I relistened to this again, and of course I was mistaken about the huzam part!
it is bayati in that section all the way to the coda
Abu-alaa I think I was tricked by the qafla at 05:18 [in abu-alaa's file] and its instrumental lul.
I then consulted the popular maqam sites online and I found that bayati to huzam modulation is almost unheard of, silly me.
@Abu Alaa
An interesting observation about the lack of discontinuity or "staccato" that is otherwise quite typical for Hilmi in this dor, which made you think of his Allah Yesoon rendition.
I noted that both this dor and Allah Yesoon are both Hamuli compositions, and I wonder if a pattern emerges here.
From the few Hamuli cylinders we can have a listen to, I wonder if Hamuli's style (either in compositional or in performance, or in both) tend towards prolonged statements, ahat and qaflas, and maybe Hilmi is offering de facto / verbatim performance version of his teacher, presumably on one of his "off" days that prevents him to indulge in excessive saltana.
One can however still observe a very Hilmiesque habit, which is picking a favourite sentence to focus on, to the detriment of the rest of the lyrics.
I swear, even before listening to this rendition, I imagined that Hilmi's version will focus on these two short words/sentences, since they essentially carry the whole melodrama of the lyrics of the piece.
The poignancy comes from the obvious seemingly-illogical contradiction of love:
"sleep has deserted me , whilst you are fast asleep" !!
This could be interpreted in the usual way, in that this is typical Hilmi egoism, or another interpretation could be, that Hilmi has a keen sense of a piece's emotional climax, and uses this to deliver the emotional strength of his rendition. It does not hurt also that he essentially mastered the art of compressing renditions onto the 3 minutes of a 78rpm side!
Listen to 5:50 - 6:07. This is Hilmi!
The conversation about the modernity of Hilmi should take a thread of its own!