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الموضوع: Amal Hussein - Addi Ma Hibbak

  1. #1
    تاريخ التسجيل
    May 2009
    الإقامة
    USA
    المشاركات
    0

    إفتراضي Amal Hussein - Addi Ma Hibbak

    a rendition of the dawr Addi Ma Hibaq by Amal Hussein
    الملفات المرفقة الملفات المرفقة

  2. #2
    تاريخ التسجيل
    Sep 2005
    الإقامة
    Vienna, Austria
    المشاركات
    18

    إفتراضي

    I think it's a correct rendition as is the case in all 'amal Hisin's performances of 'adwar (ya tali'i-s-sa'd, el-fu'ad habbak). However, it's most difficult to appreciate "modern" renditions of this dawr once you have heard it interpreted by Manyalawi,a Hilmi and Salih 'abdi-l-hay in both 78rpm and more elaborate radio recording versions. Alfleila, could you kindly have a look at this thread and help with the questions therein?
    P.S. In romanizing Arabic words/names, the letter q is exclusively used to transliterate the consonant qaf, which doesn't exist in Indo-european languages
    .
    آخر تعديل بواسطة أبو علاء ، 12-05-2013 الساعة 10:00
    أبو علاء

  3. #3
    تاريخ التسجيل
    May 2009
    الإقامة
    USA
    المشاركات
    0

    إفتراضي

    indeed i think we say the same things whenever we speak of modern interpetations of adwar. i posted a version of adou el mayas today, and while it is beautiful, its mostly due to the composition itself -and badia's voice.. BUT salama hijazi's version for instance, offers elements in tarab -elements that could never be brought in these larger orchestrations. i will however separate marie jubran, abbas al beleedi, and laur dakash -while their arrangements lean toward the more "structured," they're not entrapped in the confines of their orchestra. rather i think they subjugate their musicians to their voice. marie jubran above anyone else -which goes without saying.. and saleh abdel hay, of course.

    but with all this said, there is value to these remakes. to an unfamiliar listener, it gives the chance to encounter the dawr on a simpler level, bayt by bayt. its more accessible to the memory. and once familiarized, it is that much easier to appreciate manyalawi or zaki mourad's performances. sometimes the value of a dawr is more appreciated when first heard in the absence of such tarab elements, then reintroduced to the ear with mastery of manyalawi -nuances in his voice, fervor in his performance, etc..

    also i took a look at the 'kuzum' bashraf. while i have the bashraf, i have it filed just as a bashraf in hijaz. i'm not sure if kuzum is the name of the piece itself, a composer perhaps..

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