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Celestial Harmonies 13140-2
1998
Coronet Digital Studios, El Cairo
01 - khatwet habibi [4:08]
Footsteps of my love
02 - el helwa dayer shebbak [6:14]
The beautiful girl at the window
03 - ºūd solo [4:20]
04 - ana fi entizarak khalet [13:11]
I got tired of waiting for you
05 - nāy solo [2:47]
06 - samra ya samra [5:41]
Oh you, brown girl
07 - qānūn solo [2:56]
08 - bint al-balad [4:32]
Daughter of the country
09 - ṭabalah solo [3:50]
10 - samāºi bayati (al-aryan) [6:28]
11 - riqq solo [3:03]
12 - habibi wa enaya [6:47]
My darling, my dear
THE MUSICIANS AND
RECORDING
This first volume of the Music of Islām series is a studio
recording of the classical music of Cairo, or Al-Qāhirah as it
was called in ancient times. Today, Egypt is home to the most
contemporary Arabic music.
Recorded at the Coronet Digital Studios in the suburb of Mohandesseen,
located across the Nile River from the main city, producer David
Parsons was surprised to find the studio was housed in an apartment
building. "Upon arriving at the studio I had many misgivings. I thought
it must be a 'home studio'", tells Parsons. But once through the door,
he discovered it was actually one of the top fully digital studios in
Cairo.
The musicians featured on this volume are some of the best and most
sought-after studio musicians in all of Egypt. They are masters of
classical, folk and popular music. The instruments featured are
traditional Arabic instruments.
Mamdouh El Gbaly, ºūd
PRODUCED AND RECORDED BY DAVID AND KAY PARSONS
Prof. Dr. Jürgen Elsner
Mostafa Abd El Khalek, qānūn
Mohammed Foda, nāy
Khaled Gomaa, ṭabalah
Ibrahim Gomaa, duff
Hesham El Araby, riqq
CO-PRODUCED BY HESHAM WAHBY
EXECUTIVE PRODUCER: ECKART RAHN
RECORDED AT CORONET DIGITAL STUDIOS (CAIRO, EGYPT)
ENGINEERED BY HESHAM WAHBY
DIGITALLY MASTERED BY DON BARTLEY, STUDIOS 301 (SYDNEY, AUSTRALIA)
MUSIC ANNOTATION BY DR. PROF. JÜRGEN ELSNER
AL-QĀHIRAH:
A REFLECTION ON THE EVOLUTION OF ARABIC MUSIC
Nearly all traditions of Arabic music, including Egyptian, are strongly
defined by rhythm. This fact seduces the uninitiated into believing
that all oriental music comes from the harem and is scarcely more than
belly dance. This misconception is reinforced by the commercial media.
On the contrary, a glance at the history and structure of Arabic music,
the most modern of which is based in Egypt, imparts an insight into an
unheard of multifaceted aspect of traditions and functions; styles and
repertoires, genres and instruments, forms and structural principles.
No less important and meaningful, Arabic music shows a dynamic and
changing historical evolution.
The selections in this first volume of The Music of Islām
series clearly show this. On the one hand they belong to something like
the Samāºi, now considered qadīm (old), Turkish,
aristocratic art music, which lasted until the First World War and
which was generally defined as oriental music. On the other hand, in
the next decades and especially during the 1350s/1930s and 1360s/1940s,
not least under the influence of theater, film and radio, a gadīd
(new), socially more inclusive music developed. The music allowed for a
continuation of traditional strands, but at the same time offered
important innovations.
The composers created new forms in part using, until this time,
unfamiliar dimensions—instrumental music, coined under the term al-musīqā
which took over in popularity from the ghinā' (singing). This
in particular helped the taqsīm, the instrumental
improvisations, and a new, expanded instrumental introduction to the
newly developed great long songs to come into their own.
The once small ensembles, based on the effect of chamber music,
multiplied in size. New instruments from the European orchestra were
absorbed and an interest in Occidental musical development altered the
traditional musical melody structure with previously unfamiliar triad
arpeggios, chromatic passages, parallels of thirds and attempts at
harmonization. However, since the 1380s/1960s, a counter movement
developed against the unfettered modernization, which based itself on
older Arab traditions. In repertoire and performance the music in this
recording reflects the new Egyptic style while the orchestration
follows the older Arab practices.
The soloists play with melodic instruments such as the ºūd,
the Arabic lute, or an alternative thereof—the kamanjā
(originally a calabash spike fiddle, which was replaced by the European
violin during the second half of the XIII/19th century), then the qānūn,
a one-sided oblique plucked box zither, the oblique rim-blown flute nāy
and the riqq, a tambourine with small cymbals fitted along the
frame. These correspond to the traditional ensemble that was common at
the turn of the century and described by the English Orientalist,
Edward William Lane more than 150 years ago. The goblet drum, darabukka,
a percussion instrument which here appears under the general category
for drums ṭabla, and the relatively large duff; a
framedrum, have found their way into the ensemble relatively late. Up
until the XIII/19th century the darabukka was primarily
considered a woman's instrument, and the duff, to this day,
belongs to the sphere of folk music.
