هدية الأخ نجيب في عيد ميلاده
الشيخ يوسف المنيلاوي دور من قبل ماهوى الجمال نسخة سمع الملوك
و التسجيل موجود ايضا في صيغة الغرامفون رفعه العزيز الفريد من قبل
كل عام و أنت بخير نجيب
حمزه
أبو علاء
18-05-2008, 20:51
سيشكرك النّجيب في حينه على الهديّة، أمّا أنا فأشكرك على هذه الوثيقة القيّمة الّتي تساعد في إنارة تناول الشّيخ يوسف لهذا الدّور ومراجعة بعض ما وصلنا إليه من استقراء صيغة غراموفون الّتي أتحفنا بها الفريد منذ أسابيع ؛ وأهمّ ما يلاحظ هو أنّ الهيكل المقاميّ هو نفسه في الصّيغتين ممّا يؤكّد الطّابع "المبيّت" لما كان أمتعنا وحسبنا بعضه من وحي السّاعة في صيغة غراموفون لاسيما قسم "ركب البياتي" كما أسماه صديقنا مصطفى سعيد، ووحوده في هذه الصّيغة يسقط نهائيّا فرضيّة المباغتة الّتي كنتُ قد جئتُ بها كما يسقطها تمهيد التّخت الواضح للقسم، وحميع السّمات الأحرى الّتي كنّا قد وصفناها عند التّعليق على صيغة الغراموفون موجودة ها هنا بما في ذلك الصّغود إلى أقصى جواب العجم في "ما كنت خالص في نعيم" واللّعب على "آه يا قلبي" ومدّ النّون السّاكنة...
لقطة وحيدة تنفرد بها صيغة سماع الملوك وتستحقّ الذّكرباعتبارها أعجوبة أخرى من أعاجيب الشّيخ يوسف، وهي إقحام تلوين شوري على قسم العجم د 8' 04" و د 8' 17".
الف شكر اخي حمزه كلك ذوق
صيغة لذيذة جدا
To comment on this dor (specifically the longer gramophone one) that it is in fact a great execution and lines up with his Sallemt as one of his greatest, both IMO greater than the slightly-overrated also bayyati "el Kamal fil melah".
Of course abu alaa mentioned the moments at 8'04" and 8'17" which are really eye-openers. Thanks abu-alaa for explaining what they are.
By the way, dp I hear the qanunji switching nahawand right at the end (11'49" and 11'52")??!! And is the next section nahawand accordingly?
As I listened to the gramophone version .. I always noticed the final 'tail-like' ah the end of the ahat. At that time, the only reason I thought that he sang this tail motif because the the side approached its end, so he had to act quickly.
However, again in this older version, he executes it again in 11:51!! So it was not the end of the side then?! This is mind-boggling, as it strikes me as a very elaborate, meticulous, detail-centric effort.
I believe now, and after listening to this version, that we (I) can come to a conclusion (perhaps hinted by Fred in another thread and I remember that I could not believe him back then I didn't even comment) .. that Manyalawi can be safely called a composer.
Yes a composer.. joining the league of other singer-composers: Higazi and Manyalawi and Abulila (from the more elaborate to the least elaborate in my humble opinion)
When I joined this forum last year, the consensus felt was that Manyalawi belonged to the old generation where improvisation was the norm (note Hilmi).
Some of the evidence I recall from previous threads:
1) Semi-identical repitition of takes on Sama3 and Gramophone including this dor
2) An elaborate invocation of the ahat at the beginning of a dor! (I remember some thought it was on the spot and some thought it was voluntary, who can guide me to this thread?)
3) Extra elaborate versions of known interpretations of dors like Kadni-l-hawa .. even more in Fel-bo3d yama
4) Even when all singers insist on some famous version, he comes with his own (in Gaddedi ya nafs .. all singers elaborate on "el gharam" while he elaborates on "fee hawak")
I guess these are enough evidence that Manyalawi is a totally intentional composer in his own right. Who disagrees may speak now .. or may never speak after that :D
The question now is: was this Manyalawi's style of singing or was he (like Hilmi) an improviser but he crafted compositions specifically to be stored on disc for the ages? Perhaps we may never know.