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الموضوع: Zaki Murad-Fe zaman el-wasl (Odeon) / زكي مراد-في زمان الوصل

  1. #21
    ابو ناصر الشايجي Guest

    إفتراضي

    فعلا انا لما قرات في مسيرته و وصلت الي تواريخ ميلاده و وفاة ضننت ان الكاتب اخطاء
    !!!!

  2. #22
    Bassio Guest

    إفتراضي

    Hey guys, it's been a while. How are you doing? Sorry I've been busy.

    So, it is documented that this guy lived approx. 127 years? Born in the 19th century??!! And they left him .. just like that?

    What information this man has provided us? Any interviews? Any biographies? Any anecdotes?

    What a shame if we just left him pass away like that without at least gaining some historical/musical/biographical data from him (if he is/was regarded an important musical icon of his day).

    But I will not be surprised if we didn't.. because we never learn!

  3. #23
    تاريخ التسجيل
    Sep 2005
    الإقامة
    Vienna, Austria
    المشاركات
    18

    إفتراضي

    إقتباس المشاركة الأصلية بواسطة Bassio مشاهدة مشاركة
    Born in the 19th century??!! And they left him .. just like that?
    What information this man has provided us? Any interviews? Any biographies? Any anecdotes?
    Born in the late 18th actually. Any material left, if ever, would be only written material. He died too early for audio-visual media.
    أبو علاء

  4. #24
    Bassio Guest

    إفتراضي

    A must to-do for anyone listening to this dor is to compare the two versions we have:
    Murad vs. Manyalwi

    Murad is the one who got me to enjoy this dor, but now Manyalwi's version for me captures some drama with his lingering serene way. [by the way, are the lyrics here sad or tragic in some way? because I do not understand/hear most of the lyrics in any song whatsoever]

    Murad on the other hand captures some rhythmic bounce, and makes it a more impressive show than Manyalawi's .. I wonder if his version is influenced by his teacher's (if he used to sing it). A nice ya leil at the end too.

    Murad is a very virtuosic singer indeed .. no wonder he is one of abu-alaa's favorites.

    Each is in his own unique way .. but both are great. Do we have other versions on record?

    Now a question:
    The dor seems basic enough, but is it nahawant throughout .. I feel there is a modulation at enta nour 3eini - leili leil section .. what modulation here? Is it the typical nahawand --> bayati? Or he is still on the main maqam? I lost my ears after a phase of listening to mostly western music for a while.

  5. #25
    Bassio Guest

    إفتراضي

    إقتباس المشاركة الأصلية بواسطة أبو علاء مشاهدة مشاركة
    Born in the late 18th actually. Any material left, if ever, would be only written material. He died too early for audio-visual media.
    Never mind audio-visual .. I am talking about data .. info .. anything!! Born in the 18th century .. oh my God that was at the time of .. who? Beethoven? so in the whole of Masr El Mahrousa, no one noticed that this "artist" may have something to offer? anything of value? This is like a time machine.

    If nothing exists .. then these guys need a good "congratulations".

    *Reminds me of someone I know .. living in Kom El Dekka where Darwish lived, tells me something in the lines of: Sayyid's Darwish wife /relative etc. is still living until now there.

    Even if this true (I see it far-fetched) .. no one tries to get any info from this relative, even the least of it, that others -for example his son(s)- failed to supply?!

    (*Disclaimer: I have no way to make sure if his claim is true .. but you get my idea, I see it far-fetched and unbelievable .. how can his wife be living until now )

  6. #26
    Bassio Guest

    إفتراضي

    After a (coincidental) listening to the nahawand dors by Manyalawi
    - Kadnilhawa
    - fe zaman
    - beftekarak

    I noticed that his treatment of this particular maqam is very different than the other singers. How .. he seems to squeeze the littlest bit of tragedy he can get out of it. This can be easily noticed when you compare each of these adwar with that of others like Safti, Murad, Hilmi. Other singers treat nahawand less seriously and more lightly.

    Reminds me when Hilmi executed a Saba that is very poignant and somewhat different than any saba I heard, this was in Fel bo3d yama.

    Can anyone notice that? Listen to the above in a row and notice how he has his own style; then contrast it with others.

    I wonder if this has a microtonal basis about it or does it have to do with alternation between nahawand and other maqams (like nawa athar) for example; or it has only to deal with harfanet Manyalawi.
    آخر تعديل بواسطة Bassio ، 26-03-2008 الساعة 01:22

  7. #27
    تاريخ التسجيل
    Mar 2006
    الإقامة
    Paris, France
    المشاركات
    1

    إفتراضي

    New version of this recording, Odeon 45996 1/2, that I believe is better quality than the previous one.
    Sāmī al-Shawwā (violin), ‘Abd al-Ḥamīd al-Quḍḍābī (qānūn). For some reason, the voice that hails Sāmī al-Shawwā's taqsīm at the end of the recording pronounces "kamānja" with non-Egyptian /j/... Was there a Lebanese or Syrian madhhabgi in the group ?

    + raw version (unedited, unfiltered) for khashkhasha lovers.
    الملفات المرفقة الملفات المرفقة
    آخر تعديل بواسطة fredlag@noos.fr ، 30-09-2018 الساعة 12:28

  8. #28
    تاريخ التسجيل
    Sep 2005
    الإقامة
    البلاد المنخفضة.....Netherlands
    المشاركات
    8

    إفتراضي

    Thanks Fred

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