What is so special about this volume lies in the fact that it
incorporates only instrumental recordings. This is unusual. But this
one sidedness is toned down as all other instrumental pieces are
determined thematically—except the pure musically bound solo taqsīm
and the samāºi—be it through renowned texts of the
songs performed by the instruments or through programmed indications,
which are characteristic for many new Egyptian instrumental
compositions.
A note about spellings: as with such previous Celestial Harmonies
projects as The Music of Vietnam, The Music of Armenia, and The Music
of Cambodia, where alphabetical/transliterative questions arose, the
titles and names are spelled here using the common Latin alphabet.
(nota del copista: y con cierta inconsistencia en el uso de diacríticos)
1. KHATWET HABIBI
(Footsteps of my love)]
Rhythm: Maṣmūdi kabīr
The thematic determination is apparent in this first piece, which
revolves around an instrumental composition by the famous singer and
composer Muhammad ºAbd al-Wahhāb (1320/1902-1412/1991), created in
1373/1953. To this day, it is common for love songs in Arabia to refer
indirectly to a person and only rarely is reference made to the female
gender—in text and fact (see tracks 6 and 8).
The ma'zufa (the expression used for this type of piece, first
created in the 1360s/1940s) Khatwet habibi, like all
compositions of Arabic art music, is subject in its melodic formation
to the maqām principle. This principle incorporates a multitude
of relatively concrete tonal melodic features.
Khatwet habibi stands in the Hijaz maqām, whose main
tone group Hijaz is characterized through a one-and-a-half tone step
and emphasizes melodically the fourth and the fifth over the basic
tone. In variance to the original compositional input, the musicians
perform the first couplet immediately after a brief improvised prelude
on the ºūd. By this the tone group Hijaz appears first on the
fifth' position in a modified form, before revealing its true
characteristic as a main tone group in the refrain as the taslīm. The
composer originally placed the refrain at the beginning of the piece as
usual for the traditional tahmīla, a roundel form, with
soloistic improvised couplets called khānas. However different the
traditional tahmīla is, the improvised pieces are nevertheless fixed
even if the performance takes advantage of a certain latitude, in
relation to the instruments and also the performance of the given
melody. Therein lies an important aspect of Arabic music making. Like
the Turkish roundel forms, the bashraf, and the samā'i, the
single couplets are structured differently as regards to the tonal
melodic features. The second couplet following the above described
first couplet is bound to the Rāst tone group with its
characteristic medium third, but transposed a fourth above the central
note. The third couplet depends on Ajam. Finally, the fourth
couplet is considerably broader than its predecessors. Its melody
follows the tone group Kurd, initially in the upper octave
register and then reaches over to the main tone group. In closing it
repeats the first couplet followed by the taslīm.
Rhythmically the performance of this composition is diverse. Its basic
configuration is formed by the rhythmical period Maṣmūdi kabīr
which is marked through six different strokes within eight time units.
Nevertheless, in the following sections it is replaced by different,
shorter patterns such as the rhythmical period Maṣmūdi saghīr,
at double the tempo which among other things marks the refrain:
2. EL HELWA DAYER SHEBBAK
(The beautiful girl at the window)
Rhythm: Malfuof
This piece represents the instrumental conveyance of a song. The idea
of a lookout offering the aim of the common yearning by the accidental
glimpse of a woman, traditionally secluded from public scrutiny, is a
favorite topic for Arabic poetry. The melody is developing in maqām Bayati
whose expression is bound by vitality, joy and femininity. Its fine
deviations and foreign tone groups carry the piece well beyond the
traditional features of this maqām. The rhythmical periods, which come
into play here, support the liveliness and joyfulness. It is the
Maṣmūdi saghīr which supports the whole group throughout, and the
similar Malfuof which differs in number and sequence of the
strokes and accompanies the solo parts of the ºūd, the nāy and the
qānūn.
Both rhythmical periods, which in Egypt are widely marked by īqā'
or wazn, are considered nimble, fast and maneuverable—khafīf—to
use the traditional Arabic term.
