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مشاهدة جميع الاصدارات : سهران لوحدي، الأزبكيّه 19 مايو 1955



أبو علاء
03-11-2007, 19:51
كنت موقنا أنّ هذه الحفلة قد رفعت وأثبتت في فهرس القسم إلى أن كشف الفريد تخريفي، فالحفلة غير موجودة لا ضمن الفهرس ولا في المواضيع، اللّهمّ أن لم يهدنا إليها الباحث، وأذكر أنّ الشّيخ سيّد قد أمدّني بنسخة منها قبل أن أسجّل بنفسي نسخة من إذاعة الأغاني في شهر فبراير من هذا العام.
هاكم إذن التّسجيل :

fredlag@noos.fr
03-11-2007, 21:04
ألف شكر يا أبا علاء
وكلام المذيع يمكننا من تصحيح معلومة خاطئة جاءت في قائمة عاطف المولد، وهي أن هذه الحفلة أقيمت في نادي الضباط، إذ أقيمت بالفعل كما ذكرت في مسرح حديقة الأزبكية
وجدير بالذكر أنها نفس الحفلة الممتازة التي تغيب فيها محمد عبده صالح وغنت فيها الست صيغة رائعة لشمس الأصيل
أما يا ظالمني ، الوصلة الثالثة، فلا نملكها حسب علمي

luay
05-11-2007, 01:53
Thanks a million Abu A'laa. Now we have all three songs (Shamsi-l-Asil, Sahran, and Ya Dhalimni) from the 19 May 1955 concert. Thanks to Mahmoud for the first, and OmKolthom for the third. These three performances are why, to me, this lady is in a league of her own.

If today's singers want to learn what singing is, I have an easy answer now: go listen to the lady on 19 May 1955! Abd El Wahab once said that in Om Kulthoum's voice there are many singers; I'd say, in one night Om Kulthoum showed why even many singers can't easily equal her! And I'm interested in glorification here, but I'm just commenting on facts: we now have about 10 performance of Ya Dhalimni --- I personally hear variations from her in all these ten, as if she was a composer! Further, it's astonishing what she did for over three hours on that night: three great songs in a great tarab mood.

But please let's not forget the greatness of Sunbati here; three masterpieces. In my opinion, Sahran is Sunbati's best of all three, although the other two come very close, probably with Shamsi-l-Asil second, and Ya Dhalimni third. Nevertheless, the lady seemed to have improvised the most in performances of Ya Dhalimni. Of course, Rami's beautiful lyrics and Bayram's amazing imagination perfected these three songs.

[A side note: I wish the sound quality of Shamsi-l-Asil and Ya Dhalimni was as great as that of Sahran.]

Now, about this Sahran, I think it contains some of the most extensive improvisations we've heard in this song (beside the Damascus version). The impro section in Wu Lamma Boa'dak A'nni Tal starting around minute 34 is so beautiful, especially starting at 37 minutes and 18 seconds. The way she says "Tal" at minute 39 and 23 seconds, and "tears" it at minute 39 and 34 seconds is so moving.

And then the impro on Kan A'hdi Gamil is even more beautiful. To me, the climax is when she says "Kan Ahdi Gamil" starting at 1 hour and 16 seconds, and then repeating it (listen to "Gamil" at 1 hour and 37 seconds). To those who know maqams, what's the maqam she uses starting at 1 hour and 16 seconds? The qarar at 1 hour, 1 minute, and 35 seconds is very nice.

So, once again, a million thanks Abu A'laa, and may the lady's soul be resting in peace... 52 years later, we're listening to her performance from that night and wondering about her voice!

Luay

theoudman
09-11-2007, 12:26
1 hour 16 seconds, maqam hijaz.

luay
09-11-2007, 13:36
1 hour 16 seconds, maqam hijaz.

Thanks very much Victor.

Luay

alffy74
10-11-2007, 13:15
Hello everybody:)
I am a new member on this site. My name is Alfred and I am a Lebanese Canadian living in Ottawa, Ontario.

I came across this website by pure coincidence. I was watching an excerpt of "Enta Omri" in Tunis 1968 on youtube (the part UK plays with the word "elta2aha" in the second paragraph). This triggered me to look for the whole concert. So, I googled Enta Omri Tunis 1968 and was directed to this website.

I can't describe my excitement and my surprise when I start to read through the posts. Does anybody know how long have I been looking for a forum like this one? Probably not:)

I right away subscribed and hope I can contribute somehow to this very rich and diverse forum.

