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الموضوع: الموّال - The Mawwal

  1. #61
    تاريخ التسجيل
    Mar 2006
    الإقامة
    Paris, France
    المشاركات
    1

    إفتراضي

    I guess this is side 4 completing dor "el-hosn ana 3eshe2to", Gramophone 012344, a set of two discs indeed missing in my collection.
    The qafla is typically Hilmiesque indeed with its nice upper-octave jump.

  2. #62
    تاريخ التسجيل
    Nov 2008
    الإقامة
    Luxemburg
    المشاركات
    0

    إفتراضي

    إقتباس المشاركة الأصلية بواسطة أبو علاء مشاهدة مشاركة
    لا عليك يا أخي ؛ للأسف هذا هو الوضع العامّ للتّسجيلات القديمة من الغناء العربيّ إلاّ ما أسعف الحظّ بوقوعه بأيدي أولي علم وكرم من اسطوانات مثل فريديريك .
    وهذه هي النسخة الأصلية لهذا المــوّال :أسطوانة كولامبيا 10-x
    الصور المرفقة الصور المرفقة
    • نوع الملف: jpg S1.jpg (243.8 كيلو بايت, عدد مرات التحميل : 9)
    • نوع الملف: jpg S2.jpg (275.9 كيلو بايت, عدد مرات التحميل : 4)
    الملفات المرفقة الملفات المرفقة

  3. #63
    تاريخ التسجيل
    Mar 2006
    الإقامة
    Paris, France
    المشاركات
    1

    إفتراضي

    The label gives us the American catalogue number. On this page, the Egyptian catalogue number for this mawwāl rāst recorded circa 1928 and the lyrics. Many thanks Abu Marwan.
    الملفات المرفقة الملفات المرفقة

  4. #64
    تاريخ التسجيل
    Sep 2019
    الإقامة
    Australia
    المشاركات
    0

    إفتراضي

    I just noted last week the lovely saba mawwal Yadi l gamal wel dalal mawwal.
    and paid more attention.

    Interpreted here
    http://www.zamanalwasl.net/forums/sh...=1897#post1897
    and also, more importantly, here
    http://www.zamanalwasl.net/forums/sh...3879#post13879

    Safti takes a more urgent approach while Hilmi uses pauses very effectively and therefore does sound more relaxed, in comparison

    Safti's voice is great; Hilmi squeezes more melodrama and this falls easily within his way of doing things.

    Hilmi uses his signature of stressing on and prolonging consonants (listen to the nnnnnnnnnnnharo 1:04 to 1:11 - a whole 7 second on the noon!)

    An important comparison is their treatment of the text, if you think of the mawwal here as a story telling

    Safti returns in 3'43" to return back and repeat to the first sentence of the lyric

    On the other hand, Hilmi moves from one bayt to the other and does not return back, giving a more logical progression to the mawwal.

    My favourite part is indeed 01:34 in Hilmi's record..

    Hilmi keen as always to emphasize certain "favourite" parts of the lyric, which also happen I believe to be the most melodramatic
    here it is wel dam3 sal
    and uses this occasion for an ascending higaz tetrachord, in what appears to me a tonicization of the secondary jins of the maqam

    However this sounds like this tonicization could have been instigated by the qanunji's (who is?) gentle instrumental prod at 01:33 just before Hilmi

    The question remains whether this rather important inflection point in the mawwal was either (a) requested by Hilmi and organized with instrumentalists before recording ; or (b) just a repetition by the instrumentalists who are familiar with his take on this mawwal from many previous performances together

    Personally, I find it difficult to believe that this part was 100% improvised on the spot, but again these people were masters of their art.


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