3. ºŪD SOLO
(An improvisation)
The taqsīms, based on soloistic improvisation, are originally performed
to join in the following cycle of vocal and instrumental pieces with
the ensuing maqām. The taqsīms have changed considerably in this
century, becoming increasingly independent and distancing themselves
from their original function. They have not only expanded in their role
or capacity as a solo virtuoso, but have increasingly become an
experimental field for artistic musical innovation. Both aspects are
wonderfully served in the ºūd solo. Actually only in the taqsīms,
which are generally not bound by period rhythms, could the finesse of
the lute player, namely the multiple strike technique and the 'dumb'
fingering, be appreciated. They answer for rich articulation and
ornamentation. But here there is a place for subtle enrichment and
expansion of the melodic formation on the maqām concerned which in
allusion to other maqāmāt (Arabic, plural for maqām) and
modulations may be enormously extended. All of this, combined with
great finesse and balance, can result in an experience of ultimate
pleasure, which may be said to be true of the taqsīm recorded.
The basis for this taqsīm is the maqām Suznak which is composed
of Rāst as the main tone group and the Hijaz tone group a fifth above.
In this wonderful melodic structure, the soloist inserts above the main
tone group an extensive part based on the maqāmāt Bayati and Shūri,
which in turn stands close to it, but is distinguished by a Hijaz tone
group. This allows a delightful interplay of different intonations of
the same degree and of different melodic courses. But other maqāmāt
crop up and even a tinge of European melody is apparent without
altering the stylistic integrity of the taqsīm.
4. ANA FI ENTIZARAK KHALET
(I got tired of waiting for you)
Rhythm: Wahda kabira
An expansive instrumental piece, Ana fi entizarak stems from
the repertoire of the renowned Egyptian singer Umm Kulthum (d.
1395/1975), who premiered this "long song" (ughniya tawwila) on
radio in 1362/1943. She thus ensured that it, and numerous other songs,
reached a wide audience. The original text, written by Bairam
al-Tunisi, was put to music by the great composer Zakariya Ahmad
(1314/1896-1381/1961) who has contributed considerably to the revival
of Egyptian music during the XIV/20th century. The transcription of the
song relayed here follows the original model which by development and
form represents a mixture of expansive taqtuqa with the musical
munulug (monologue) tied to theater and film. The group begins
with an introduction which at first runs on the quiet, sentimental wazn
Wanda kabira but which when repeated is transformed into the
playful and lively Maṣmūdi saghīr. The use of the duff with its deep
"dum" when struck,
even lends it a bit of upper Egypt (Sa'idi). This repetition appears
throughout as an interlude, or a sort of refrain, which joins and
contrasts the solo parts of the qānūn, the nāy and the ºūd until
the nāy returns to the Wahda kabira. The final section is performed by
all melodic instruments without the use of the refrain.
Tunefully the piece is based on the maqām Hijaz, as described above,
associating remoteness, separateness, and yearning for being together.
The choice of the maqām equates with the text, which articulates the
restlessness of waiting and expectation and the anxiety about the ups
and downs of loved ones.
5. NĀY SOLO
(An improvisation on flute)
The nāy, which takes off on a short taqsīm, has been a component of the
stock of oriental instruments since time immemorial. Although the term
is also used generally as a category for wind instruments, esteemed
highly for their proximity to the human voice, nāy refers in our
context to a special instrument—a rim-blown flute with seven
holes. Its construction is strictly regulated and standardized. It has
to be constructed from a single bamboo reed with nine knots. The six
finger holes in the front and the one in the back follow rigid
measurements. This allows for a very subtle tonal gradation. The diapason
(range) is relatively broad, as the reed tapers downward and the
instrument is easily overblown.
Musically, the nay player sticks to melodic constellations like the
four-tone group Hijaz and the five-tone group Nauºathar,
which contain the one-and-a-half tone interval so important to the
Western perception of Oriental music. Set at various degrees of the
system and linked with other tone groups, one can hear in this
improvisation a variety of maqāmāt such as Nakriz, Nahawand,
Shahnaz, Hijaz, Saba and Bayati closing the taqsīm.
6. SAMRA YA SAMRA
(Oh you brown girl)
Rhythm: Maqsum
This instrumental piece, taken from the song Samra ya samra,
whose title does not translate well, offers another favorite topic for
Arabic poetry. In 1377/1957 ºAbd al-Wahhāb created an instrumental
piece entitled Habibi al-asmar, meaning "My dearest brown"
(which also refers to this topic). Yet he expresses it in the
traditional masculine form. The reference to pale brown skin is a
metaphoric Arabic reference to beauty and is also used in folk poetry.
The piece is rhythmically led by the wazn Maqsum (halved),
which has the same basic structure as the Maṣmūdi saghīr, and although
not quite halved, is faster. This becomes especially apparent where the
rhythmic course switches over to the calmer Maṣmūdi saghīr. Tunefully,
the composition is linked to the maqām Nahawand, which in its tone
stock may be compared with the harmonic minor. The introduction, which
is carried by all instruments and returns after each of the solo
couplets as a form of refrain, is tied to it. But the couplets are
drawn out by the Rāst with its clearly defined medium third.
