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مشاهدة جميع الاصدارات : الشيخ علي الحارث - عهد الإخوّة نحفظه



fredlag@noos.fr
28-03-2006, 01:13
لا أعلم الكثير عن المطرب والمنشد الشيخ علي الحارث، سوى أنه سجل عشر اسطوانات لشركة جراموفون سنة 1928 قد صدرت منها خمسة سنة 28 وصدرت اسطوانتان إضافيتان في كتالوج 1930، منها أدوار المدرسة الحامولية، ومنها مواويل ومنها قصائد مرسلة إنشادية. ويظهر اسمه بانتظام في برامج الإذاعة المصرية لسنة 35 الواردة في مجلة الموسيقى لمحمود أحمد الحفني. لم تصدر من الأدوار عند جراموفون غير «مليكي أنا عبدك» و«عهد الإخوة نحفظه»، والتسجيلان مدهشان.
دور عهد الإخوة لمحمد عثمان ويؤكد قسطندي رزق في كتابه عن الحامولي أن الكلمات تطوي على تحية مبطنة موجهة إلى الماسونية...
قد غنى هذا الدور عبد الحي حلمي بعبقريته الخاصة المائلة إلى إضفاء صبغة مأسوية على كل الأدوار، أما الشيخ علي الحارث فأسلوبه كله حيوية ومراوغات إيقاعية أراها غاية في الخفة والطرب

أبو علاء
28-03-2006, 01:29
سلمت يداك يا أستاذ ؛ منذ فترة رفعت لنا من هذا الدّور بمنتدى آخر يعنى بالغناء العربيّ "نتفة" لا تزيد على الدّقيقتين ؛ وها أنّك أكرمتنا بالتّسجيل كاملا، ولكن هل أنت متأكّد أنّه للحامولي ؟ فهو كثيرا ما ينسب إلى محمّد عثمان، وإن كنت أعلم أنّ ذلك شأن أكثر من دور واحد تبدو "أبوّتها" متنازعا عليها بين القطبين، وربّما كان سبب ذلك أنّ عبده الحامولي كان يغنّي كلّ أدوار عثمان بعد إصابة الأخير في صوته، والحامولي بالطّبع يغنّي تلك الأدوار ويضفي عليها من فنّه ويضيف إليها ممّا تجود به قريحته.


For our English speaking friends, this is 'ali Al-harith interpreting the famous dawr in bayati mode 'ahdi-l-'ukhuwwah, recording made in 1928

fredlag@noos.fr
28-03-2006, 01:47
غلطتي، فعلا غلطتي
نظم محمود سامي البارودي وتلحين محمد عثمان
oops
wa fawqa kolli dhi 3ilmin 3aliim...

أبو علاء
28-03-2006, 01:49
أداؤه فعلا متفرّد بكثرة تصرّفه، فهو لا يكاد يترك جملة تمرّ دون أن يلوّنها بلونه ؛ ما يلاحظ أيضا أنّ أسلوبه على طرف نقيض من أسلوب عبد الحي حلمي بما هو أسلوب في الأداء يقوم على الاتّصال التّامّ مقابل التّقطيع والتّرجيع المفرطين في أداء عبد الحي ؛ ملاحظة أخيرة تخصّ تلك البحّة الّتي تطبع صوته وتضفي عليه جمالا من نوع خاصّ إذ أنّه تزيد الدّرجات العالية (الجواب) بروزا، في حين يحسّ السّامع معها كما لو أنّ الجملة تنزلق انزلاقا في درجات القرار.

أبو علاء
28-03-2006, 01:51
لقد كشفت أخطاءنا، ولم يكن لنا فيها عذر، قبل أن ننتبه إلى سهوك ؛ ومن ذا الّذي لا ينسى ولا يسهو ولا يزلّ ؟

fredlag@noos.fr
28-03-2006, 02:15
It seems obvious too that you need a better version of Abd al-Hayy's rendition than the one already on the site.
This is Gramophone record 012243/44/45 (3 sides, 4th is mawwal / naa3es gefuunak) , recorded by G.W. Dillnut in Cairo, january/february 1908, issued august 1908.
Please, don't say "mufrit" when mentioning anything Abd al-Hayy ever sung, this is an act of war ;-)
Fred.

fredlag@noos.fr
28-03-2006, 02:31
PS : please note 1/ the incredible laaaaaamma, laaaaaaamma 2/ the delightful "min sa3diné", instead of "min sa3dina" at the end of the recording. Abd al-Hayy's Beni Soueif accent rushing back after too much of whatever he was drinking/smoking, probably.

