مشاهدة جميع الاصدارات : ضيعت مستقبل حياتي - Dayya3ti Mustaqbal Hayati

28-03-2006, 12:16
شهادتي في ريما مجروحه فأنا أعشق صوتها حتى الثماله

Dayya3ti Mustaqbal Hayati by Rima Khcheich from a New

En Chordais CD - No. 1920 - Issued in Salonika Greece

by the Beirut Oriental Ensemble Led by Udi Charbel Rouhana.

Let me know what you think!

I think Zakariya's influence on Rima is so obvious especially when she prounounces YeTHawwebni rather than the more common YeDAwwebni. It's through his recording that I heard the TH first!

أبو علاء
28-03-2006, 12:27
You already know my "testimony":) . So, let's hear the others.

10-04-2006, 08:19
well, I don't really know what to say about this recording, simply because I am quite the proverbial "nunu" in adwar, I don't know how to judge a recording from an interprative point of view, also, I haven't listened to this dawr except once before, so I don't know where she does anything new in terms of improvisation.

as for the sheikh zako influence, yup, I can pretty much hear that in the general phrasing style (although it sounds a little weird to hear the same phrasing without the trademark zako voice and khanafeh).

talking about the khanafeh, a little note on the side, am I the only one who feels a little weird listening to modern vocal producation style, singing adwar?

أبو علاء
10-04-2006, 17:14
Dear 3amr, when I'm presented with a contemporary interpretation of a dawr, I usually have relatively low expectations in the sense that I don't count much on "new improvisations" for instance. I mainly care, first, for the quality of the voice and, second, to determine whether the singer has bee up to the task of correctly rendering the given composition and my answers to both questions in this case are affirmative as I already told Najib. Given the general context, I'm afraid we can't expect more from Rimah or any other singer of the present generation. To have an idea, just try and imagine how many dawrs this young lady may have listened to! I'm almost sure the answer would be a one digit number, let alone the number of interpretations/versions of the same dawr and how many times she listened to each. Another interesting information would be how long has she been listenening to this kind of stuff and how often she does it. I know such questions might seem too basic, but, believe me, they could not be more relevant in the present situation.

10-04-2006, 18:38
believe me, they could not be more relevant in the present situation.

there is no way of expressing exactly how much I agree with you on this point. But I don't think that would really count as an excuse, I mean, recordings are after all, somewhat available. I don't want to sound too harsh, particularly considering it is a magnificent effort on Rima's part to be singing something this old in these days, when everybody wants to listen to Haifa (who has reached depths of degeneration I did not previously think possible with her new song).

all I can say is, God give her the strength to continue along this path, and I'm sure I'll go see her sometime (her concert posters are all over beirut, which is a good indication I guess).

10-04-2006, 18:51
What I love about Rima and other "classic" artist is that despite them not being in the limelight as they deserve to be more than (Haifa, etc...), is that they are not bitter, they keep trying to stick to their principles in the midst of a pressurising environment. They do that whilst being happy about the non-rewarding career that they chose.

Saying this I have started now reading Lagrange's articles, and they have been such an enlightment specifically on the subject of adwars.

I now understand what Abu 3ala expects when he listens to a dawr, and I am hoping to put some of the things that became clear to me after just scartching the surface with Lagrange's work.

I will put more on a separate thread.

12-04-2006, 01:04
Thanks Najib , I really enjoyed listening to it .
I have to admit it is not my favourite Darwish "Dawr" but obviously the one chosen by each artist to show his/her own capability of interpreting it ,or maybe to show Darwish's musical genius .
i liked the Contrabass( i like the Bass instrument ..it would probably be my only addition to my own "takht" :) . I also like the ney accompanying the beatiful voice of Rima (instead of strings ). it reminds of another interpretation of "ana hawait which i listened to lately thanks to El-Sheikh Sayed ..
i uploaded it :


tell me what you think ..