“Sama‘ ” is a show that discusses our musical heritage through comparison and analysis…
A concept by Mustafa Said.
Welcome to a new episode of “Sama‘ ”.
In this episode, we will resume our discussion about dawr “Fī el-bu‘di yāmā” written by Sheikh Muḥammad al-Darwīsh and composed by Muḥammad Afandī ‘Uthmān to the sikāh maqām, huzām sub-maqām.
We had stopped at Sheikh Yūsuf and the waḥāyid.
Let us listen to a little henk or tarannum performed by Ṣāliḥ ‘Abd al-Ḥayy, followed by the shift to the waḥāyid…
He had clearly learned this shift from ‘Abd al-Ḥayy Ḥilmī, while preserving the dawr’s structure.
Note the ascension in the waḥāyid section:
In our previous episode, we heard Muḥammad Sālim singing the last waḥda to the rāst and concluding;
Now let us listen to the ascension in both ‘Azīz ‘Uthmān’s and ‘Abduh al-Ḥāmūlī’s template form…
Let us listen to the ascension in Ṣāliḥ ‘Abd al-Ḥayy’s performance…
Wow! The biṭāna led by Ḥāmid Mursī accompanying Ṣāliḥ ‘Abd al-Ḥayy is fantastic.
Let us listen to Ṣāliḥ ‘Abd al-Ḥayy singing “albī ‘alēēēēēk” as if it were the last āhāt ṣayḥa (scream), but with lyrics this time…
Now let us listen to Sama‘ ’s recording of Sheikh Yūsuf, that is a little different from the one made by Gramophone…
Beautiful Sheikh Yūsuf! Beautiful ‘Aqqād!… Did you hear the qānūn?! Beautiful!
So let us also listen to ‘Abd al-Ḥayy’s ṣayḥa…
Have you noticed his taslīm to the khātima?
Each had his own style, and each respected the dawr and the will of Muḥammad ‘Uthmān, each reaching the khātima through his own vision.
It is important to remember that the performance is part of the composing in Classical Arab Music. A performer can’t be asked to render a composed melody as is without any personal input: interpretation and performance are part of the composing process for those who wish to compose Classical Arab Music. Furthermore, the richness resides in the variety of interpretations.
We will conclude our discussion about dawr “Fī el-bu‘di yāmā” with the most recent Radio’s recording of Ṣāliḥ ‘Abd al-Ḥayy, seemingly made in the 1950s because Ṣāliḥ sounds very old. So it was made towards his last days, not in the 1940s. He is accompanied by Muḥammad ‘Abduh Ṣāliḥ (qānūn), Labīb Ḥasan (kamān), and maybe another instrumentalist I do not know, ‘Abd al-Fattāḥ Ṣabrī (‘ūd), and Ibrāhīm ‘Afīfī (percussions)…
Wow Sī Ṣāliḥ! Beautiful!
How much ever they say that he did not abide by the fixed rhythm, his performance is undeniably the height of beauty. He added to the dawr his instant creativity although he was obviously old and tired.
We have reached the end of our discussion about dawr “Fī el-bu‘di yāmā”, and the end of today’s episode of “Sama‘ ”
We will meet again in a new episode to discuss another work of Classical Arab Music.
“Sama‘ ” was presented to you by AMAR.