My passion for UK started at a relatively very young age. It was in 1993 when I was 18. Although my late father (Allah yir7amo) always praised UK, I can't say that we played her records at home. My idea was of that woman with dark sunglasses repeating the same words over and over again. So I decided to giver her a try one day. So I bought Ana Fi intizarak....and that was it: I was hooked forever. Listening to her became a real obsession. I was playing her records continuously, as I was discovering one gem after the other. I was passing my passion to other members of my family, older than me, who were re-discovering UK.

I was lucky enough to meet people who met her and possessed rare recordings, such as Victor and Selim Sa7ab, who gave me her "Ya zalemni" performance in cinema Rivoli, Beirut, on Oct 20, 1955. I was surprised to learn through this forum though that this version is attributed to Damascus 1955.

I also have some of her performances in Baalbeck, including Al Atlal, Hadhihi Laylati, Fakkarouni, Iss2al rou7ak and Daret el Ayam, as well as other non-commercial recording, such as Arou7 lemeen, 7ayart albi ma3ak, 3awedt 3eini, that I believe are different from those uploaded here. I would like to share all of these with you, but the only problem is that my technical knowledge is very limited. I have these songs on tapes and don't know how to convert them to mp3 formats and upload them. If anybody can help, I will greatly appreciate.

I'm so lucky and grateful to have found on this website recordings that I was longing to hear, such as Houwa Sa7i7 in Morocco, Al Atlal in Kuwait, and many others. But mostly, I am so happy that there are so many members who have a passion for UK like I do and willing to share it with other members.

On a final note here, "Sahran li Wa7di" is the song UK chose when asked what was her favorite song:) This is probably why it ranks # 1 among the songs mostly performed.

Thanks for sharing it with us.

Alffy

luay
13-11-2007, 20:36
Welcome to the forum, Alfred, and particularly Om Kulthoum's section.
I want to highly recommend to you that you browse the forum, read the posts and exchanges, so that you learn what type of music is welcome on this forum. As you'll see, there are many Om Kulthoum fans here, but also, not every recording of Om Kulthoum's song will be allowed. For example, commercial recordings are not welcome. Also, if you read the introduction part, written by Fred, you'll see that the section is mostly concerned with a certain period, and a certain type of songs. To save you the effort, Isaal Rohak, Hadhihi Laylati, Fakkarouni, Daret El Ayyam, etc., are not within the interest here. Some "special" versions of those may be fine, but you need to consult some of the moderators about that, particularly Fred.

Thanks, and welcome again to the forum; you'll hear Om Kulthoum in some of her best moments, I can assure you.

Luay

alffy74
14-11-2007, 21:41
Thanks Luay for your welcoming message:)
I have read and fully understood the terms and conditions of file uploading, and believe me, I will stick by them. I'm not as fortunate as many members to possess Umm Kulthum's gems (prior to 1964), and the fact that I've been living in Canada for the last 7 years prevented me from having access to rare recordings.

However, I am privileged to have found this forum and its great members who are willing to share these treasures. Believe me, I have encountered many people who have Arabic music jewels in their hands, but who are very possessive and stingy about sharing them.

Although most the recordings I'm talking about are after 1964, they have some artistic value to them. It is true that Umm Kulthum's voice lost a lot of its capabilities starting the mid 1960s, but this is only due to our human condition. Her renditions were still amazing and whatever she lacked in vocal abilities, she compensated for with her sensual variations and tremendous experience. After all, I believe we should judge her performances based on her contextual abilities, and not based on her golden years (until the late 50s).

For example, and regardless of whether one is a fan of Abd el Wahab or not, she added her own touch to the songs he composed for her that sets her out of the league of other artists who sang these same songs, even if those other artists had better vocal capabilities due to their younger age. Her performance of "daret el ayyam" in Baalbeck 1970 is very beautiful, and she does very heart-melting improvisations on "wasafouli el sabr", a paragraph that was composed in a waltz (valse) style and that nobody other than Umm Kulthum could turn into a purely Arabic tarab.

Unfortunately, I lack the knwledge and skills to upload this and other songs I have on tapes. And surely, I won't go against thIS forum's terms and conditions. Until I learn how to upload it and get the permission to do so, I will just comment on all the wonderful songs many people have uploaded on here....and it will be very hard to decide with which one to start:)

Best regards,
Alfred

For example,