Najib
28-03-2006, 09:31
زي ما بيقولو عنا باللبناني
أمي داعيتلي

ألف شكر على الملفات القيمه

أبو علاء
28-03-2006, 09:48
Thank you so much! We were in bad need for it indeed. It makes such a huge difference to be able to listen to these treasures in good sound quality (and in full). I haven't listened to 'abdi-l-hay version yet but I could experience such comfort while listening to 'ali Al-harith. As I told you earlier, we have so many titles of the old days in here, but most often the recordings are in bad shape as they were made of radio broadcast received in bad conditions or drawn from cassettes of unknown origin. I for one, have been in search for such material for the last thirty years or so and I've never had a 78rpm in hands. My first "clean" recordings came with the first CDs published by the CDA and yourself. It wasn't until a year ago when I discovered the main Egyptian radio programme and the Arabic Israeli one were broadcasting on the internet and bought a good sound card that I started recording music online. But, they seldom broadcast an interesting piece. 'alhan zaman, a weekly programme I've been following since the mid-seventies and to which I owe so much of the bit I know aobut this art seems to have exhausted its resources. The Israeli radio have an excellent ensemble (the best contemporary one as far as muwashahat are concerned, in my humble opinion) used to broadcast daily a waslah. Now, they broadcast one each fortnight... A year ago, we discovered a forum whcih claimed to deal with Arab classical music. We met there, Najib, Hattouma and myself. The place was (it still is) run by a couple of Kuwaiti gentlemen who seem to have mch interest in the subject, which is of course most laudable given their age and background. Unfortunately, their whole approach to the matter was not the right one in our view. We had some tough argument about it and we ended up by setting up our own forum. I must say the internet brought a great deal to our "hobby" (actually, it is more than that). Yet, it can bring much more. By the way, you'll find a few radio recordings of great interests if you don't have them already. They include recordings of Salih 'abdi-l-hay, Mahmud Mursi, Muhammad 'abdi-l-muttalib, 'abbas Al-bilidi...etc They also include a nice collection of waslas of muwashahat by the Israeli ensemble.

أبو علاء
28-03-2006, 11:44
'abdu-l-hay intepretation of this dawr is indeed amazing. I'm going to give away a little secret. For a long while, he hasn't been my preferred singer among the early twentieth century genration. I liked much more 'adwar interpretations by Sayyid As-safti and Zaki Murad. But, I must confess I was deeply moved by this one. His layali at the beginning are tremendous. His maqam modulations (at a certain point he briefly slips directly from bayati to nahawand and reverts back to the "paved way" comme si de rien n'était). This is simply breathtaking. Thanks again.

Hattouma
28-03-2006, 11:58
أداؤه فعلا متفرّد بكثرة تصرّفه، فهو لا يكاد يترك جملة تمرّ دون أن يلوّنها بلونه ؛ ما يلاحظ أيضا أنّ أسلوبه على طرف نقيض من أسلوب عبد الحي حلمي بما هو أسلوب في الأداء يقوم على الاتّصال التّامّ مقابل التّقطيع والتّرجيع المفرطين في أداء عبد الحي ؛ ملاحظة أخيرة تخصّ تلك البحّة الّتي تطبع صوته وتضفي عليه جمالا من نوع خاصّ إذ أنّه تزيد الدّرجات العالية (الجواب) بروزا، في حين يحسّ السّامع معها كما لو أنّ الجملة تنزلق انزلاقا في درجات القرار.


شكرا يا فريدريك
صوت الشيخ الحارث ينتمي لسلسلة و نوعية من أصوات التي أعتبرها من ""طينة مصر"" ...
أخرها من المطربين على ما أعرف عباس البليدي

Hattouma
28-03-2006, 12:17
`
I love how we meet Abu Alaa every now and then on certain points :) Hilmi has not been my favourite either, but i noticed that when it comes the Layali and Mawaweel ...is something else ...
I am listening to the daw now



'abdu-l-hay intepretation of this dawr is indeed amazing. I'm going to give away a little secret. For a long while, he hasn't been my preferred singer among the early twentieth century genration. I liked much more 'adwar interpretations by Sayyid As-safti and Zaki Murad. But, I must confess I was deeply moved by this one. His layali at the beginning are tremendous. His maqam modulations (at a certain point he briefly sleeps directly from bayati to nahawand and reverts back to the "paved way" comme si de rien n'était). This is simply breathtaking. Thanks again.

3amr
29-03-2006, 08:17
To be honest, Abdel Hayy Hilmi's version appeals to me a bit more than Ali al-Hareth, mainly because of Abdel Hayy Efendi's amazingly beautiful high pitched voiced (coming from someone who adores sheikh zako's bass notes). Sheikh Hareth's voice however is no less distinct and beautiful than Hilmi Efendi, but I feel his interpretation really neads a connoisseaur (excuse my french spelling) to appreciate, and I fear I'm still far from attaining that level, but still, lovely singing.

The big surprize however, was the amazing technical properties of the recordings, I have heard many a europian 78 from that time that had much worse engineering on it than these arabic recordings. It is my firm belief that an outstanding restoration engineer can easily bring these recordings to a quality level that makes even a child on the street appreciate them. (maybe we should be contancting Mr. Ward Marston about this point).

Amr

Najib
29-03-2006, 16:50
Yes Fred, the laaamma is unbelievable :-)

I can't stop listening to it.

Maybe it's the most tarabic lamma in the history of Arabic music!

Bassio
12-01-2008, 18:58
Again I apologize. But I cannot stop myself from resurrecting this thread. This is my discovered jem this last week. (referring to Hilmi's Gramophone Ahdil ikhiwa)

This is another masterpiece by this man. This version is insane!! And I am amazed by the low number of comments this piece has got!? Don't you people listen to THE MUSIC!!

The most uplifting music I have listened to in a while.

I recall someone from you guys (can't remember exactly who) said that Hilmi represents the "tragic" .. but he proves here that he can be equally superb in the "ecstatic" and the uplifting.

I am surprised that I did not get into this man's style from the first time. I first avoided him and listened more to Safti, Manyalawi etc. And it seems it is a common thing to take some time to absorb his style (reading your above comments). This is weird!

Great sound quality too. Thanks Fred. I'll come back with questions/comments later.

Bassio
12-01-2008, 19:25
قد غنى هذا الدور عبد الحي حلمي بعبقريته الخاصة المائلة إلى إضفاء صبغة مأسوية على كل الأدوار،


I am surprised that you find this ma2saweyya .. I find it completely uplifting Fred. Where exactly you sense the ma2saweyya??

Oops got to go now .. see you later guys. Will give this another hearing and return to you on that inshaAllah.