7. QĀNŪN SOLO
(An improvisation on the Egyptian box zither)
The equally limited improvisation on the qānūn is almost infinitely
bound by the maqām Rāst. Only a short switch to the related maqām
Suznak, with its Hijaz characteristics over the fifth, allows for a
brief break. Otherwise, the piece closely follows the traditional rules
of the maqām Rāst.
8. BINT AL-BALAD
(Daughter of the country)
Rhythm: Maṣmūdi kabīr
The instrumental piece Bint al-balad, composed by Muhammad
ºAbd al-Wahhāb in 1371/1951, takes up another favorite theme of
the Egyptian way of thinking. In 1365/1944, Zakariya Ahmad composed a
song with the same title for his film "Land on the Nile", and
in the 1380s/1960s the qānūn player ºAbd al-Fattah Mansi made a
recording, again using the same title. In his violin-sonata, first and
successfully performed in Europe, Gamal ºAbd al-Rahim
(1343/1924-1409/1988), a renowned European-trained composer, headed the
last movement with Baladi. In Arabic, "Balad" is the summary
for country, the community and the home.
This piece is closely bound to the popular maqām Bayati, except for
minor deviations in the second to the last section, denoted by a medium
second over the central tone. By primarily changing the rhythmic
periods, a mounting intensity of expression is achieved. The first
section which follows the short solo on the darabukka, and also ends
the composition, is marked by the Maṣmūdi kabīr. With the second
section, the Maṣmūdi saghīr sets a faster pace, which continues into
the third section while the fourth accelerates once more with the onset
of the Maqsum. In the fifth
section according to traditional models, there is a turn to a ternary
rhythm, which corresponds to the Samā'i Dārij. With the repetition of
the first section, the Maṣmūdi kabīr is reintroduced.
9. ṬABALAH SOLO
(An improvised drum solo)
Rhythm: Mixed
In contrast to the fixed rhythmic periods which are based on
determined, always recurring patterns, this improvisation on the
darubukka shows the drum from another side. The piece lines up a
variety of different configurations, side by side, which only
occasionally remind of a rhythmic period. The rhythmic structure of the
solo is established by the interval or distance, the tone and the
intensity of the beats involved and by the varied nuances of the
placement of the strokes on the skin, the varying skin tension, the
velocity of the beats and their timing.
10. SAMĀºI BAYATI
(AL-ARYAN)
(Referring to an Egyptian scale)
Rhythm: Smaiea
An older Arabic tradition is introduced here with the beloved Samāºi
Bayati of the Egyptian composer Ibrahim al-Aryan
(1267/1850-1339/1920). The samāºi, like the bashraf, deals with
roundel forms, which were developed in the Persian-Turkish region. To
this day one can hear the different phases of development in various
traditions (e.g. Central Asia and Maghreb). The Egyptian bashraf and
samāºi represent the newest phase of this development. They
comprise various couplets (khānas) and one repetitious, refraining
section (taslīm). As the term indicates, the Samāºi Bayati
follows the maqām Bayati, which is displayed in the first and fourth
khānas and in the taslīm. The two middle khānas are characterized by
the neighboring maqāms, predominantly through the Rāst and in the third
khāna also through the Ajam, which brings it back to the Bayati.
Rhythmically the samāºi is carried by an īqā', which has the same
name and is called Samāºi thaqīl. The term "thaqīl"
(heavy, slow) which is opposed to khafīf (light, swift) characterizes
the inner tempo of the īqā'. The Samāº'i thaqīl is constructed
from five strokes, which are distributed along 10 time units by the
sequence 3+4+3:
In the fourth khāna, the Samāº'i thaqīl is replaced by the
Samāºi Dārij which is nimbler (♩ = 126 MM).
11. RIQQ SOLO
(An improvised solo on tambourine)
Rhythm: Mixed
The riqq is the original rhythmic instrument of the classical Arabic
musical tradition as described by Lane and is still relevant in this
century. The essential feature of this percussion instrument is a pair
of twin cymbals that are set in the frame. Other than marking the
distinct rhythm, they also permit jingling effects which not only
structure and stimulate the quick movements but also enhance the
sensitivity and affectations of the musicians and the audience. Many
cultures are familiar with this and put it to use. The cymbals are
activated by either striking the skin of the riqq, or striking
individual cymbals or the shaking of the riqq. These various
possibilities are especially easy to follow in the closing ascent of
the riqq improvisation.
12. HABIBI WA ENAYA
(My darling my dear)
Rhythm: Maqsum
The last piece of this selection is again a transcription of a song.
Like previous examples, it is set up as a form of refrain and soloistic
couplets. A short Abgesang of four rhythmic periods cuts the
piece after the last refrain. As a wazn, the Maqsum controls the whole
piece, the melodic expression of which is strongly akin to the maqam
Hijaz. The tonal melodic expansions lead into the sphere of the maqamat
Bayati, Kurd and Rāst.