Abu A'laa.
What a shame and pain it is that Enta Omri (Tunis concert) and Leilet Hobb have over 2500 views together, more than El-Ahat, Ahl El Hawa, Ya Dhalimni, Gaddedte Hobbak Leh, etc., combined.
I know it's a personal taste, but if people appreciate the Om Kulthoum of Enta Omri and Leilet Hobb rather than the Om Kulthoum of El Ahat and El Awwela Fel Gharam, then she failed miserably in conveying her vocal/artistic abilities.

I think to a majority of people who claim they derive Tarab from Om Kulthoum's performances, all they really derive is a longing to a historical figure, no more no less. The mere fact that people want to hear her "crying" in one of her performances, listen to how emotional her dying vocal abilities in the last concert were, etc., is just a sign of no true appreciation of the lady whose true abilities, no doubt about it, were shown before the 60's.

Best regards,
Luay

أبو علاء
25-04-2007, 23:07
I think to a majority of people who claim they derive Tarab from Om Kulthoum's performances, all they really derive is a longing to a historical figure, no more no less. The mere fact that people want to hear her "crying" in one of her performances, listen to how emotional her dying vocal abilities in the last concert were, etc., is just a sign of no true appreciation of the lady whose true abilities, no doubt about it, were shown before the 60's.
Luay

I totally agree. Unfortunately, although this kind of phenomenon in modern culture was appropriately analysed by Roland Barthes as pertaining to what could be labelled as contemporary mythology, I think it's become more specifically an Arab phenomenon. It would not be hard to make parallels with the way we deal with our politicians, our writiers, including our prophets... We end up completely separating them from their historical contexts, their functions, their concrete works and we substitue to all this a false image of our own creation.
The case of Sayyid Darwish is a cas d'école (a typically representative sample) of such attitude.

fawaz_toumani
03-05-2007, 19:24
شكراً لك أبو العلاء
و أعتذر عن الرد المتأخر
هي بالفعل من الروائع و غير الحفل التجاري بالتأكيد
و هي أجمل من النسخة التجارية

luay
07-04-2010, 15:04
I've been in Al Ahat mood recently.
This is a beautiful performance (I'd invite 3amr, a fan of Zakariya, to listen to this song, in case he hasn't yet).
Abu A'laa: don't you think the recording is a bit too slow?

Thanks.
Luay

أبو علاء
08-04-2010, 00:58
Abu A'laa: don't you think the recording is a bit too slow?
Luay
I can't say or do much about this or any other thing for the time being. Sorry about that! I'll get back to these things when I can.

luay
08-04-2010, 01:45
No problem Abu A'laa; I completely understand how busy you're.
After all, I may be wrong and the speed may be just fine. It's a very enjoyable
performance, regardless.

Best,
Luay

أبو علاء
07-12-2014, 17:23
هذه الصيغة موجودة بين الحفلات التي رفعها على موقع يوتيوب السيد نزار ناصر، وقد كتب إنّها من حفل الثاني من فبراير 1950 بحديقة الأزبكيّة وفيه غنّت السيّدة سهران لوحدي لأوّل مرّة وسلوا قلبي، ولعلّ الآهات هي وصلتها الثالثة تلك الليلة إن صحّت النسبة إلى هذا التاريخ، وسأثبته في عنوان الموضوع مع الاحتراز في انتظار تأكيد الأمر.
بقيت مسألة السرعة التي ساءلني عنها لؤي ووعدت بالعود إليها ثمّ نسيت الأمر وغفلت عنه تماما بمرور الوقت ولم أتذكّره إلى حين مراجعة هذا الموضوع اليوم فإنّي أحتاج إلى فرصة أوسع لفحص التسجيل لأرى إن كان ثمّة ما يوجب تعديل سرعته (وقد واجهتني نفس المشكلة عند فحص موضوع إحدى صيغ جدّدت حبّك ليه بنفس المناسبة، وسأتابع أمرها أيضا في قادم الأيّام) مع العلم أنّ مدّة التسجيل في نسخة يوتيوب هي نفس مدّته هنا، وأغلب الظنّ أننّا نقلنا جميعا عن نفس المصدر أي إذاعة الأغاني، فإن كان من خلل ففي تسجيل الإذاعة.

أبو علاء
13-12-2014, 22:16
Abu A'laa: don't you think the recording is a bit too slow?

I'm sorry that it took me so many years to answer this question despite my early promise, and I'm all the more sorry that the belated response might be unconvincing. But I've just listened to both the copy posted here and the one posted on Youtube that seem identical and I honestly don't think a change of pitch is desirable here, the pitch shift effect being the token I usually use to speed up a recording or slow it down. I presume there are other means to play with the speed without affecting the pitch, but I resent doing it for the following reason. it is true that the tempo in this song is rather slow, but my personal guess is that it is a deliberate choice dictated by the nature and the structure of the melody and not the result of some mechanical distortion. As a matter of fact, when thinking it over, I wonder whether this is not a common characteristic to most if not all of Zakariya's compositions for 'um kalthum, especially the ones she interpreted in live concerts ('ahli-l-hawa, el-'amal, 'ana fi-ntidharak, el-'awwila...etc), and including several earlier ones like lih 'aziz dam'i tidhilluh, ellil yitawwil wiykidni, qaluli 'imta qalbak yitib, malak ya qalbi hazini-l-yum...etc, the only few exceptions pertaining to movie songs like bukra-s-safar or nasra qawiya-w-farha haniya.

luay
16-12-2014, 03:07
Thanks Abu A'laa. It's just that I felt that other performances of the same song (El Ahat), particularly the commercial one, have a slightly faster tempo. I agree in general about the tempo in Zakariya's compositions, and particularly that in Ahli-l-Hawa, since he uses a slower tempo in the part of Yetawellook Ya Lil and a faster tempo in Yea'assarook Ya Lil, to reflect the nature of the story, so to speak (when they are happy, time passes quickly and the tempo is faster, and when they are sad, time passes slowly and the tempo is slower).

Best,
Luay